REVIEW | 12.08.2018 @ The High Museum of Art
The Hirshhorn Museum’s (Washington, D.C.) blockbuster exhibition Yayoi Kusama: Infinity Mirrors, premieres at the High Museum of Art (through February 17, 2019) in Atlanta, Georgia with one of the most comprehensive exhibitions by the ultra-pop artist in North America in decades. Following the curatorial efforts initially organized by Hirshhorn associate curator Mika Yoshitake, Yayoi Kusama: Infinity Mirrors at the High Museum of Art is a sizable exhibition focused largely around the artists mirrored-room environments with critical paintings, works on paper, sculpture, performance, and video art interspersed throughout. The Japanese artist is definitively known for her Net Paintings and phallic Accumulation sculptures—compulsive, expressive works made during the 1960’s that employ repetitive use of circular motifs to generate expansive, optical fields. Alluding only parenthetically to Kusama’s contributions to Op Art and post-drip Abstract Expressionism, Infinity Mirrors keenly exploits the artists resurgent popularity as the producer of aesthetic environs consummate for social media, successfully commodifying the exhibition’s accessibility as a measure of import.
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[Installation view of Yayoi Kusama: Infinity Mirrors at the Hirshhorn Museum and Sculpture Garden, 2017. [Left to right: Accumulation (1962 - 1964); Red Stripes (1965); Arm Chair (1963)] Photo by Cathy Carver. © Yayoi Kusama.]