Yoko Ono: Transnational Artist in a World of Stickiness

Abstract

This thesis examines Yoko Ono and her work in relation to Fluxus from 1958 to 1964. Using theories of transnationalism, cosmopolitanism and performance to analyze discourse, I argue that Ono's hybrid Japanese and American identity as well as the Zen Buddhist elements of her work played into her acceptance in Fluxus and affected the reception of her work both by American and Japanese audiences. While Ono's membership reinforced American Fluxus members view of Fluxus as a transnational group, I argue that the group is better understood as cosmopolitan and operated in a geo-politically bound westernized, industrialized set of countries. Finally, I examine Ono and Fluxus in relation to the 1960's cold war environment, showing how some works were meant to create communitas, in response to that political climate.