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M+, Hong Kong, © Yoko Ono
Yoko Ono 小野洋子
Painting to Let the Evening Light Go Through 讓暮光穿透的畫作
1961/1966/1988
Yoko Ono’s early conceptual work from the 1960s often involves everyday objects and open-ended instructions or scores meant to be completed through the participation of viewers. In the late 1980s, Ono revisited these influential artworks by fabricating them in bronze. In doing so, she transformed the original pieces from lightweight and ephemeral works into heavy and permanent objects. At the time, Ono’s Bronze Age series signified the artist’s rejection of nostalgia for the 1960s and reflected the current era, which she described as the age of commodity and solidity. The use of bronze, a material with a long history in art, also testifies to her experimental practice and her engagement with different media, including painting, drawing, sculpture, performance, music, writing, and film.
The previous iterations of Painting to Let the Evening Light Go Through harness light and shadow to create an immaterial visual effect. In Ono’s 1966 solo show in London, the artwork was a suspended sheet of Plexiglas hung in front of a window with the title instructions engraved at the bottom. The version cast in bronze negates the earlier work’s transparency and alters its poetic impact. Although light cannot pass through it, the metal surface nonetheless registers a play of light.
The previous iterations of Painting to Let the Evening Light Go Through harness light and shadow to create an immaterial visual effect. In Ono’s 1966 solo show in London, the artwork was a suspended sheet of Plexiglas hung in front of a window with the title instructions engraved at the bottom. The version cast in bronze negates the earlier work’s transparency and alters its poetic impact. Although light cannot pass through it, the metal surface nonetheless registers a play of light.
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