Yoko Ono (photo: Jack Plunkett/AP Photo)
When the members of the Beatles are painted in broad strokes, John Lennon is often cast as the cynical yin to Paul McCartney’s cheery yang -- even with optimistic anthems such as “Imagine” and “All You Need Is Love” to Lennon's name.
At the “Come Together -- The Artwork of John Lennon” exhibit showing in downtown Franklin April 29 to May 1, Yoko Ono says visitors will see that brighter side of her late husband. Close to 100 drawings and handwritten lyrics will be on display at the exhibit, spanning from the peak of Beatlemania to Lennon’s death in 1980.
Ono gave us a call last week to discuss the exhibit and her memories of Lennon, both as an artist and a family man.
When and why did you decide to put a traveling exhibit of John’s work?
"It started around the time of Reagan, I think. A long time ago. The thing is, in the beginning, it was not very easy, because most galleries would say, ‘No, we’re not doing it. This is just the (work) of a pop star.’ It was hard to find a place to put a show. The art world has its own elitism, and John just didn’t fit in there. But John’s work was very, very good, and I just knew it, so I knew I could keep on (showing) it and it would be fine. And now, it’s so popular, it’s amazing. That’s how it should be, because he was a good artist."
It strange to think that John’s work is more than 30 years old now, and many pieces date back even further than that.
"Yes, and people say, ‘Why are you doing it now? It’s already 30 years old.’ Well, then why would you show Picasso’s paintings? That’s even older."
Oh, I wasn’t questioning it being shown now. I’m just wondering what message you think it offers to people today.
"The message is getting stronger, actually. Because around the time of Reagan, kids would tell me, ‘In school, they’re asking me why I’m for peace when the country’s going to war.’ They had a very difficult time, because they believed in peace and love because of John. But now, it’s a very different situation. Everybody wants world peace, and everybody remembers that John was about it, and they agree with him. It’s very nice."
Do you have a favorite piece of John’s artwork?
"No, I don’t. Each one is so beautiful. I think about it. When I’m just about to go to sleep or something, these things pop up in my mind — ‘Oh! That one is very good!’ — John’s artwork is very easy to understand. It’s not like abstract expressionism or something. And it also has an incredible warmth, and beautiful spirit, the kind of spirit of goodness that we need now, and we don’t have it."
You’re featured in a lot of these pieces. Did you like being included?
"Yes. I was very lucky I was around (laughs). You know, most artists, they painted their wives, people who were around them, which is a normal thing to do. And John did me. I was lucky I was sitting there."
Some of these pieces share titles with John’s songs. Did you see a strong connection between his music and his visual art?
"Yes, definitely, because I think it came from the same person (laughs), for one. He was not very different in his artwork. There was always a sense of humor and lightness about it. That was very good, I thought."
Was there a side to him that came out his visual art that wasn’t present in his music?
"Not really. Of course, he had a demonic side, too. All of us do. He thought that he should be expressing that a lot in art, but I think he realized it’s so important to make people feel it’s OK, make people feel that we can do some good for society and make a better world. He went for that (instead), of course."
There are also pieces in the exhibit from long before you met John — right after his art school days. What do you think of that work?
"That’s another thing. When he was a child, he would do these sort of animation-style but extremely mature-looking drawings. They could have been done by some very popular cartoonist. When everybody was going to university, the teacher said, ‘You can’t go to any university, no place is going to take you, but the art school might be good.’ So they tried, and sure enough, he got in to (Liverpool College of Art). In those days, it was one of the best in Britain. He was very proud of that."
Did you give him any guidance in his visual art?
"Well, I’m an artist myself, so I know the worst thing you can do is tell another artist what to do (laughs). Especially someone like John, who’s innately rebellious."
Is there still new stuff to see of John’s? Anything that’s yet to be shown to the public?
"I think one of the new ones, is in John’s own handwriting, he scribbled some lyrics, and when you read that you see that it’s slightly different than the way it ended up in the songs. I think that’s something musicians might like to see.
"Also, there’s one where John and (son) Sean were having a dialogue. I was pretending that it wasn’t funny to me, just (acting) serious in the kitchen making tea or something. John said, ‘What is this (drawing) gonna be, Sean?’ And Sean would say, ‘That’s gonna be an elephant.’ And John would say, ‘Oh, it turns out not to be an elephant…’ Just little dialogues like that. John was proud not just to be a normal father, but an artist, too, and he could have a conversation with Sean on that level, and speak to him about culture."
What do you think people will take away from the exhibit this weekend?
"I think they’re going to be surprised that he had an incredible warmth expressed in his artwork, and the complexity of his artwork, I think, will also surprise them. But at the same time, they’re used to John’s sense of humor, passion and complexity in his music. They’ll see that they are very similar."
IF YOU GO
- “Come Together: The Artwork of John Lennon” takes place at the former Grays Drugs Building (332 Main St.) in downtown Franklin. The exhibit is open 12 - 9 p.m. Friday, April 29, 11 a.m. - 7 p.m. Saturday, April 30 and 11 a.m. – 6 p.m. Sunday, May 1.
