Yayoi Kusama is one of the most important artists in the world.
Yayoi Kusama is currently 29th place of the (computer -aided effect of public effect) world rankings of art, so it is in the foremost third of the 100 most sought -after artists in the world.
Yayoi Kusama is one of 17 women among the 100 world's best artists (how was that? We no longer need feminism?).
Yayoi Kusama is one of 4 women among the 100 world's best artists, the Second World War and fascist society in full alertness of the youth and yet made the jump into the free world of art. Two of these women, Louise Bourgeois and Jeanne-Claude, have already died; At the art Olympus, Yayoi Kusama and Yoko Ono now represent a whole generation of women who had to deal with the late effects of their youth experiences for life.
Yayoi Kusama Kusama cost a lot of strength to defend herself against the capture through dull -sensitive violence and hopelessness, which she even met in her own family. The art was always therapy for her, for the artist with the bright orange wig, the jump into the art world was probably even essential.
A profit for the art world - the artist's life behind the "striking orange camouflage cap" remains dramatic, the products of successful self -therapy have been delighting as an enchantingly beautiful art for a long time and forever: humanity:
Image Source: 文部科学省ホームページ [CC BY 4.0], via Wikimedia Commons
Yayoi Kusama's "thing" or: world artists give the world more than beautiful art
Yayoi Kusama is one of the most important artists in the world because it enriched the world with new impulses that will be preserved for humanity forever.
All really big artists admired across borders and cultures are not famous for a few beautiful pictures or sculptures. They all gave people something that will exist as long as there are civilized human communities (also a reason to campaign against the current crumbling of civilization).
Leonardo da Vinci discovered the perfect human proportion and much more (then there was still a lot to discover and very few people who were free enough to go on trips to discovery).
The impressionists gave people the light in the picture, the cubists brought the core of the shape of things onto the canvas, the expressionists sought the imponderables behind this core ... Each of the very big artists had "his thing", which he converted in a very special way, often even several "things":
Arcimboldo painted the obvious, but in a completely new way and in a completely new compilation, Warhol brought everyday life into art and art of self-staging to complete, Picasso created as a lot of and owner-learning whole ranks of amazing works of art, Gerhard Richter joins him with an extended spectrum of expression and also made some new discovery, and so on.
Soothing side effect: If the crucial thing about great art is great ideas, great art in a networked world is "democratic out of itself" . Because then it doesn't matter how many countries manage to maintain groundbreaking works of art in public collections for all citizens - a new perspective on things or a new pattern from things cannot be bought away from any greedy egoists, but are spread into the world with every exhibition and report on art and artists. And saved on the net, to which at least theoretically every person has access ...
Yayoi Kusama's "thing" is the point, already in youth her form of expression and has varied in every conceivable form in 80 years, always inseparable from her in a series. Yayoi Kusama's dots are big and small, colorful or black, even or unevenly distributed; They always appear too many together, among themselves or in structures, patterns and with lines.
Yayoi Kusama Serial point art works have been conquering the world for almost a century; Colored points on
- Linen walls: bit.ly/2inorv8 ,
- Plants: bit.ly/2l22cd3 ,
- Large sculptures: bit.ly/2samycq ,
- many small sculptures: bit.ly/2Kt4xlv ,
- Walls and people: bit.ly/2shoa3b ,
- Pumpkins and mirrors: bit.ly/2kzvrq9 ,
- And Kusama gets much more to the point: bit.ly/2Sixxeq , bit.ly/2ktzevz , bit.ly/2xgvuxj .
The wonderful New York Illustrator Ellen Weinstein and MoMA curator Sarah Suzuki together with Kusama's studio in Japan have just completed a dot book that brings Yayoi Kusama's dot galaxy closer to the children of the world. On www.dezeen.com/ there are some insights into "Yayoi Kusama: From here to infinity!" .
There were other painters who worked with points, for example Australian Aborigines: bit.ly/2Hlkipx . From 1885 a whole style of pointillism painted pictures with one point next to the other, e.g. B. Paul Baum 1900 his "Weiden am Bach" in Sint Anna Ter Muiden, bit.ly/2Sdhkn9 .
But there is certainly some dot art and decorative point patterns that would not have been created without suggestion by Kusama's art: bit.ly/2iukgon , bit.ly/2jadtud , bit.ly/2jd9rdw , bit.ly/2ivqsaq , bit.ly/2is62cg . ...
In the video "Earth is a polka dot" Yayoi Kusama explains her universal point obsession based on her "Mirror Rooms" (the first was created in 1965, www.wikiar.org/en/yayoi-kusama/infinity-mirror-room-1965):
Creating Mirror Room 'was a big game of chance for me. By using light, reflection, etc. I wanted to capture the cosmic picture - beyond the world in which we live. The result was the strong, radiant and mysterious image of a "mirror room" - my hands react on a brush and canvas and start working before I thought or planned anything. I look at the finished piece first and I am always surprised by the result. I did a lot of “Mirror Rooms”, everyone with great care. They are mysterious and amazing and give us an idea of the endless existence of electrically charged point patterns.
When I looked at the (first) piece, it seemed fantastic to me, I became a fanatic fan of this work. During work, I don't think of the dabbing patterns-the polka dots are lined up by the subconscious. I am not sure if there are suggestions for my illness or whether I wanted to paint it because I go up completely in my work and in the meantime everything else travels around me. Besides, I don't know, I think that as an artist it is my biggest task to track down my vision ... We are born on earth. Well, the moon is a polka dot, the sun is a polka dot, and the earth on which we live is also a polka point. And you can find them in a certain form even in the eternal mysterious cosmos. Through them I try to find out the philosophy of life. "
Source: ( channel.louisiana.dk/ , part of the text, freely translated).
Yayoi Kusama calls these points itself polka dots , presumably the most suitable translation from Japanese, because there are no words for novelties. Anyone who deals with their art will certainly not reduce their work to the point pattern on Minnie Mouse 'dress.
However, the "Polka-Dot as Yayoi Kusama's trademark" is a great example of what we can expect from/about search engines: 682,000 pages, brags our favorite search engine, have it ready for information about Yayoi Kusama and her branded Polka Dots.
They shrink to 258 when you click through to the back; It is clear far before that these search results have a lot to say about Yayoi Kusama nor about polka dots. After all, the wrong trademark can help with the search of carefully written articles: "+Yayoi+Kusama+Dots -Polka" results 294 "on content" and not "on keyword" articles.
If you still want to know why the history of the Polka-Dot itself is usually reproduced wrong/without a sense and that the polka dot has nothing to do with polka, you will find comprehensive information about the not always beautiful story of the points: slate.me/2hey8Gf .
Yayoi Kusama definitely gave the world the dot patterns, as Niki de Saint Phalle spoiled us with Nanas, these point patterns moved into their own museum on September 27, 2017; Here comes the story behind the points:
Yayoi Kusama's more difficult excitement and ascent
Yayoi Kusama was born in Japan in 1929, not with polka dots, but in the middle of the opposite of funny, flexible lightness. Her parents are said to have been "well with you" to maintain the overwhelming climate in the then fascist military state. The father of wealthy seed dealers and the conservative traditions are very arrested; Above all, the tradition of the Freudenhaus full of Geishas, in which the daughter was also allowed to spill on him at the urge of the mother.
What she was allowed to watch there has "crashed" the emerging sexuality of the teenager, apart from the sick situation, you don't have to assume that the father was one of the gifted lovers.
The mother shouldn't have been a piece better: suppressed and frustrated, she seemed to be frustration and fear to her daughter without any filter. As so often, the lack of strength for self -determined action and decent treatment of the children dependent on the mother were hidden under the coat of tradition or convention to adhere to.
Send the daughter to the brothel to look at the fucking father does not really fit the traditional tradition (or just? Should this desperate action be drawn to?), But only a few badly pounded mothers have the size not to leave their aggression on their harmless/defenseless, dependent on them.
They often live in a kind of long-term trauma that threatens to devour themselves ... such constellations often lead to a vicious circle, whose effects can also suffer from further generation if the corresponding descendants like not decided like Yayoi Kusama to remain childless.
by Terence Ong [CC-BY-SA-3.0], via Wikimedia Commons
The appeal to tradition and convention is also very practical for overwhelmed parents with empathy: it also preserves from the effort to develop any form of understanding for his child.
Yayoi Kusama grew into a dreamy, shy, anxious child, who fled to painting and a very own world of points very early.
And you don't need a lot of imagination to imagine that such a child does not get it very well if it has to work in a parachute factory from the age of 12 in the middle of the Second World War (because it is a tradition in wealthy/state -supporting families to support their country in the war).
The worst thing about this situation was for Yayoi Kusama that she was never able to experience security, constant pressure and rejection by the father and the mother at an early age led to complete alienation from the parents - and ultimately to a result of this unpleasant childhood, which the artist will drag around with her: Kusama's Psyche was still damaged in the stimulus environment Nervous hospital lives.
This disease already began in her more traumatic than fantastic childhood and was shown in hallucinations, about which Kusama later reported:
I looked at the red pattern of the tablecloth when I looked up, the same red pattern covered the ceiling, the windows and the walls, and finally the whole room, my body and the universe. I started to dissolve myself and found myself in the unlimited time of an end of the time and in the absolute nature of the area. I was reduced to an absolute nothing. "
Instead of dissolving "in point and network patterns", Yayoi Kusama already demonstrated a great level of courage, strength and strength as a very young woman, which she would have kept her to the world artist before slipping into a deadly depression (preserving lifelong).
In doing so, she showed so much "instinctive expertise" for improving her own situation that occasionally treating therapists could always leave it with support and never came into temptation to octoying any therapies. Your property therapy included several important measures:
1. Yayoi Kusama spoke openly about her illness from the start and got help and support where she was to be obtained.
She started her psychiatric treatment as early as 1952 and could have been more lucky than people who are currently in a comparable situation: after the surrender, the reconstruction also began in Japan with the crew of the Allies, who helped build up a stable, peaceful democracy. In this reconstruction, great importance was placed on “more civilization”, which means that not only trained forces met people with sympathy.
In addition, physical and mental wounds are normal in war -based societies (in Japan because of the atomic bomb a little more, in Germany because of the Nazis murdering every norm deviation), and shortly after the war, people appreciate the remaining fellow citizens a little more.
2. Yayoi Kusama has been looking for a purpose of life that fulfills it.
Kusama knew very early in her youth that she wanted to become an artist.
From about the age of 10 she drew constantly; At 18, she made a short trip to poetry to determine that the "Color on Area" method best expresses its ideas.
3. Yayoi Kusama has taken action against what she is burdening in her everyday work
Kusama did this by installing her hallucinations into her art, part of her art.
Already in the first drawings as a child, she already processed the patterns and hallucinations in her drawings on her. And she will never stop again (boring? Think-you can do a lot with points, and you will think of dozens of jobs whose everyday routines are boring).
4. Yayoi Kusama dissolved from the depressing environment
Kusama kept the time of constant pressure, rejection or alienation from the parents as short as possible.
At 19, 1948, she was able to escape the Kyoto School of Arts and Crafts (only left the mother on the condition that she learned Japanese etiquette from relatives in Kyoto).
When Kusama found how difficult it was for a woman to gain a foothold in Japan's art world, she did not hesitate to pull further away: The obviously talented young woman had nine exhibitions in Japan in the early 1950s, six of them, the first individual exhibition in 1952 in the Matsumoto Civic Hall (Bürgerhalle of her hometown). At that time it was known nationwide in Japan, but was still largely rejected by the Japanese art world as a woman.
When her works were to be exhibited in 1955 at the 18th Bienniale of the Brooklyn Museum, she took this as an opportunity to move to New York. Her parents bored the money for the flight, but only on the condition that she would never return.
Didn't do it, she preferred to have a career in New York, to which she can read "Yayoi Kusama: to the point"
