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 iteration of Pointedness consists of a crystal sphere on a clear pedestal. Engraved on the plinth is a statement, almost like a riddle or Zen koan, based on an experience Ono had at a moonlit temple in Kyoto: ‘This sphere will be a sharp point when it gets to the far corners of the room in your mind’. The artist shifts the focus of the artwork from the physical, external object to an immaterial, internal thought process inside the viewer’s mind. The version in bronze changes the original’s transparent, fragile nature into an opaque, durable one while retaining the poetic effect.