2017年2月7日 星期二

草間彌生 Yayoi Kusama


Yayoi Kusama already holds the record for the highest price paid for a work by a living female artist. At 87, with two new retrospectives, she’s busier than ever.
Yayoi Kusama already holds the record for the highest price paid for a work by a living female artist. At 87, with two new retrospectives, she’s busier than ever.
WSJ.COM|由 DARRYL WEE 上傳

2016.7.19
朝日新聞(The Asahi Shimbun)「世界で最も影響力のある100人」にも選ばれた前衛芸術家の草間彌生が、大個展に向けて制作を加速させています。87歳。「これまでは序曲」と話しています。



草間彌生「影響力なんて考える暇ない」 個展に新作予定:朝日新聞デジタル
前衛芸術家の草間彌生が、来年2月に東京で開く大個展に向けて制作を加速させている。今年4月には米誌タイムの「世界で最も影響力のある100…
ASAHI.COM

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Tate
Want Kusama to makeover your bedroom? Here's your once-in-a-lifetime chance with @Airbnb_uk http://ow.ly/4nq0GS

Tate Modern and Airbnb are partnering with world-renowned artist Yayoi…
TATE.ORG.UK



Yayoi Kusama’s dotty universe
Full story: http://is.gd/IkY5Bw
A Dream I Dream is currently on view at The National Taiwan Museum of Fine Arts in Taichung and includes 120 paintings, sculptures and installations by the iconic Japanese artist

【草間彌生⊙展期倒數11天】
小狗 (Dogs)
☞ 有來和小健二、小龍、小童、小次郎、小歐還有小正,打過招呼了嗎?⋯⋯
更多
【展品介紹 14】小狗 (Dogs)
三種大小、六隻顏色不同的狗狗,張著大嘴,歡樂的嘻笑著,看著牠們,你是否也不禁莞爾一笑?!
狗狗系列源自草間彌生2004年在東京森美術館展出的裝置作品〈嗨!你好〉(Hi, Konnichiwa (Hello)!)裡與少女在草原上自由自在玩耍的狗狗,草間彌生曾說這系列作品表達的是青春期的少女對周遭世界的新鮮與驚奇感受,是對幸福的期盼與憧憬。因此,色彩鮮艷的狗狗,全身佈滿的俏皮圓點,在此不再是給人沉重氣息的幻覺產物,而是洋溢喜悅,傳遞著「愛與和平」朝氣的象徵。
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夢我所夢:草間彌生亞洲巡迴展台灣站
KUSAMA YAYOI, A Dream I Dreamed
高雄站 2015/02 /07(六) ~ 05 /17(日) 高雄市立美術館
Copyright of Yayoi Kusama, Courtesy of Ota Fine Arts, Tokyo / Singapore, Victoria Miro, London, David Zwirner, New York, KUSAMA Enterprise



According to a survey of museum attendance in 2014, the most popular artist in the world is Japan’s Yayoi Kusama, an octogenarian who has voluntarily lived in a Tokyo mental institution for almost 40 years



The Japanese artist drew over 2 million viewers to her work – but a survey...
THEGUARDIAN.COM|由 ALEX NEEDHAM 上傳


Happy birthday to Yayoi Kusama! Visit her "Accumulation No. 1" in our 4th Floor galleries. http://bit.ly/1HmQMoJ
[Yayoi Kusama. "Accumulation No. 1." 1962]


Happy 86th birthday to artist Yayoi Kusama! Her immersive installation "Infinity Mirrored Room—Filled with the Brilliance of Life," is on view in "Seeing Through Light: Selections from the Guggenheim Abu Dhabi Collection" through March 26 in Abu Dhabi: http://gu.gg/KBwYW

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將疾病化為藝術力量的草間彌生!

無限的點是我的所有生命

「如果不是為了藝術,我應該很早就自殺了。」by 草間彌生



精神院的藝術家 一睹草間彌生的奇幻世界

「透過美術展覽,我探訪世界各國。不知怎麼著,也許是因為台灣這片土地離我們最接近,所以我對台灣非常期待。」以「點點」風格聞名國際的日本設計大師草間彌生(...

STORM.MG

高雄市立美術館更新了封面相片。







官網相關連結:http://www.kmfa.gov.tw/home02.aspx…^$1001_PN-1












Solomon R. Guggenheim Museum 新增了 2 張相片。


From Zero to Infinity—Two works by Yayoi Kusama on view in ZERO at the Guggenheim in New York and "Seeing Through Light" in Abu Dhabi display the artist's lifelong obsession with the concept of infinity:http://gu.gg/GPvZL





















草間彌生Yayoi Kusama





草間彌生在切爾西的大衛·茨維爾納畫廊的裝置是一個鑲嵌着鏡子的房間,裡面裝有75個彩色LED燈泡。


Benjamin Norman for The New York Times

在草間彌生的鏡屋體驗45秒靈魂出竅的奇幻


設計WILLIAM GRIMES2013年12月3日


日本藝術家草間彌生用鏡子與彩燈營造出神奇的體驗。在紐約,人們排幾個小時長隊,只為能體驗45秒置身鏡屋的感受。參觀者形容那種感覺飄渺、玄寂,與想像中的天堂很像。 阅读更多

Lights, Mirrors, Instagram! #ArtSensation

By WILLIAM GRIMESDecember 03, 2013















毗邻镜屋的房间里展示着草间弥生的27幅最新画作,这里无需排队。Benjamin Norman for The New York Times














NEW YORK — Adam Friedman emerged from the twinkling lights and reflecting water of Yayoi Kusama’s “infinity room” and groped for the right words. “Ethereal,” he said. Pause. “Calming.” Another pause. “Calming, ethereal and meditative, all at the same time.”


These were hard-won adjectives under the circumstances. Mr. Friedman, a 28-year-old computer salesman from Highland Park, N.J., had just spent nearly three hours in line at the David Zwirner Gallery in Chelsea, pelted intermittently by sleet and rain, inching slowly toward a very brief reward: 45 seconds in a mirror-lined room hung with 75 colored LED bulbs that flickered and pulsed in a celestial celebration. On a typical day, about 2,500 people turn out to take this brief trip to Ms. Kusama’s private cosmos. Almost from the moment that her multipart exhibition, “I Who Have Arrived in Heaven,” opened on Nov. 8, “Infinity Mirrored Room — The Souls of Millions of Light Years Away” has become an art-world attraction to rival “Rain Room,” the immersive installation presented at the Museum of Modern Art this year.


“We had lines at the opening,” said Anita Ragusa, the manager of David Zwirner’s 19th Street galleries. “Once it hit social media, and people told their friends about it, everyone wanted to make sure to see it.”


The line usually begins forming about an hour before the gallery opens at 10 a.m. Throughout the day, it moves at a snail’s pace, as docents, hired to manage the flow, admit one or two people at a time to the twinkling-lights chamber, with the slow, steady regularity of a drip feed. About 1,000 will make it in. The show closes Dec. 21.


It is not the usual gallery crowd. Social media, especially photographs on Instagram, have spread the word to a broad, mostly young, demographic: tourists, students, followers of Ms. Kusama’s work, who saw her installation “Fireflies on the Water” at the retrospective of her work at the Whitney Museum of American Art last year.


“Mirrored Room” offers a little something for everyone. It is a reflection on death and the afterlife. It is a planetarium contained in a room the size of a large walk-in closet. Cosmic and intimate at the same time, it merges inner and outer space, science and mysticism, the personal and the impersonal.


It also makes for the ultimate selfie. One click and there you are, floating in the universe, or rather, multiple yous, replicated over and over.


Ms. Kusama, the Japanese artist, now in her 80s, has stimulated a very contemporary set of nerve endings. Her recent work dovetails with a surge in artwork designed to propel viewers into an out-of-body experience. Visual artists like Doug Wheeler and James Turrell, who swaddle audiences in space-bending projected light, have pulled large crowds in recent shows. In immersive theater productions like Punchdrunk’s “Sleep No More,” audiences mingle with performers and, to a large extent, construct their own stage experience.


“Video games and the nature of the web have trained people not to want to sit still and look, whether it’s in a proscenium-arch theater or a traditional art museum,” said Frank Rose, the author of “The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories.” “There’s a huge appetite for something more immersive and sensory, in which you can take a somewhat active role. You experience it with all your senses, and it’s all around you.”


Peter Wong, 25, a computer technician accompanying Mr. Friedman, had never been to an art exhibition. “I was an engineering major,” he said. “It’s always about numbers for me.” He read about Ms. Kusama’s installation on the web site Gizmodo.


Sarah Bradfield, 28, a New Yorker now living in Atlanta, said that she was not familiar with the artist but she had seen postings on Instagram. Like several others in the line, she had a small child in tow.


Nancy Lundebjerg, 54, an executive with the American Geriatrics Society, said that she became jealous when a friend posted a photograph of “Mirrored Room” on Instagram. She came loaded and ready to fire back, carrying a smartphone and a serious-looking Canon camera.


Once in the line, remarkably few people bail out. Instead, they work the gallery’s three connecting rooms, leaving and rejoining the line.


Eventually, the door to the “Mirrored Room” swings open, and the lucky few at the head of the line are ushered inside. This is the final phase, when the docents really go to work. Paul Nissenbaum combined the functions of a doorman, bouncer, clocker and social director, herding the hopefuls into an antechamber and directing them to benches, where a game of musical chairs commenced.


Every 45 seconds, as a visitor exits, the queue shifted forward and rear ends wiggled down the benches in a synchronized wave. While Mr. Nissenbaum choreographed this kindergarten exercise, he also policed the mirrored room. Knocking discreetly on the door when his hand-held timer beeped, he escorted the visitor within back into the glare of the stark white waiting room all the while keeping up a friendly patter.


“It felt like eternity,” Mr. Wong said, after leaving the room. “Very surreal, seeing how small you are but how beautifully everything works together.”


Marina Kalontarova, 30, a New Yorker fresh out of medical school, emerged with a smile on her face. “I think she and I have a really similar idea of heaven,” she said.



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