![]() But those lines outside confirm that the “Infinity” rooms have become perhaps the paradigmatic art of the cameraphone age, which has seen the interactive (or “relational”) art of the 1990s and early 2000s give way to art condemned to be treated as backdrops for photo shoots. Kusama’s art for becoming more contemplative and isolating in her later years. Sex and drugs are nothing compared with the thrill of “likes.” In her orgiastic “body festivals” of the 1960s, she encouraged audiences to slather one another with paint now others must be cropped out of the cameraphone frame. Then, in a flash, the white globes flash to red you have a few seconds of colored light, and the room goes dark again.Īnd the erotic or psychedelic excesses of Ms. In her newest “Infinity” room, a single, suspended globe of light illuminates the mirrored chamber, then a second, then a third, until the room becomes a constellation of lanterns with you at its nucleus. Kusama first produced a mirrored installation in 1965, at the Castellane Gallery in New York, where she placed thousands of soft, polka-dot-studded phalli against reflective surfaces. Certainly it’s more challenging than the garden-ornament sculptures upstairs, some sporting smiley faces and all covered in dots: her most frequent self-obliteration motif, though one that too often becomes cute and tame. Kusama called “self-obliteration” in a 1968 film, feel like a welcome throwback to her earlier work in sculpture and installation. These repeated steel forms, aiming for what Ms. In the same large gallery is an icy sculpture installation, scattered around the floor like puddles after the rain. (It anticipates 100,000 visitors and promises to update the public on wait times via Twitter and Instagram.) If you want to see her newest “Infinity” room in New York, subtitled “Dancing Lights That Flew Up to the Universe,” prepare to wait up to two hours, and don’t expect to stay inside longer than a minute. 14, like any other exhibition: free to the public. The David Zwirner gallery, commendably, is treating “Yayoi Kusama: Every Day I Pray for Love,” which opens Saturday and runs through Dec. (She even warrants her own balloon in this month’s Macy’s Thanksgiving Day Parade, alongside Pikachu, SpongeBob and the Elf on the Shelf.) She has become a brand - a process she has enjoyed and fully participated in - and drawn tens of thousands of fans worldwide to her “Infinity Mirrored Rooms,” which produce an infinite regress of colored reflections. Kusama is enjoying a late and not unmerited surge in public visibility. Ignored for decades in New York and Tokyo, driven to madness, even plagiarized by less talented men, Ms. For some experiences you just have to wait - and the exhibitions of Yayoi Kusama, the 90-year-old Japanese mastermind of obsessively dotted paintings, hallucinatory pumpkins and sometimes blandly decorative installations, have become the art world’s equivalent of Star Wars premieres. The Eiffel Tower or the Great Mosque of Mecca the new iPhone or the latest Harry Potter book Di Fara Pizza or that bakery that made Cronuts happen a few years back.
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