"The Art of John Lennon." Noon-8 p.m. May 29-30, 11 a.m.-4 p.m. May 31. Free. 932 Canton St., Roswell. 770-993-4783, annjacksongallery.com.
“Your spirit’s watching over me dear Yoko,” John Lennon sang on the 1980 track “Dear Yoko,” a fervent ode to the former Beatle’s bride.
Now, 35 years later, those words ring true as Yoko Ono keeps a keen eye on the Lennon legacy, including his visual art, on display this weekend at Ann Jackson Gallery in Roswell as “The Art of John Lennon,” a collection of 80 limited-edition serigraphs of his original pen and ink drawings.
Before Lennon began sharing his musical gifts with the world, he gravitated toward art. This continued throughout his life, and these pieces blend autobiographical accounts with bursts of whimsy.
Price tags on the framed items, signed by Ono, range from $995 to $8,950, and an ultra limited-edition John Lennon Steinway piano — one of only 25 made — is $130,000.
However, guests can peruse the collection free of charge; the gallery encourages donations to North Fulton Community Charities.
From her New York office, Ono recently reflected on sharing Lennon’s artistry with the public.
Q: At first glance, John's art seems to reflect a whimsical side of his personality
A: I think John was a very unique artist and totally different from the way I was expressing myself in art. Yes, there was a (playful) side of his personality, but I was pretty playful, too, in a different way. One day we were talking about how people in general feel that women don't have a sense of humor. I said that was totally wrong, and that I had a sense of humor. And he said, "No, your's is not a sense of humor. Your's is a wit." I said, "Oh, really?"
Q: What was his most ideal setting for creating visual art?
A: We were both similar in that sense that we didn't have a particular studio where we would go and create something. He was always getting ideas, and I was getting ideas, too. Even on a plane or something, he would say, "Pencil, pencil. Do you have a pencil?" … He was very quick. We were both very quick. That was something we shared, in a way. He didn't need more than two or three minutes to work on a drawing. … Basically, his work was stream of consciousness. He never did a planned drawing and was very intuitive.
Q: How do you think the art stands up today?
A: I respect his work more and more now, actually. Because, when you're living together you're thinking all sorts of different things about each other. But his work is really incredible. He was just remarkable, and the reason is because he didn't hold anything back. He just went and did it. He was a very open person.
Q: That also translated into his songwriting.
A: Yes, definitely. But I think more in art than in songs. Because, sometimes when he was writing songs he'd think about it, and maybe the next day he might alter or change something. When he was drawing, he just did it and never went back to change anything. That was more of an Asian (style). When I was taught in school to do calligraphy, for instance, you're not supposed to go back and correct something. It was just something that came out of your spirit. And he was very much like that.
Q: You've been showing his work for some time now. What's rewarding about it?
A: You see that each person is freely thinking for themselves, and they have their own unique emotion about it. A lot of them … fall in love with it at first sight. I think that's very sweet, and I'm pleased with that. I don't think it's particularly interesting when someone becomes a critic and says this or that and uses heavy words. It all has to do with love and the love of the work.
Q: Speaking of critics, some have attempted to discredit the presentation and colorization of some of the pieces.
A: I did the colors, and the reason was because we had been working on so many different things together. I found out that if you don't put color on it, (galleries) won't put it in the shop window. They'll just put it in the back or something and people won't see it. It's important that people see his work. Actually (exhibit organizers) put (color) and I said, "How dare you do this." I was very upset. But then I heard they did it because of those practical reasons. And I said, "That's understandable. So let me do it." John wouldn't have minded if I did it, because of the years we worked together.
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