Yayoi Kusama: “Aftermath of Obliteration of Eternity”.
‘Yayoi Kusama: Infinity Mirrors’ at High Museum of Art The High Museum of Art presents ‘Yayoi Kusama: Infinity Mirrors’, a once-in-a-lifetime journey through more than 60 years of Kusama’s creative genius, focusing on the evolution of her iconic kaleidoscopic environments called ‘Infinity Mirror Rooms’. On view from November 18, 2018 through February 17, 2019.]]>
Source: High Museum of Art
The exhibition features six of the rooms as well as additional large-scale installations, sculptures, paintings, works on paper, archival photographs and films from the early 1950s through the present. The 89-year-old artist, who is regarded as one of the most influential artists of the 20th century, is still very active in her Tokyo studio. New works in the exhibition include vibrantly colored paintings and the recently completed Infinity Room “All the Eternal Love I Have for the Pumpkins” (2016), filled with dozens of Kusama’s signature bright-yellow, dotted pumpkin sculptures.
”Yayoi Kusama: Infinity Mirrors” begins with the artist’s original landmark installation, “Infinity Mirror Room—Phalli’s Field” (1965/2016), featuring a vast expanse of red-spotted white tubers in a room lined with mirrors, which creates a dazzling illusion of infinite space. Kusama’s signature bold polka dots will be featured in “Dots Obsession—Love Transformed into Dots” (2007), a domed mirror room surrounded by inflatables suspended from the ceiling. The artist’s more recent LED environments, filled with lanterns or crystalline balls that seem to extend infinitely, will be represented in “Aftermath of Obliteration of Eternity” (2009) and “Infinity Mirrored Room—The Souls of Millions of Light Years Away” (2013).
Also on view in the exhibition is a selection of more than 60 paintings, sculptures and works on paper, including many of Kusama’s infrequently shown collages, which she made after returning to Japan following a stay in New York City from 1957 to 1973. The exhibition concludes with Kusama’s iconic participatory installation “The Obliteration Room” (2002), an all-white replica of a traditional domestic setting. Upon entering, visitors are invited to cover every surface of the furnished gallery with multicolored polka dot stickers to gradually engulf the entire space in color.
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