AVANT-GARDE - YOKO ONO (Room 303)
AVANT-GARDE - YOKO ONO (Room 303)
One of the reasons for the change in the physical appearance of the four Beatles and their sound was their increasing exposure to external influences in the wider art world. Contrary to much that has been written, it was Paul - and not John, who was initially the most open to avant-garde ideas. Whilst John was married with a young son, Paul was single, albeit in a relationship with Jane Asher. Invariably, what little down time the Beatles had, John would remain at home whilst Paul with no such ties, trawled the underground scene with his antennae out, experiencing new sensations and readily embracing new ideas. Paul was mixing with the likes of David Hockney, Andy Warhol, Harold Pinter, Peter Blake and Richard Hamilton. He listened to free improvisation and experimental music and became acquainted with the work and ideas of Cage and Stockhausen. Paul would dutifully report back to John, who encouraged this new direction, whilst being somewhat jealous of Paul’s freedom and ability to move in such circles. All of these external influences, together with the ‘enlightenment’ that recreational drug use was bringing would manifest itself in a completely new and different musical direction.
In January 1966 Pete Asher, John Dunbar, and Barry Miles had opened the Indica Art Gallery. Paul helped to design logos for the gallery, which quickly became a popular hang out place for him. However, it was towards the end of the year on November 9th 1966, that John made his first visit to the Indica, to see a preview of ‘unfinished paintings and objects’ by Yoko Ono. He was totally bowled over and got the humor and depth in her work immediately. He thought it was hilarious to buy an apple for £200, so you can then watch it decompose. He climbed a ladder with what appeared to be a black canvass at the top. When he got to the top there was a spyglass, which when pointed to the black canvass, revealed the word ‘Yes’ in tiny letters. John was ecstatic, “It was so positive!” He later determined that if it had a negative message and had said “no” he would have dismissed it. John became transfixed and felt that this new direction would be liberating for him as an artist. So by the turn of the year, with Paul and now John embracing the Avant-Garde and George looking increasingly to India for inspiration, the music was just about to explode into new hitherto unexplored directions.
Artwork painted and owned by ©SHANNON
AVANT-GARDE - YOKO ONO (Room 303)
One of the reasons for the change in the physical appearance of the four Beatles and their sound was their increasing exposure to external influences in the wider art world. Contrary to much that has been written, it was Paul - and not John, who was initially the most open to avant-garde ideas. Whilst John was married with a young son, Paul was single, albeit in a relationship with Jane Asher. Invariably, what little down time the Beatles had, John would remain at home whilst Paul with no such ties, trawled the underground scene with his antennae out, experiencing new sensations and readily embracing new ideas. Paul was mixing with the likes of David Hockney, Andy Warhol, Harold Pinter, Peter Blake and Richard Hamilton. He listened to free improvisation and experimental music and became acquainted with the work and ideas of Cage and Stockhausen. Paul would dutifully report back to John, who encouraged this new direction, whilst being somewhat jealous of Paul’s freedom and ability to move in such circles. All of these external influences, together with the ‘enlightenment’ that recreational drug use was bringing would manifest itself in a completely new and different musical direction.
In January 1966 Pete Asher, John Dunbar, and Barry Miles had opened the Indica Art Gallery. Paul helped to design logos for the gallery, which quickly became a popular hang out place for him. However, it was towards the end of the year on November 9th 1966, that John made his first visit to the Indica, to see a preview of ‘unfinished paintings and objects’ by Yoko Ono. He was totally bowled over and got the humor and depth in her work immediately. He thought it was hilarious to buy an apple for £200, so you can then watch it decompose. He climbed a ladder with what appeared to be a black canvass at the top. When he got to the top there was a spyglass, which when pointed to the black canvass, revealed the word ‘Yes’ in tiny letters. John was ecstatic, “It was so positive!” He later determined that if it had a negative message and had said “no” he would have dismissed it. John became transfixed and felt that this new direction would be liberating for him as an artist. So by the turn of the year, with Paul and now John embracing the Avant-Garde and George looking increasingly to India for inspiration, the music was just about to explode into new hitherto unexplored directions.
Artwork painted and owned by ©SHANNON
AVANT-GARDE - YOKO ONO (Room 303)
One of the reasons for the change in the physical appearance of the four Beatles and their sound was their increasing exposure to external influences in the wider art world. Contrary to much that has been written, it was Paul - and not John, who was initially the most open to avant-garde ideas. Whilst John was married with a young son, Paul was single, albeit in a relationship with Jane Asher. Invariably, what little down time the Beatles had, John would remain at home whilst Paul with no such ties, trawled the underground scene with his antennae out, experiencing new sensations and readily embracing new ideas. Paul was mixing with the likes of David Hockney, Andy Warhol, Harold Pinter, Peter Blake and Richard Hamilton. He listened to free improvisation and experimental music and became acquainted with the work and ideas of Cage and Stockhausen. Paul would dutifully report back to John, who encouraged this new direction, whilst being somewhat jealous of Paul’s freedom and ability to move in such circles. All of these external influences, together with the ‘enlightenment’ that recreational drug use was bringing would manifest itself in a completely new and different musical direction.
In January 1966 Pete Asher, John Dunbar, and Barry Miles had opened the Indica Art Gallery. Paul helped to design logos for the gallery, which quickly became a popular hang out place for him. However, it was towards the end of the year on November 9th 1966, that John made his first visit to the Indica, to see a preview of ‘unfinished paintings and objects’ by Yoko Ono. He was totally bowled over and got the humor and depth in her work immediately. He thought it was hilarious to buy an apple for £200, so you can then watch it decompose. He climbed a ladder with what appeared to be a black canvass at the top. When he got to the top there was a spyglass, which when pointed to the black canvass, revealed the word ‘Yes’ in tiny letters. John was ecstatic, “It was so positive!” He later determined that if it had a negative message and had said “no” he would have dismissed it. John became transfixed and felt that this new direction would be liberating for him as an artist. So by the turn of the year, with Paul and now John embracing the Avant-Garde and George looking increasingly to India for inspiration, the music was just about to explode into new hitherto unexplored directions.
Artwork painted and owned by ©SHANNON