Marginalization as Use: Race & Gender in the Work of Yoko Ono
In this paper, I trace the moments in Yoko Ono's career during the 1960's that were born of her positioning as a double other, both woman and Japanese. Rather than suppressing that marginality, I set out how Ono confronts and utilizes it in her work. Her work has consistently spoken to the place of women in society. Her incorporation of Japanese Zen Buddhist philosophies fueled the intentions of her art while emphasizing her otherness when working in New York and London. Finally, this paper discusses how these condition lead to considerations of the artist's own hybrid identity.
||Gender, Performance, Feminism, Transnationalism
The International Journal of the Arts in Society, Volume 2, Issue 2, pp.55-60.
Article: Print (Spiral Bound).
Article: Electronic (PDF File; 498.964KB).
Ph.D. Student, Department of Art History, Indiana University, Bloomington, USA
Erin Devine is a Ph.D. candidate at Indiana University studying contemporary art. Before moving to Bloomington to attend graduate school and work as the Curatorial Associate at the School of Fine Arts Gallery, Devine was active in the Louisville art community as a gallery owner and the Exhibitions Coordinator for the Louisville Visual Art Association. She was the President of LOOK, the professional consortium of art museums and galleries in Louisville, and served appointments on two mayoral committees for art and architecture. Devine has juried numerous exhibits and competitions throughout the midwest. Her dissertation investigates New Internationalism and transnational women artists working within the U.S. She is Lecturer of Art History at Longwood University in Virginia.
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