‘A frightening piece to perform’: can Yoko Ono’s Cut Piece still shock?

Yoko Ono: Music of the Mind, a traveling retrospective on view at Los Angeles’s The Broad museum, features black and white footage of Ono’s 1964 Carnegie Hall performance of Cut Piece projected onto one of its walls. It was a landmark event in performance art history, in which the artist, aged 31, sat motionless on the stage as strangers took turns with a pair of scissors to cut away pieces of her clothing. As an emblem of the Fluxus artistic tradition, Cut Piece “relies on the audience’s actions to complete the performance”, says Sarah Loyer, curator and exhibitions manager at The Broad. This is precisely the work’s inherent risk: it leaves the artist’s body totally vulnerable to the viewer’s unpredictable whims. Consequently, as Ono herself told the art historian Ina Blom in a 1992 interview, “It is a frightening piece to perform.”

The tension in the footage is palpable, particularly as Ono struggles to retain her composure while a young man snips away at the straps of her undergarments. But as Loyer points out, “Looking at documentation of Cut Piece in the gallery, we are a step removed.” In order to convey the full impact of the piece, the museum is staging two Cut Piece live at the Redcat theater on 17 and 18 July to be performed by the Los Angeles based artist MPA.