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Kristine Stiles Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN­13: 978­0­226­77451­0 (cloth) ISBN­13: 978­0­226­77453­4 (paper) ISBN­13: 978­0­226­30440­3 (e­book) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress Cataloguing­in­Publication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 978­0­226­77451­0 (cloth : alkaline paper) — ISBN 978­0­226­77453­4 (paperback : alkaline paper) — ISBN 978­0­226­30440­3 (e­book) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.48­1992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an X­man, dot­man war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then re­draw it in a different posmon.... But when they're killed they're erased and fl A gh0St image­ 80 the erasing is 3 vefy 'mPortant elemen of the war drawings.... The important thing is that it's always 2005^ (SUSan Swenson' conversation with Kim Jones: April 25 0 1 4 W"°rkC'ty; WarP™<*™^ NY: Pierogi 2005], 4). Two years earl.er, Jones described his "war drawings" as mages 0 , hat ^ ends„ ^ q ^ ^ ^ A Studio Vuit wuh Km Jones, a fifteen­minute video codirected bv ' David Schmidlapp and Steve Staso (2003). Unbosoming Lennon: The Politics ofYoko Ono's Experience (1992)' I On the album Double Fantasy, recorded just before his murder in 1980, John Lennon publicly avowed his difficulty in being able to "hardly express" that "woman ... I'm forever in your debt."2 In the song "Woman," Lennon continued: Woman, I will try to express my inner feelings and thankfulness for showing me the meaning of success." On the same album, in the song "Watching the Wheels, Lennon imputed the notion of attaining success, which was for him merely placing the game. He described the process as "wheels going round and round , and, as the most infamous bread-baking, child-rearing househus- band in the world, Lennon said he simply "really loved to watch them roll." But he was equally content, he crooned, "to watch shadows on the wall." For "I'm no longer riding on the merry-go-round," he sang; "I just had to let it go." In these songs Lennon rejected the conventional codes of the male rock 'n' roll star's measure of achievement. He also abandoned the caricature of the swaggering, crotch bulging, thick-lipped, Mick Jagger-like, hard, wet, womanizing, musical coc of the rock, jazz, and country music business. He confessed, "Woman, I ) u understand the little child inside your man. Please remember my life is in your hands." unabashed and unembarrassed acknowledgment of woman, Lennon g Yoko Ono. Euphemistically, he made "a clean breast" of his thoughts p ™lsed her, 111 try to express my inner feelings." In short, Lennon "un- anH u imse'f- Both references to female mammary glands — unbosoming knowT.m- 3 uean ^° f something—are synonyms for the verb "to ac- bosomerfh' W if" USed 'n the context disclosure. Lennon publically un- simultan °racular confession and corporeal display. His disclosures himself oft* i mamfcsted the site of manhood and allowed Lennon to divest and his awl' h Kna' His ***** and physical disrobings plicit critiaue^f ^ SmCeK embarkations into women's spaces offered an im- the ridicule h & bebavior'which in turn provided a powerful impetus for A source^oM ^ ^ from ^ life' psychological ct ln°n S Untommon proclamations, the public reports on his P ychological state, may be found in the ,yrics Ono sings in "BeautLl Boys," a cut on Double Fantasy, the album on which Lennon's song "Beautiful Boy (Dar­ ling Boy)" also appeared. In "Beautiful Boys," Ono instructed boy-men to in­ vert and, thereby subvert, their culturally determined control. She urged them- •Never be afraid to cry.... never be afraid to fly... never be afraid to go to hell and back. .. [and] never be afraid to be afraid." The attitudes Ono expressed in such songs, along with her art and proto-feminist philosophy, dismantled the stereotypical masculine facade of one of the most beloved and powerful international heroes of pop culture. She offered him an alternative epistemo- logical frame through which to experience sexual difference, through which to begin reconstituting himself along the lines of women's experience and per­ haps in part, through which to rechannel some of the dominating repressions of his own Eurocentric, patriarchal experience. Lennon listened. Moreover he listened conscientiously. Then he admitted, "Yoko changed me. She forced me to become avant-garde and take my clothes off when all I wanted to be was Tom Jones."3 None of the legendary heroic or villainous accounts of Ono or Lennon have probed the content and structure of this couple's contribution to cultural forma­ tions. Rut their union provides a unique cultural model for ways in which gen­ der and racial equality may be constructed in heterosexual relations. In large part, the means by which they architected this political and social practice are to be found in the body codes Ono helped to pioneer in happenings and Fluxus, codes and practices that empowered both artists individually and in union with each other. Their struggle reveals a passionate will to fulfill need with desire and to transform anger, emotional pain, and suffering into a model for inter­ personal and multinational love. Furthermore, the psychophysical permissive­ ness, which is a quality of performative art, played a critical role in determining Lennon s ability to rehabilitate his gender identity and to redefine himself con­ tinually as the more complete artist that he aspired to be. As an artist, he be- confident t nough to display his own self-reconstruction and renaissance. This essay is an attempt to convey some of the ways in which Ono's avant- gar e performance work helped nurture the architecture of LENONO, the ne- o ogism they coined for a record label.4 This fused identity also appears in the ho t°"1°nta8'e °f their two faces created for the poster for Ono's 1971 exhibi- s /s Not Here at the as°n ' Everson Museum of Art in Syracuse, New York. Three gins f ^ENONO deserve exploration: first, the biographical and artistic ori- Lenno ' S ^ aCt'°ns an<^ ^er Pr°tofeminist concerns as they contributed to °f avant'8 emranCe 'nt0 the avar,t-garde; second, the ways in which the history fem Per^ormance helped Lennon to articulate his own male space utilized th^ ^raCt'CC; anc* Anally, the ways in which together Ono and Lennon union C VC^'C'e °^'ve Performed art to realize the activist potential of their jjedir^°fU'arcu'ture beyond the insularity of the art world. °pnient dttcnt'on t0 the biographical and artistic aspects of Ono's devel- LennonV ^ *°Unc*at'on EENONO must not diminish the uniqueness of 'deals or his courageous public displays of personal struggle. Rather, 135 I UNBOSOMING LENNON such an alternative view may revive long-neglected aspects of Ono's artistic contributions, sharpening the focus on her as the artist Lennon referred to as "the most famous unknown artist in the world." For even the numerous exhibi­ tions of and articles on her work have failed to probe the germinating role her art played in Lennon's transformation. Moreover, scholars have neglected to grapple with the substantive value and quality of the way she constructed and then directed her art to address difficult social dilemmas. Finally, the perfor­ mative dimension of her contribution to social formations has been neglected until recently. II Together, in the domain of physical and emotional disclosure, Lennon and Ono created a wedge in social, political, racial, and sexual discourses of their era. Already in November 1968, with the release of the album Unfinished Music No. 1: Two Virgins, under whose cover Lennon and Ono appeared as two naked lovers gazing into the eyes of the music consumer, Lennon had entered Ono's double articulated cultural space—the space of woman, and ethnic other, and the space of an Asian woman. Ono not only represented woman and other, but was pub­ licly seen as "the other woman," the adulteress who wrecked Lennon's marriage and the concubine who ruptured the Beatles. A redoubling and consequent intensification of the spaces of otherness and womanness occurred in Lennon's own masculine disrobings. In his nakedness, his public exposure, Lennon entered woman's space, where he exhibited himself as an object for the male gaze. The intense reluctance of many men to expose their intimate physical or emotional self is culturally supported in the stereo- type of the strong and silent man," a prototype to which playwright Vaclav Havel, who would later become president of Czechoslovakia and of the Czech Republic, gave poignant testimony in letters to his wife Olga written from prison 1981.
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