ART COMMUNITY LONDON
Art Radar invites readers, students, contributors and friends to a get together in London on 16 February 2012 to view the spectacular, 14-room big Yayoi Kusama retrospective at Tate Modern. The tour will be followed by coffee, art natter and a chance to get to know one another.
Art Radar London City Meet Up
WHEN Thursday 16 February 2012, 2.45pm
WHERE Tate Modern (get there)
WHAT Exhibition tour and coffee stop
Read on to register for the event…
Yayoi Kusama at Tate
Through a long career Kusama has commanded a pair of simple forms – polka spots referencing childhood hallucinations [and] phallic shapes expressing her horror of sex.
But within that personal iconography she has traversed art’s major trends with such chameleon skill that this show reads like a dot-and-prick parody of recent cultural history.
Financial Times, 7 February 2011
The works of the 82 year old Kusama, who has lived in a Tokyo psychiatric institution since the late 1970s, have been called derivative (of art by Max Ernst and Joan Miró, for example), but artists such as Donald Judd and Frank Stella were appreciative of her art and were among her first buyers.
She began her career in Japan, and moved to New York in the late 1950s where she developed a series of works, her “Infinity Net” paintings, which “caught a key moment of change, when abstract expressionism ceded to minimalism.” For a brief period, her art events, advertised orgies and activities in the fashion business helped propel her to a Warhol-like level of notoriety. She then fell into obscurity for decades.
In the 2000s, interest in her giant spotted sculptures and canvases rekindled, her easily recognisable iconic dot marks sitting well next to the branded, bright productions of mega-artists like Takashi Murakami and Damien Hirst.
Don’t miss it! Join Art Radar
Come along to the show with Art Radar and decide for yourself whether you think her work will return again to obscurity or whether Yayoi Kusama will be remembered as a powerful and important contributor to the evolution of global art history.
Financial Times writer Jackie Wullschlager is certain that, since 2003, nothing so arresting has filled Tate Modern’s Turbine Hall. Join us for the spectacle!
Send an email to email@example.com for full details and registration.
(A small administration charge will be levied.)
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