![]() ![]() A ghost town, for example, is not a historical feature if it is still visible. The term makes no reference to the age, use, or any other aspect of the feature. Examples: a dried up lake, a destroyed building, a hill leveled by mining. Historical Features are physical or cultural features that are no longer visible on the landscape. Installation view of The obliteration room 2011 as part of ‘Yayoi Kusama: Look Now, See Forever’, Gallery of Modern Art, 2011 / © Yayoi Kusama, Yayoi Kusama Studio Inc.Additions and/or corrections to the database are encouraged! Simple Add/Edit Procedure. Often involving public nudity - the artist hoped to contrast the beauty of the youthful human body with the violence of the US–Vietnam War - they challenged prevailing moral frameworks. ![]() Kusama’s happenings, known as ‘body festivals’ - or ‘orgies’, as they were often sensationally reported in the mainstream press - typically provided platforms for spontaneous and improvisatory behaviour within conceptual and aesthetic frameworks determined by the artist. Yayoi Kusamas interactive Obliteration Room begins as a white space which visitors are invited to cover with stickers. The MFAH purchased the piece in 2016 when it was on view alongside a second infinity room titled Love Is Calling, in the museum’s summer exhibition Kusama: At the End of the Universe. ![]() the room centers and exaggerates the human body. such as Aftermath of Obliteration of Eternity (2009). A product of the postwar Avant-garde, which almost immediately crossed over into popular culture, or at least underground counter culture, happenings developed as unconventional performance events increasingly relying on audience reaction and direct participation. Yayoi Kusama’s infinity room, Aftermath of Obliteration of Eternity, officially reopens to the public today at the Museum of Fine Arts, Houston. Yayoi Kusama Returns to David Zwirner with ‘I Spend Each Day Embracing Flowers’. Interactivity became an important component of Kusama’s work in the mid to late 1960s, when her solo public performances expanded into participatory happenings. The white room is gradually obliterated over the course of the exhibition, the space changing measurably with the passage of time as the dots accumulate as a result of thousands and thousands of collaborators. While this may suggest an everyday topography drained of all colour and specificity, it also functions as a blank canvas to be invigorated - or, in Kusama’s vocabulary, ‘obliterated’ - through the application, to every available surface, of brightly coloured stickers in the shape of dots.Īs with many of Kusama’s installations, the work is disarmingly simple in its elemental composition however, it brilliantly exploits the framework of its presentation. In this reworked and enlarged installation, an Australian domestic environment is recreated in the gallery space, complete with locally sourced furniture and ornamentation, all of which has been painted completely white. I used public transport to Kebon Jeruk Transjakarta Bus Stop to reach the museum. The obliteration room 2011 revisits the popular interactive children’s project developed by Yayoi Kusama for the Queensland Art Gallery's ‘APT 2002: Asia Pacific Triennial of Contemporary Art’. Visited the museum on a Wednesday night for Yayoi Kusamas exhibition. ![]()
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