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"Japanese artist Yayoi Kusama's iconic Infinity Mirror Rooms are filled with a multiplicity of lights that reflect endlessly, projecting the illusion of infinite space. Yayoi Kusama: Infinity Mirrors traces these installations over five decades, revealing the ways in which they developed from a strategy of "self-obliteration" and political liberation during the Vietnam War to a means of social harmony in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize her pioneering work amidst today's renewed interest in experiential practices"--
A study of Kusama's era-defining work, a “sublime, miraculous field of phalluses,” against the background of abstraction, eroticism, sexuality, and softness. Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room—Phalli's Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to “free love” and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. The installation itself was a room lined with mirrored panels and carpeted with several hundred brightly polka-dotted soft fabric protrusions into which the visitor was completely absorbed. Kusama simply called it “a sublime, miraculous field of phalluses.” A precursor of performance-based feminist art practice, media pranksterism, and “Occupy” movements, Kusama (born in 1929) was once as well known as her admirers—Andy Warhol, Donald Judd, and Joseph Cornell. In this first monograph on an epoch-defining work, Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) “obsessional art.” Applin also discusses Kusama's relationship to her contemporaries, particularly those working with environments, abstract-erotic sculpture, and mirrors, and those grappling with such issues as abstraction, eroticism, sexuality, and softness. The work of Lee Lozano, Claes Oldenburg, Louise Bourgeois, and Eva Hesse is seen anew when considered in relation to Yayoi Kusama's.
In a unique style that is both sensory and utopian, Yayoi Kusama’s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe. Throughout her career she has been able to break down traditional barriers between work, artist, and spectator. Kusama’s work—which spans paintings, performances, room-size presentations, sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures—has transcended some of the most important art movements of the second half of the twentieth century, including pop art and minimalism. Conveying extraordinary vitality and passion, her work seems to encompass an autobiographic, even confessional dimension. As stated by Roberta Smith in The New York Times, “These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity. You may not want to know these paintings Ms. Kusama has made, but in the moment their vitality is infectious. It is the vitality of an artist who lives to work, whose work keeps her alive.” Yayoi Kusama: Festival of Life documents the artist’s exhibition at David Zwirner’s Chelsea location in New York in late 2017, featuring a selection of paintings from her iconic My Eternal Soul series, new large-scale flower sculptures, a polka-dotted environment, and two Infinity Mirror Rooms. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.
Yayoi Kusama: Give Me Love documents the artist's most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white, domestic interior that viewers are invited to cover with dot stickers of various sizes and colors. Widely recognized as one of the most popular artists in the world, Yayoi Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installation, the written word, films, fashion, design, and architectural interventions. Born in 1929 in Matsumoto, Japan, Yayoi Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking happenings, events, and exhibitions. Now in her late 80s, Kusama is entering one of the richest creative periods of her life. Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: “[N]ew ideas come welling up every day….Now I am more keenly aware of the time that remains and more in awe of the vast scope of art.” Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls, and furniture covered in myriad multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes beautiful reproductions of Kusama's new large-format paintings from My Eternal Soul series. Ranging from bright and densely pixelated forms, to umber figures with darker blues and muted oranges, these paintings demonstrate the artist's striking command of color, and her exceptional control over balance and contrast. Bold brushstrokes hover between figuration and abstraction; vibrant, animated, and intense, these paintings introduce their own powerful pictorial logic, at once contemporary and universal. The catalogue continues with a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since her studies in Japan in the 1950s, and which gained prominence in the 1980s, continuing to remain an essential part of her practice. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations that recall The Obliteration Room, these immersive works seem created on human scale, with the tallest measuring 70 inches (178 cm). Vibrant plates capture how color, shape, size, and surface merge in these sculptures and mesmerize the viewer. Texts include a "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.
I am deeply terrified by the obsessions crawling over my body, whether they come from within me or from outside. I fluctuate between feelings of reality and unreality. I, myself, delight in my obsessions.'Yayoi Kusama is one of the most significant contemporary artists at work today. This engaging autobiography tells the story of her life and extraordinary career in her own words, revealing her as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers. Kusama describes the decade she spent in New York, first as a poverty stricken artist and later as the doyenne of an alternative counter-cultural scene. She provides a frank and touching account of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd and the reclusive Joseph Cornell, with whom Kusama forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan in the early 1970s, Kusama checked herself into a psychiatric hospital in Tokyo where she resides to the present day, emerging to dedicate herself with seemingly endless vigour to her art and her writing. This remarkable autobiography provides a powerful insight into a unique artistic mind, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant-garde. In addition to her artwork, Yayoi Kusama is the author of numerous volumes of poetry and fiction, including The Hustler's Grotto of Christopher Street, Manhattan Suicide Addict and Violet Obsession.
A Jewish woman in love with a Prussian officer moves to Hitler’s Berlin in this ominous, “spectacular” novel by the New York Times–bestselling author (Kirkus Reviews). Every afternoon, Paule tends to her father’s newspaper clippings and listens to his stories. An actor, Paul-Alain Bernheim has a sexual appetite and a lust for life that have made him a legend of the Paris stage. He is also a fiercely proud Jew, and he has imbued his daughter with an unshakeable pride in the history of her people. So why, she wonders, has she fallen in love with a German? From the moment Paule spots Wilhelm von Rhode at an embassy reception, she can’t take her eyes off him. So after a whirlwind Paris romance, when von Rhode is recalled to Berlin, Paule follows as his wife. But as the Nazis tighten their stranglehold on Germany and the world prepares for war, their love may not survive what is to come. “Fascinating.” —Life
This thorough and detailed exposition is the result of an intensive month-long course on mirror symmetry sponsored by the Clay Mathematics Institute. It develops mirror symmetry from both mathematical and physical perspectives with the aim of furthering interaction between the two fields. The material will be particularly useful for mathematicians and physicists who wish to advance their understanding across both disciplines. Mirror symmetry is a phenomenon arising in string theory in which two very different manifolds give rise to equivalent physics. Such a correspondence has significant mathematical consequences, the most familiar of which involves the enumeration of holomorphic curves inside complex manifolds by solving differential equations obtained from a ``mirror'' geometry. The inclusion of D-brane states in the equivalence has led to further conjectures involving calibrated submanifolds of the mirror pairs and new (conjectural) invariants of complex manifolds: the Gopakumar-Vafa invariants. This book gives a single, cohesive treatment of mirror symmetry. Parts 1 and 2 develop the necessary mathematical and physical background from ``scratch''. The treatment is focused, developing only the material most necessary for the task. In Parts 3 and 4 the physical and mathematical proofs of mirror symmetry are given. From the physics side, this means demonstrating that two different physical theories give isomorphic physics. Each physical theory can be described geometrically, and thus mirror symmetry gives rise to a ``pairing'' of geometries. The proof involves applying $R\leftrightarrow 1/R$ circle duality to the phases of the fields in the gauged linear sigma model. The mathematics proof develops Gromov-Witten theory in the algebraic setting, beginning with the moduli spaces of curves and maps, and uses localization techniques to show that certain hypergeometric functions encode the Gromov-Witten invariants in genus zero, as is predicted by mirror symmetry. Part 5 is devoted to advanced topi This one-of-a-kind book is suitable for graduate students and research mathematicians interested in mathematics and mathematical and theoretical physics.
This is the tale of the many possible lives of Anastasia Valerie Stein which come to touch one another through a twist in the fabric of space-time: Ann, unhappy wife and mother in a world much like our own; Val, independent teacher in a timeline of scarcity; Stacey, a free spirit with two lovers, and Tasha, strangest of all, a professional sorceress in a world where the Third Reich rules England. Together they join to confront a force that manipulates all their worlds, and discover a truth that transcends their individual lives. Finch combines compelling, believable characters, the ancient magic of the Tarot, and quantum physics to weave a spellbinding tale of the infinite possibilities of space and time.
Newly revised and updated, Film Lighting is an indispensible sourcebook for the aspiring and practicing cinematographer, based on extensive interviews with leading cinematographers and gaffers in the film industry. Film lighting is a living, dynamic art influenced by new technologies and the changing styles of leading cinematographers. A combination of state-of-the-art technology and in-depth interviews with industry experts, Film Lighting provides an inside look at how cinematographers and film directors establish the visual concept of the film and use the lighting to create a certain atmosphere. Kris Malkiewicz uses firsthand material from the experts he interviewed while researching this book. Among these are leading cinematographers Dion Beebe, Russell Carpenter, Caleb Deschanel, Robert Elswit, Mauro Fiore, Adam Holender, Janusz Kaminski, Matthew Libatique, Rodrigo Prieto, Harris Savides, Dante Spinotti, and Vilmos Zsigmond. This updated version of Film Lighting fills a growing need in the industry and will be a perennial, invaluable resource.