Yayoi Kusama “has made a perpetual motion device of herself,” Jackson Arn writes: “her work is mainly of interest because of her life, and her life is mainly of interest because of her work.”
Save this storyThe rules of culture in the twenty-twenties are strange but consistent. One is that fame is a form of insanity. Another is that artists can be both ardently commercial and devoted to making the world a better place. Serious art is therapy—either a way of “working through” something, if you’re the artist, or a way of beefing up your empathy muscles, if you’re the consumer.
The exhibition is also, technically speaking, a collection of recent art by Yayoi Kusama: some massive steel sculptures of rainbow-dotted flowers, some equally large bronze sculptures of black-dotted pumpkins, more dot paintings, another infinity room. Still, I’m not sure there’s a meaningful difference between the person and the corporation that she oversees.
Lived experience would seem to be the core of Kusama’s appeal. Viewers aren’t just looking at art; they’re seeing the world through her eyes, sharing what she calls her obsessions. It’s a timely theme—the soothing remove of the screen has made it easy for us to wallow in private desires. But the weird thing about Kusama’s obsessions is how un-weird they are. Polka dots don’t challenge or disrupt, least of all the way she paints them.
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