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1. Exploring a Career Before, and Beyond, ‘John and Yoko’
IN 1968, Kevin Concannon was a 12-year-old Beatles fan when an avant-garde artist named Yoko Ono started appearing in press stories linking her with John Lennon. “It was my first exposure ever to a real live artist, and especially a real live avant-garde conceptual artist,” recalled Dr. Concannon, who has a doctorate in art history from Virginia Commonwealth University and is now the director of the School of Visual Arts at Virginia Tech.
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Times Topic: Long Island Arts
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Kathy Kmonicek for The New York Times
A framed record of “Happy Xmas (War Is Over).”
Enlarge This Image
Kathy Kmonicek for The New York Times
Ge Song, a graduate student from China, viewing the “Yoko Ono Imagine Peace” exhibition.
Enlarge This Image
Kathy Kmonicek for The New York Times
Fred Pearsall, a Stony Brook University student, hanging a message on a “wish tree.”
He retained his boyhood interest in Ms. Ono, eventually conceiving of an exhibition that explores her work as an artist and a peace activist, both alone and in collaboration with Mr. Lennon.
The show, “Yoko Ono Imagine Peace: Featuring John and Yoko’s Year of Peace,” was curated with John Noga, then a graduate student. It is now at the University Art Gallery in Stony Brook University’s Staller Center for the Arts. (Like Dr. Concannon, the art gallery’s director, Rhonda Cooper, is an admitted Beatles “diehard,” she said.)
The exhibition was first presented in 2007 at the University of Akron and has since been shown at other universities. Featuring videos; photographs; posters and advertisements; lithographs; an oversize, floor-standing, all-white chess set; and even a live Japanese maple “wish tree,” it will be displayed through Oct. 15.
On closing night, Sean Lennon, the musician son of John and Yoko, and Charlotte Kemp Muhl — together they make up the Ghost of a Saber Tooth Tiger — will perform in the Staller Center Recital Hall; it will be the first concert of the new performing arts season at the center. Their appearance was arranged by Alan Inkles, the director of the center, to dovetail with the art show.
For some who avidly followed the Beatles, as a band and individually, Ms. Ono may still be best known as the wife of John Lennon, who was shot to death outside their New York apartment building in 1980 by Mark David Chapman, a delusional fan.
But the exhibition, starting with a few works from the mid-1960s and continuing to the present, suggests how Ms. Ono’s roots as a conceptual artist provided an impetus for the phenomenon once known as “John and Yoko.”
Before meeting Mr. Lennon, Dr. Concannon said, Ms. Ono “had been making work for the advertising medium that was about imagining things in your mind, as opposed to concrete objects.” In the show are several magazines, from 1965 and 1966, in which Ms. Ono took out advertisements that served as conceptual-art instructions. One reads, in part: “Swim in your sleep/go on swimming until you find an island”; the text is superimposed on a pale photo of the artist, seemingly asleep.
Around that time, she also conceived of a “light house,” a hypothetical structure to consist of light emanating from prisms. In 1967, Mr. Lennon, intrigued by the idea, invited Ms. Ono, whom he had met a few months before, to his house for lunch. He asked if she could build a “light house” in his garden.
“Oh, that was conceptual,” Ms. Ono replied. She thought it would be built one day, but she told him, “I don’t know how to do it.”
Ms. Ono recounts that story in an 18-minute video compilation (provided by her and her staff) that includes a touching segment of Mr. Lennon recording the 1971 song “Imagine,” with her by his side.
If Ms. Ono, solo, used ads as an art vehicle, “John and Yoko” employed “this massive advertising campaign on a worldwide scale” to promote their views, Dr. Concannon said. Examples in the show include a video from their 1969 honeymoon “Bed-Ins,” during which they stayed in bed while the news media and others came to their hotel suites in Amsterdam and Montreal to talk about peace. Also on display from 1969 are examples of their posters and newspaper ads in various languages, declaring that “War Is Over! (If You Want It).”
The show’s participatory elements could themselves make for a gallery “happening”: Visitors can use the all-white chess set, with pieces up to two and a half feet tall and titled “Play It by Trust” (the opponents being harder to identify when all the pieces are the same color); write messages on tags and tie them to the “wish tree” (more than one million such wishes have been collected from Ono projects worldwide); or stamp the message “Imagine Peace” on maps affixed to a wall.
They can also take home a small flashlight for which Ms. Ono has devised her own version of Morse code, called “Onochord”: Flash the light in a sequence of one, two and three pulses, she instructs in the video, to signal “I-love-you.”
In an e-mail, Ms. Ono explained her choice of that numerical sequence. “I wanted to make it very simple,” she said. “You cannot make it simpler than that. It has a rhythm, too, like music.”
In the show’s 18-minute video compilation, a large crowd in Reykjavik, Iceland, uses Onochord flashlights during the 2007 unveiling of Ms. Ono’s “Imagine Peace Tower.” A realization of her conceptual “light house,” which once beguiled John Lennon, the installation periodically projects a column of light into the night sky. Inscribed on its base, in 24 languages, is the message “Imagine Peace.”
The lights will next be beamed nightly from Oct. 9 to Dec. 8 — the dates of John Lennon’s birth and death.
“Yoko Ono Imagine Peace” is at the University Art Gallery, Staller Center, Stony Brook University, through Oct. 15. Free. (631) 632-7240; stallercenter.com/gallery.
2. IS THIS THE BEST STRETCH OF JONATHAN PAPELBON’S CAREER?
The Red Sox have suffered from inconsistency in any number of areas this year. Both individually and collectively, the team has been subject to the rhythmic ups and downs of a baseball season, mostly the stuff you’d expect from a 162-game season (Dustin Pedroia starting slowly and then getting hot; Jon Lester hitting an early bump in the road and then emerging as dominant; Jarrod Saltalamacchia and Jason Varitek seeing the pendulum swing on their seasons at the plate; etc.).
But in one area, the Red Sox have remained completely consistent from the opening bell until now. The team’s record when leading after eight inning? 74-0. Jonathan Papelbon in save situations? 30-for-31.
That isn’t to say that Papelbon hasn’t gone through his own ups and downs this season. In late May and early June, there was a stretch in which he permitted runs in five of seven outings, for instance. And in five appearances sandwiched around the All-Star break from July 5-16, he allowed runs in three different outings, lifting his ERA to 4.06 in his first game of the second half.
However, since then, Papelbon has been on what may well be the most dominant run of his storied career in Boston. In his last 21 games, he has thrown 22 innings. The results are little short of stunning.
Zero runs – tied for the longest scoreless stretch of his career.
Five hits – all singles.
Two walks.
Twenty-eight strikeouts.
Papelbon isn’t just shutting down opponents. He’s buzzing through them with the ruthlessness of a chainsaw.
On Friday night, given his first save opportunity since Aug. 18 (a 27-day stretch that ranks as the longest of his career), he operated like a man possessed, firing 12 of his 13 pitches for strikes, and working around a B.J. Upton single to punch out the side.
It has been a stretch of utter brilliance for Papelbon, who is getting swings and misses with his fastball (which has held at a tick over 95 mph all season long), splitter and slider. His fastball in particular has been an smoldering, overpowering weapon.
“He’s been awesome,” said Saltalamacchia. “His velocity has been there the whole time. The mix of his pitches has been great. And he’s hiding the ball, so it’s really tough to pick him up. He’s just been phenomenal.”
“Unbelievable,” marveled setup man Daniel Bard. “It’s the best fastball I’ve seen out of him in three years. It’s consistent. It’s every night. He just seems to get better as the season goes on.”
Yet Papelbon treats the performance in matter-of-fact fashion, as if these sorts of results are utterly unsurprising. He suggests that this is the most consistent his delivery has ever been, something that has lent itself to the most dominating stretch of his career.
“I know now what it takes to be consistent. Every year, you learn more about how to push the gas, how to hit the brake, how to prepare yourself every day and every night to repeat a delivery,” said Papelbon. “I think the consistency of my delivery has been more important than the consistency of my stuff. If my delivery is consistent, everything else should be.”
Papelbon didn’t have to wait. Instead, after a late-season callup in 2005, he found himself thrust into the job of closer in the second game of the 2006 season, and defined that as the spot where he’d spend his career by going on a run with little precedent to start his career. He reeled off one scoreless appearance after another in 2006, and in fact, had a 22-inning scoreless stretch that year from May 4 through June 26 that stood as the gold standard for the greatest run of his career – until now.
At a time when he is edging closer to the brave new world of free agency, he is dominating in a fashion reminiscent of what he did as a rookie, more than five years ago. While his 2.56 ERA this year suggests a solid performance, his 80-to-10 strikeout-to-walk ratio (the third best ratio in the majors) and 12.1 strikeouts per nine innings (fifth in the majors) suggest vintage Papelbon. And in between his overpowering first season and this one, despite some unevenness to his performance in 2010, he has remained, for the most part, great at what he does.
While saves are far from the be-all, end-all statistic by which closers should be measured, the fact that Papelbon now has reached the 30-save plateau in six straight seasons does have significance.
He has been consistent enough, and healthy enough, to claim unquestioned ownership of the ninth-inning for the Sox for almost the entirety of his big league career. And the fact that his six-year career now features bookends of dominance (his current scoreless innings streak is the longest in the majors) offers a reminder of the degree to which he has been a rock for the Sox, an area of great dependability and reliability for the Sox over a lengthy period of time.
The fact that he has reached such a milestone for six straight years is something that Papelbon values, something upon which he will reflect at some point. But for now, his focus is merely on fulfilling his role on the Sox in hopes that, by doing so, he will contribute to a much larger goal.
“[Six straight years of 30 saves] means a lot. It does,” said Papelbon. “I’ll sit down and think about all these things after the season’s over. But for now, I’m just going out there to do my job. I know if I do my job and everybody else does their job, we can have some special things happen in this clubhouse.”
3. TCU coach Gary Patterson eyeing career win No. 100 today
TCU coach Gary Patterson isn't big on celebrating milestones, especially when the topic suggests a victory in the next game on the schedule.
But a win today against Louisiana-Monroe would be the 100th of Patterson's head coaching career, leaving him 10 wins shy of breaking Dutch Meyer's 59-year-old record.
Only eight active FBS coaches have won 100 or more games at their school. Since Patterson's first season in 2001, TCU's winning percentage of .780 is seventh best in the nation.
"Someday, when I look back, that will be a big deal, but right now that's not a big deal to me," Patterson said.
Patterson is still wearing the blinders of a first-year coach who is trying to prove himself, coaching as if his reputation and livelihood are on the line.
"Obviously, since we've won a lot of ballgames I still have my job, and it's hard to be around some place for 11 years, 14 total," he said, adding the first three years he spent as TCU's defensive coordinator under Dennis Franchione from 1998-2000.
Patterson started 0-2 after being named head coach before the GMAC Mobile Alabama Bowl in December 2000. His first win came with a defensive flair that became his hallmark, a 19-5 stuffing at North Texas Sept. 1, 2001.
This week, though, Patterson is more concerned with stopping the Warhawks than reflecting on milestone wins. Besides, his 29 career losses seem fresher in his mind, such as his first home game as coach on Sept. 22, 2001. The Frogs lost to Northwestern (La.) State 27-24 in overtime. Patterson was quick to point out the connection to ULM this week.
"First home game as head coach, and I got beat in overtime," he said. "I think I'll just take care of my business."
Stefan Stevenson, 817-390-7760
All-time wins at TCU
Coach
Years
W-L-T
1. Dutch Meyer
1934-52
109-79-13
2. Gary Patterson
2000-Present
99-29-0
3. Abe Martin
1953-66
74-64-7
4. Francis Schmidt
1929-33
47-5-5
5. Jim Wacker
1983-91
40-58-2
Aviation NEWS By
Neha Jain
Aviation NEWS Reporter
1. Exploring a Career Before, and Beyond, ‘John and Yoko’
IN 1968, Kevin Concannon was a 12-year-old Beatles fan when an avant-garde artist named Yoko Ono started appearing in press stories linking her with John Lennon. “It was my first exposure ever to a real live artist, and especially a real live avant-garde conceptual artist,” recalled Dr. Concannon, who has a doctorate in art history from Virginia Commonwealth University and is now the director of the School of Visual Arts at Virginia Tech.
Related
Times Topic: Long Island Arts
Connect With Us on Twitter
Follow @NYTMetro for New York breaking news and headlines.
Enlarge This Image
Kathy Kmonicek for The New York Times
A framed record of “Happy Xmas (War Is Over).”
Enlarge This Image
Kathy Kmonicek for The New York Times
Ge Song, a graduate student from China, viewing the “Yoko Ono Imagine Peace” exhibition.
Enlarge This Image
Kathy Kmonicek for The New York Times
Fred Pearsall, a Stony Brook University student, hanging a message on a “wish tree.”
He retained his boyhood interest in Ms. Ono, eventually conceiving of an exhibition that explores her work as an artist and a peace activist, both alone and in collaboration with Mr. Lennon.
The show, “Yoko Ono Imagine Peace: Featuring John and Yoko’s Year of Peace,” was curated with John Noga, then a graduate student. It is now at the University Art Gallery in Stony Brook University’s Staller Center for the Arts. (Like Dr. Concannon, the art gallery’s director, Rhonda Cooper, is an admitted Beatles “diehard,” she said.)
The exhibition was first presented in 2007 at the University of Akron and has since been shown at other universities. Featuring videos; photographs; posters and advertisements; lithographs; an oversize, floor-standing, all-white chess set; and even a live Japanese maple “wish tree,” it will be displayed through Oct. 15.
On closing night, Sean Lennon, the musician son of John and Yoko, and Charlotte Kemp Muhl — together they make up the Ghost of a Saber Tooth Tiger — will perform in the Staller Center Recital Hall; it will be the first concert of the new performing arts season at the center. Their appearance was arranged by Alan Inkles, the director of the center, to dovetail with the art show.
For some who avidly followed the Beatles, as a band and individually, Ms. Ono may still be best known as the wife of John Lennon, who was shot to death outside their New York apartment building in 1980 by Mark David Chapman, a delusional fan.
But the exhibition, starting with a few works from the mid-1960s and continuing to the present, suggests how Ms. Ono’s roots as a conceptual artist provided an impetus for the phenomenon once known as “John and Yoko.”
Before meeting Mr. Lennon, Dr. Concannon said, Ms. Ono “had been making work for the advertising medium that was about imagining things in your mind, as opposed to concrete objects.” In the show are several magazines, from 1965 and 1966, in which Ms. Ono took out advertisements that served as conceptual-art instructions. One reads, in part: “Swim in your sleep/go on swimming until you find an island”; the text is superimposed on a pale photo of the artist, seemingly asleep.
Around that time, she also conceived of a “light house,” a hypothetical structure to consist of light emanating from prisms. In 1967, Mr. Lennon, intrigued by the idea, invited Ms. Ono, whom he had met a few months before, to his house for lunch. He asked if she could build a “light house” in his garden.
“Oh, that was conceptual,” Ms. Ono replied. She thought it would be built one day, but she told him, “I don’t know how to do it.”
Ms. Ono recounts that story in an 18-minute video compilation (provided by her and her staff) that includes a touching segment of Mr. Lennon recording the 1971 song “Imagine,” with her by his side.
If Ms. Ono, solo, used ads as an art vehicle, “John and Yoko” employed “this massive advertising campaign on a worldwide scale” to promote their views, Dr. Concannon said. Examples in the show include a video from their 1969 honeymoon “Bed-Ins,” during which they stayed in bed while the news media and others came to their hotel suites in Amsterdam and Montreal to talk about peace. Also on display from 1969 are examples of their posters and newspaper ads in various languages, declaring that “War Is Over! (If You Want It).”
The show’s participatory elements could themselves make for a gallery “happening”: Visitors can use the all-white chess set, with pieces up to two and a half feet tall and titled “Play It by Trust” (the opponents being harder to identify when all the pieces are the same color); write messages on tags and tie them to the “wish tree” (more than one million such wishes have been collected from Ono projects worldwide); or stamp the message “Imagine Peace” on maps affixed to a wall.
They can also take home a small flashlight for which Ms. Ono has devised her own version of Morse code, called “Onochord”: Flash the light in a sequence of one, two and three pulses, she instructs in the video, to signal “I-love-you.”
In an e-mail, Ms. Ono explained her choice of that numerical sequence. “I wanted to make it very simple,” she said. “You cannot make it simpler than that. It has a rhythm, too, like music.”
In the show’s 18-minute video compilation, a large crowd in Reykjavik, Iceland, uses Onochord flashlights during the 2007 unveiling of Ms. Ono’s “Imagine Peace Tower.” A realization of her conceptual “light house,” which once beguiled John Lennon, the installation periodically projects a column of light into the night sky. Inscribed on its base, in 24 languages, is the message “Imagine Peace.”
The lights will next be beamed nightly from Oct. 9 to Dec. 8 — the dates of John Lennon’s birth and death.
“Yoko Ono Imagine Peace” is at the University Art Gallery, Staller Center, Stony Brook University, through Oct. 15. Free. (631) 632-7240; stallercenter.com/gallery.
2. IS THIS THE BEST STRETCH OF JONATHAN PAPELBON’S CAREER?
The Red Sox have suffered from inconsistency in any number of areas this year. Both individually and collectively, the team has been subject to the rhythmic ups and downs of a baseball season, mostly the stuff you’d expect from a 162-game season (Dustin Pedroia starting slowly and then getting hot; Jon Lester hitting an early bump in the road and then emerging as dominant; Jarrod Saltalamacchia and Jason Varitek seeing the pendulum swing on their seasons at the plate; etc.).
But in one area, the Red Sox have remained completely consistent from the opening bell until now. The team’s record when leading after eight inning? 74-0. Jonathan Papelbon in save situations? 30-for-31.
That isn’t to say that Papelbon hasn’t gone through his own ups and downs this season. In late May and early June, there was a stretch in which he permitted runs in five of seven outings, for instance. And in five appearances sandwiched around the All-Star break from July 5-16, he allowed runs in three different outings, lifting his ERA to 4.06 in his first game of the second half.
However, since then, Papelbon has been on what may well be the most dominant run of his storied career in Boston. In his last 21 games, he has thrown 22 innings. The results are little short of stunning.
Zero runs – tied for the longest scoreless stretch of his career.
Five hits – all singles.
Two walks.
Twenty-eight strikeouts.
Papelbon isn’t just shutting down opponents. He’s buzzing through them with the ruthlessness of a chainsaw.
On Friday night, given his first save opportunity since Aug. 18 (a 27-day stretch that ranks as the longest of his career), he operated like a man possessed, firing 12 of his 13 pitches for strikes, and working around a B.J. Upton single to punch out the side.
It has been a stretch of utter brilliance for Papelbon, who is getting swings and misses with his fastball (which has held at a tick over 95 mph all season long), splitter and slider. His fastball in particular has been an smoldering, overpowering weapon.
“He’s been awesome,” said Saltalamacchia. “His velocity has been there the whole time. The mix of his pitches has been great. And he’s hiding the ball, so it’s really tough to pick him up. He’s just been phenomenal.”
“Unbelievable,” marveled setup man Daniel Bard. “It’s the best fastball I’ve seen out of him in three years. It’s consistent. It’s every night. He just seems to get better as the season goes on.”
Yet Papelbon treats the performance in matter-of-fact fashion, as if these sorts of results are utterly unsurprising. He suggests that this is the most consistent his delivery has ever been, something that has lent itself to the most dominating stretch of his career.
“I know now what it takes to be consistent. Every year, you learn more about how to push the gas, how to hit the brake, how to prepare yourself every day and every night to repeat a delivery,” said Papelbon. “I think the consistency of my delivery has been more important than the consistency of my stuff. If my delivery is consistent, everything else should be.”
Papelbon didn’t have to wait. Instead, after a late-season callup in 2005, he found himself thrust into the job of closer in the second game of the 2006 season, and defined that as the spot where he’d spend his career by going on a run with little precedent to start his career. He reeled off one scoreless appearance after another in 2006, and in fact, had a 22-inning scoreless stretch that year from May 4 through June 26 that stood as the gold standard for the greatest run of his career – until now.
At a time when he is edging closer to the brave new world of free agency, he is dominating in a fashion reminiscent of what he did as a rookie, more than five years ago. While his 2.56 ERA this year suggests a solid performance, his 80-to-10 strikeout-to-walk ratio (the third best ratio in the majors) and 12.1 strikeouts per nine innings (fifth in the majors) suggest vintage Papelbon. And in between his overpowering first season and this one, despite some unevenness to his performance in 2010, he has remained, for the most part, great at what he does.
While saves are far from the be-all, end-all statistic by which closers should be measured, the fact that Papelbon now has reached the 30-save plateau in six straight seasons does have significance.
He has been consistent enough, and healthy enough, to claim unquestioned ownership of the ninth-inning for the Sox for almost the entirety of his big league career. And the fact that his six-year career now features bookends of dominance (his current scoreless innings streak is the longest in the majors) offers a reminder of the degree to which he has been a rock for the Sox, an area of great dependability and reliability for the Sox over a lengthy period of time.
The fact that he has reached such a milestone for six straight years is something that Papelbon values, something upon which he will reflect at some point. But for now, his focus is merely on fulfilling his role on the Sox in hopes that, by doing so, he will contribute to a much larger goal.
“[Six straight years of 30 saves] means a lot. It does,” said Papelbon. “I’ll sit down and think about all these things after the season’s over. But for now, I’m just going out there to do my job. I know if I do my job and everybody else does their job, we can have some special things happen in this clubhouse.”
3. TCU coach Gary Patterson eyeing career win No. 100 today
TCU coach Gary Patterson isn't big on celebrating milestones, especially when the topic suggests a victory in the next game on the schedule.
But a win today against Louisiana-Monroe would be the 100th of Patterson's head coaching career, leaving him 10 wins shy of breaking Dutch Meyer's 59-year-old record.
Only eight active FBS coaches have won 100 or more games at their school. Since Patterson's first season in 2001, TCU's winning percentage of .780 is seventh best in the nation.
"Someday, when I look back, that will be a big deal, but right now that's not a big deal to me," Patterson said.
Patterson is still wearing the blinders of a first-year coach who is trying to prove himself, coaching as if his reputation and livelihood are on the line.
"Obviously, since we've won a lot of ballgames I still have my job, and it's hard to be around some place for 11 years, 14 total," he said, adding the first three years he spent as TCU's defensive coordinator under Dennis Franchione from 1998-2000.
Patterson started 0-2 after being named head coach before the GMAC Mobile Alabama Bowl in December 2000. His first win came with a defensive flair that became his hallmark, a 19-5 stuffing at North Texas Sept. 1, 2001.
This week, though, Patterson is more concerned with stopping the Warhawks than reflecting on milestone wins. Besides, his 29 career losses seem fresher in his mind, such as his first home game as coach on Sept. 22, 2001. The Frogs lost to Northwestern (La.) State 27-24 in overtime. Patterson was quick to point out the connection to ULM this week.
"First home game as head coach, and I got beat in overtime," he said. "I think I'll just take care of my business."
Stefan Stevenson, 817-390-7760
All-time wins at TCU
Coach
Years
W-L-T
1. Dutch Meyer
1934-52
109-79-13
2. Gary Patterson
2000-Present
99-29-0
3. Abe Martin
1953-66
74-64-7
4. Francis Schmidt
1929-33
47-5-5
5. Jim Wacker
1983-91
40-58-2
Australian Aviation NEWS
Aviation NEWS By
Neha Jain
Aviation NEWS Reporter
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