If you’re content with a pre-defined size, the IKEA Ribba is a good choice for an inexpensive frame. A place that’s big enough to hold both your mirrors, LED lights and the battery pack powering your lights. 1929, ink, gouache, and pastel on paper, 8 ¾ x 7 ⅝ in., Collection of the artist.Your last “must have item” for this project is the frame you’ll be keeping all your materials packed into. The World of Insect, 1953, Yayoi Kusama, Japanese, b. 1929, watercolor on paper, 22 ½ x 27 ⅜ in., Takahashi Collection, Tokyo. Pacific Ocean, 1959, Yayoi Kusama, Japanese, b. 1929, acrylic on canvas, 76 ½ x 76 ½ in., Collection of Jerry Yang and Akiko Yamazaki. Kusama with Zoë Dusanne at her solo exhibition at the Dusanne Gallery, Seattle, December 1957. Infinity-Nets, 2005, Yayoi Kusama, Japanese, b. 1929, acrylic on canvas, Collection of Miyoung Lee and Neil Simpkins, Courtesy of David Zwirner, New York Ota Fine Arts, Tokyo/Singapore Victoria Miro, London, ©YAYOI KUSAMA. Searching for Love, 2013, Yayoi Kusama, Japanese, b. 1929, sewn and stuffed fabric with paint on wood chair frame, 34 ½ x 38 x 33 in., The Rachofsky Collection and the Dallas Museum of Art through the DMA/amfAR Benefit Auction Fund. Accumulation, 1962–64, Yayoi Kusama, Japanese, b. 2 (1962) and posters for Tentoonstelling Nul at the Stedelijk Museum, Amsterdam, 1962, and Recent Painting: Yayoi Kusama at Stephen Radich Gallery, New York, 1961, Photo: Hal Reiff. 2 (1962), 1962, visible in background are Accumulation of Faces No. 1929, sewn stuffed cotton fabric, board, and mirrors, Courtesy of Ota Fine Arts, Tokyo/Singapore Victoria Miro, London David Zwirner, New York, © YAYOI KUSAMA, Photo: Cathy Carver. Yayoi Kusama reclining on Accumulation No. 1929, mixed media installation, Courtesy of Ota Fine Arts, Tokyo/Singapore Victoria Miro, London David Zwirner, New York, © YAYOI KUSAMA, Photo: Cathy Carver. Installation view of Infinity Mirror Room-Phalli’s Field, 1965, at the Hirshhorn Museum and Sculpture Garden, Yayoi Kusama, Japanese, b. Dots Obsession-Love Transformed into Dots, 2007, at the Hirshhorn Museum and Sculpture Garden, Yayoi Kusama, Japanese, b. 1929, wood, mirror, plastic, acrylic, LED, black glass, and aluminum, Collection of the artist, Courtesy of Ota Fine Arts, Tokyo/Singapore Victoria Miro, London David Zwirner, New York, © YAYOI KUSAMA. Infinity Mirrored Room-Aftermath of Obliteration of Eternity, 2009, Yayoi Kusama, Japanese, b. 1929, furniture, white paint, and dot stickers, dimensions variable, Collaboration between Yayoi Kusama and Queensland Art Gallery, Commissioned Queensland Art Gallery, Australia, Gift of the artist through the Queensland Art Gallery Foundation 2012, Collection: Queensland Art Gallery, Brisbane, Australia, © YAYOI KUSAMA, Photo: QAGOMA Photography. The Obliteration Room, 2002 to present, Yayoi Kusama, Japanese, b. 1929, wood, mirrors, metal, and lightbulbs, 82 ¾ x 94 ½ x 80 ¾ in., Collection of Ota Fine Arts, Tokyo/Singapore. Infinity Mirrored Room-Love Forever, 1966/1994, at the Hirshhorn Museum and Sculpture Garden, Yayoi Kusama, Japanese, b. 1929, wood, mirror, plastic, black glass, LED, Collection of the artist, Courtesy of Ota Fine Arts, Tokyo/Singapore and Victoria Miro, London, © YAYOI KUSAMA. Infinity Mirrored Room-All the Eternal Love I Have for the Pumpkins, 2016, Yayoi Kusama, Japanese, b. Images: Yayoi Kusama with recent works in Tokyo, 2016, Courtesy of the artist, © YAYOI KUSAMA, Photo: Tomoaki Makino. Washington DC, Hirschhorn Museum and Sculpture Garden and Delmonico Books Mika Yoshitake, “Infinity Mirrors: Doors or Perception,” in Yayoi Kusama Infinity Mirrors, ed. Chicago, The University of Chicago Press, 2011. Infinity Net: The Autobiography of Yayoi Kusama.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |