Yayoi Kusama

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Yayoi Kusama

Making art was something that she seems to have done in opposition to her family but she also was innately talented.

You look at the early drawings and they are completely exquisite.

The challenges to become an accomplished artist in a Japanese provincial milieu must have driven this notion that, at some point, she would have to escape.

She was on a train to stardom, she knew exactly what she wanted to do.

She had a suitcase full of drawings and she set about selling herself.

When she first came to New York, it was a man's world.

The art world was aggressively male.

It was a cut-throat period I think it was very difficult to be a woman artist.

She was taking away your ability to focus breaking all boundaries of space and the exhibitions that I had, in particular the 'Peepshow' that did the job.

It was an octagonal room, it was painted black and there were openings where you could stick your head in.

The ceiling of it set up a series of lights.

The rhythm of that machine was, brrrrr, faster and faster.

Up till Kusama, there were many artists from the Renaissance on, who were involved with perspective and infinity but it was all a fake because you knew, you were the viewer you were always aware that you were the master.

That it was a painting that was encompassed by a frame and the artist was playing with space but it wasn’t enveloping you.

To go back to Tokyo and to start from scratch again for Kusama was quite extraordinary because she wasn’t known there and she hadn't been recognized.

Clearly, the strains and stresses of life, the memories, forced her to withdraw.

But what she's always done, she has always managed that process incredibly well.

Kusama is now living in a mental institution but, by day, she occupies across the street in a busy suburban neighborhood of Tokyo a very well-appointed studio facility where she has a team of assistants.

She has a space for painting, she has a space for a library, her archive and every morning she gets there and she's the consummate professional and she works from nine till six.

I think there's a sort of managing madness about Kusama, which is so utterly sane which is really interesting.

She's used her trauma, she's used these experiences in her past she's been able to harness experiences that might drive other people insane to enormously productive ends.

She's an extraordinary person in that way.

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Yayoi Kusama발음듣기

Making art was something that she seems to have done in opposition to her family but she also was innately talented.발음듣기

You look at the early drawings and they are completely exquisite.발음듣기

The challenges to become an accomplished artist in a Japanese provincial milieu must have driven this notion that, at some point, she would have to escape.발음듣기

She was on a train to stardom, she knew exactly what she wanted to do.발음듣기

She had a suitcase full of drawings and she set about selling herself.발음듣기

When she first came to New York, it was a man's world.발음듣기

The art world was aggressively male.발음듣기

It was a cut-throat period I think it was very difficult to be a woman artist.발음듣기

She was taking away your ability to focus breaking all boundaries of space and the exhibitions that I had, in particular the 'Peepshow' that did the job.발음듣기

It was an octagonal room, it was painted black and there were openings where you could stick your head in.발음듣기

The ceiling of it set up a series of lights.발음듣기

The rhythm of that machine was, brrrrr, faster and faster.발음듣기

Up till Kusama, there were many artists from the Renaissance on, who were involved with perspective and infinity but it was all a fake because you knew, you were the viewer you were always aware that you were the master.발음듣기

That it was a painting that was encompassed by a frame and the artist was playing with space but it wasn’t enveloping you.발음듣기

To go back to Tokyo and to start from scratch again for Kusama was quite extraordinary because she wasn’t known there and she hadn't been recognized.발음듣기

Clearly, the strains and stresses of life, the memories, forced her to withdraw.발음듣기

But what she's always done, she has always managed that process incredibly well.발음듣기

Kusama is now living in a mental institution but, by day, she occupies across the street in a busy suburban neighborhood of Tokyo a very well-appointed studio facility where she has a team of assistants.발음듣기

She has a space for painting, she has a space for a library, her archive and every morning she gets there and she's the consummate professional and she works from nine till six.발음듣기

I think there's a sort of managing madness about Kusama, which is so utterly sane which is really interesting.발음듣기

She's used her trauma, she's used these experiences in her past she's been able to harness experiences that might drive other people insane to enormously productive ends.발음듣기

She's an extraordinary person in that way.발음듣기

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