Annotated Selections - III
ROBERTA SMITH, Yayoi Kusama and the Amazing Polka-Dotted, Selfie-Made Journey to Greatness, New York Times, NOV. 3, 2017 New York City, Art and Design. https://www.nytimes.com/2017/11/03/arts/design/yayoi-kusama-david-zwirner-festival-of-life-review.html?ref=todayspaper&_r=0#story-continues-12
Credit: Vincent Tullo for the New York Times
Roberta Smith is a senior art editor of the New York Times; of course, she is normally very perceptive when reviewing western art. This article reviews world-famous Japanese female artist Yayoi Kusama, whose dramatically dotted art work is very recognizable and is found in all the world’s major museums. However, given the lack of serious comment about Ms. Kusama’s art, it seems the purpose of the review is basically to introduce two new Manhattan commercial galleries. For example, Smith vacuously writes “Ms. Kusama’s current three-ring circus of exhibitions at David Zwirner’s uptown and downtown spaces — which include 76 works on canvas — argue in favor of greatness.” According to Smith “The artist of “Infinity” rooms has become an Instagram darling. But two new gallery exhibitions in New York show that she’s much more than that — an almost frighteningly fertile talent.”
This article, in contrast to real art criticism, is basically to respect a senior, consistent, renowned artist in her ninth decade who is still very productive, and of course continuing to turn out cheerful, colorful, paintings with dots and reaching audiences of diverse ages. This might be because this basic round shape directly connects with people’s childhood memories. This article addresses the new installation, especially in the Chelsea gallery, and how the paintings fill the entire room to create an entire environment. All the work titles deal with spirituality - for example “Infinity” or “With All My Love for the Tulips, I Pray Forever”.
The author uses lovely, decent language, sweet words full of description, and very well provides the artist’s background, personality, art work, and the installation view. All this is pleasant to read. However, from a respected art critic like Roberta Smith, one would expect something more cynical, or a different perspective rather than sweet, flattering words like this: “Sometimes I think Yayoi Kusama might be the greatest artist to come out of the 1960s and one of the few, thanks in part to her long life, still making work that feels of the moment.”
While I must admit that the photographs, credited to Vincent Tullo for the New York Times, were taken from an excellent angle that includes the audience as well as the work. Also, the installation view did well present Kusama’s work in very spiritual way.
(by Luchia Lee-Howell)
Roberta Smith is a senior art editor of the New York Times; of course, she is normally very perceptive when reviewing western art. This article reviews world-famous Japanese female artist Yayoi Kusama, whose dramatically dotted art work is very recognizable and is found in all the world’s major museums. However, given the lack of serious comment about Ms. Kusama’s art, it seems the purpose of the review is basically to introduce two new Manhattan commercial galleries. For example, Smith vacuously writes “Ms. Kusama’s current three-ring circus of exhibitions at David Zwirner’s uptown and downtown spaces — which include 76 works on canvas — argue in favor of greatness.” According to Smith “The artist of “Infinity” rooms has become an Instagram darling. But two new gallery exhibitions in New York show that she’s much more than that — an almost frighteningly fertile talent.”
This article, in contrast to real art criticism, is basically to respect a senior, consistent, renowned artist in her ninth decade who is still very productive, and of course continuing to turn out cheerful, colorful, paintings with dots and reaching audiences of diverse ages. This might be because this basic round shape directly connects with people’s childhood memories. This article addresses the new installation, especially in the Chelsea gallery, and how the paintings fill the entire room to create an entire environment. All the work titles deal with spirituality - for example “Infinity” or “With All My Love for the Tulips, I Pray Forever”.
The author uses lovely, decent language, sweet words full of description, and very well provides the artist’s background, personality, art work, and the installation view. All this is pleasant to read. However, from a respected art critic like Roberta Smith, one would expect something more cynical, or a different perspective rather than sweet, flattering words like this: “Sometimes I think Yayoi Kusama might be the greatest artist to come out of the 1960s and one of the few, thanks in part to her long life, still making work that feels of the moment.”
While I must admit that the photographs, credited to Vincent Tullo for the New York Times, were taken from an excellent angle that includes the audience as well as the work. Also, the installation view did well present Kusama’s work in very spiritual way.
(by Luchia Lee-Howell)
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