Podcast appearances and mentions of Yayoi Kusama

Yayoi Kusama (1929 - present) is a contemporary Japanese artist working across painting, sculpture, film, and installation. She has produced a body of work formally unified by its use of repetitive dots, pumpkins, and mirrors. She has been acknowledged as one of the most important living artists to come out of Japan, the world's top-selling female artist, and the world's most successful living artist. Her work influenced that of her contemporaries, including Andy Warhol and Claes Oldenburg. For Further Reading: An Introduction to Yayoi Kusama Yayoi Kusama by Grady T. Turner Yayoi Kusama’s extraordinary survival story This month we're talking about Outsiders -- women who marched to the beat of their own drum and rejected stereotypes about what women "should" be. They are aesthetic pioneers, norm-benders, and often the only woman in their field. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Original theme music by Brittany Martinez. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

En este episodio de La Clave Pop, Marysabel Huston conversa con Annasofia, cantante, compositora y productora colombiana, sobre el lanzamiento de su sencillo "Humo", el primer capítulo de un EP conceptual donde cada canción representa una etapa en la construcción emocional de una casa interior.En una charla íntima y poderosa, Annasofia comparte cómo pasó de sentirse perdida creativamente a reconocerse como la arquitecta de su propio proyecto. Nos habla del miedo a producir su propia música, de sanar heridas internas, de su proceso en Art House junto a Julio Reyes Copello, y de cómo artistas como Juanes terminaron colaborando en su música. También revela cómo su hermana dirige sus videos, la influencia de referentes como Yayoi Kusama y Salvador Dalí, y cómo la autenticidad se convirtió en su norte artístico.Una conversación imperdible para quienes están buscando su voz, dentro y fuera de la música.Sigue a Marysabel Huston en sus redes sociales: Instagram y Threads: @marysabelhuston TikTok: @marysabelhuston Facebook: Marysabel.HustonX (antes Twitter): @hustonmarysabelYouTube: Marysabel HustonCréditos: Producción ejecutiva, edición y mezcla por Marysabel HustonMúsica: Una producción de Techy Fatule

72 minuter tros det ta innan världen som vi känner den går under vid ett totalt kärnvapenkrig. Dan Jönsson reser till Hiroshima och ser hur ingenting tycks ha hänt och allt förändrats. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.AtomvårSom ett förfärligt fossil från något av framtidens naturhistoriska museer ligger den där och ruvar i all sin nakenhet: den suddiga konturen, skuggan av en mänsklig kropp. Fortfarande tydligt urskiljbar efter så många år tecknar den sin svartnade silhuett i det slitna brottstycket av den stentrappa som fram till den 6 augusti 1945 utgjorde entrén till bankkontoret i Hiroshima. På morgonen den dagen, som verkade bli varm och solig, hade någon slagit sig ner på trappan i väntan på att banken skulle öppna; någon, som när atombomben briserade klockan kvart över åtta i likhet med tiotusentals andra invånare i denna storstad helt enkelt försvann, förintades i den extrema hettan. Men skuggan blev kvar. Framtida civilisationer till varnagel och besinning.Nu ingår stenen med skuggan bland artefakterna på Fredsmuseet i Hiroshima, bland föremål som smälta klockor, sönderbrända skor, väggbitar med spåren av det svarta, radioaktiva regn som följde senare på dagen – ett museum som i sin krampaktiga saklighet kramar hjärtat ur besökaren. Plötsligt förstår jag precis vad han menar, den japanske mannen i Alain Resnais film ”Hiroshima, mon amour”, när han gång på gång förnekar att hans tillfälliga franska älskarinna skulle kunna förstå något: ”Tu n'as rien vu a Hiroshima.” Du såg ingenting i Hiroshima. Ute i parken blommar körsbärsträden; vid utgången skriver jag en rad i museets gästbok och hajar till vid något som någon har präntat dit ett litet stycke ovanför. ”If only they had surrendered earlier…” läser jag på engelska. Om de bara gett upp tidigare.Föreställningen att atombomberna över Hiroshima och Nagasaki var moraliskt försvarbara eftersom de gjorde slut på kriget och tvingade fram den japanska kapitulationen några veckor senare, hör till den västerländska historieskrivningens mest långlivade myter. Men sann, det är den inte. Bomben bör kallas för vad den var, en förbrytelse; vill man förklara den bör man förstå den som en maktdemonstration inte bara mot Japan utan kanske främst mot Sovjetunionen, vars röda armé i krigets slutskede avancerade mot de japanska öarna. Men förödelsen i Hiroshima ska också ses som det logiska slutsteget i en process som påbörjats nästan femtio år tidigare, en vetenskaplig omvälvning som redan i grunden hade skakat bilden av vår värld och vår plats i den. Människan hade dyrkat upp naturens lås, sprängt den gamla världsbilden i småbitar. Det återstod att demonstrera.Fram till dess hade naturvetenskapen varit överens om att materiens minsta beståndsdelar utgjordes av ett slags rörliga partiklar, atomer. Ordet atom användes första gången av den grekiske naturfilosofen Leukippos på 400-talet före vår tideräkning och betyder odelbar – när den moderna atomläran formulerades i början av 1800-talet var det alltså ett sätt att hävda just att vetenskapen i dessa elementarpartiklar hade identifierat en materiens orubbliga grund, en fast punkt. Den rubbades 1897, när fysikern Joseph John Thomson lyckades visa att atomen förutom sin positiva kärna också består av en mindre, negativ partikel, elektronen. Året innan hade Henri Becquerel upptäckt det som Marie Curie några år senare skulle ge namnet radioaktiv strålning, och decennierna som följde kom genombrotten slag i slag: makarna Curies utforskande av radioaktiviteten, Ernest Rutherfords kartläggning av atomens inre struktur och hans modell – som sedan utvecklades och förfinades av den danske fysikern Niels Bohr – av hur elektronerna kretsar runt kärnan som i ett litet solsystem.Människan öppnade dörren till atomåldern, och världen var förändrad. ”Upplösningen av atomen,” skrev den ryske konstnären Vassily Kandinsky 1913, ”var för min själ detsamma som upplösningen av världen. De tjockaste murar störtade med ens samman. Allt blev osäkert, instabilt, mjukt.” Det var ungefär samtidigt som Kandinsky gjorde sina första helt abstrakta bilder – och känslan av en värld i upplösning var han knappast ensam om. Kubister, futurister, rayonnister: alla försökte de på olika sätt spegla denna söndersprängda verklighet. ”Jag är en atom i universum,” skrev Hilma af Klint om sina målningar i serien ”Atom”, och i Paris uppförde dansösen Loïe Fuller sin experimentella ”Radiumdans” med fosforescerande kostymer och – enligt uppgift – Marie och Pierre Curie som förundrade åskådare.Men fascinationen för det nya och oerhörda bar redan från början på ett mörkt stråk. 1909 publicerade H G Wells sin autofiktiva roman ”Tono-Bungay” där kvacksalvaren George Ponderevo upptäcker det radioaktiva materialet ”quap”, ett ämne med en outsinlig inre energi som också med tiden drabbar dem som kommer i kontakt med det med en dödlig, lepraaktig sjukdom. Detta kärnfysikens janusansikte var alltså tidigt uppenbart för både forskare och konstnärer, liksom för den breda allmänheten. I USA inleddes mot slutet av 20-talet en rättsprocess när en grupp kvinnliga arbetare i en urfabrik, ”the radium girls”, stämde staten efter att många av dem drabbats av cancer på grund av exponering för fluorescerande radiumfärg. Bävande anade man i den nya fysiken samtidigt lösningen på många av mänsklighetens problem – och fröet till dess slutgiltiga undergång.Men någon väg tillbaka fanns inte. Modernitetens bild av den tekniska utvecklingen som ett framåtskridande till varje pris laddade atomteorin med en ödesmättad förening av utopiska löften och dödliga hot. Dadaisten Hugo Ball förkunnade hur ”elektronteorin orsakat en märklig vibration i alla ytor, linjer och former”, hur ”dimensionerna krökte sig och gränser föll”. Men det slutliga genombrottet kom först 1938 när en grupp tyska fysiker gjorde upptäckten att en urankärna kunde klyvas när den besköts med neutroner. Och hur det då frigjordes extrema mängder energi.Det återstod nu sju år till Hiroshima. Om vetenskapen fram till dess stått på tröskeln till atomåldern togs nu de sista stegen in i den – och som så ofta var det vapenindustrin som gick i bräschen. Redan i januari 1939 tog USA:s president Roosevelt emot en rapport som visade hur man med en nukleär kedjereaktion skulle kunna producera en förödande bomb; samma teknik kunde också användas för att producera fredlig elektricitet, men med det krig som snart bröt ut kom andra prioriteringar. Från nyåret 1943 sysselsatte det så kallade Manhattanprojektet mer än hundratusen personer runt om i USA och efter två och ett halvt år, i juli 1945, gjordes den första provsprängningen. Bara tre veckor kvar: vid tvåtiden på morgonen den 6 augusti lyfte bombplanet Enola Gay från sin bas på ön Tinian i Marianerna. Vid spakarna satt piloten Paul Tibbets och i lastutrymmet fanns en fyra ton tung bomb som kärleksfullt fått namnet Little Boy. Knappt sju timmar senare nådde den sitt mål. Framtidens portar hade sprängts. Och ljuset flödade. AtomsommarDet sägs att det första som sker när en atombomb exploderar är att allt blir vitt. Berättelserna från dem som överlevde och kan berätta är fyllda av en vantrogen bävan, en övertygelse om att ha varit med om något som är omöjligt att beskriva. Ändå måste man försöka. Hisashi Tohara var arton år och satt just på ett tåg i väntan på att det skulle lämna perrongen. Dagen var en måndag, skriver han. Höstterminen hade precis börjat. Eleverna i hans gymnasieklass var mobiliserade vid ett stålverk, men den här dagen hade strömmen slagits ut och arbetarna fått ledigt. Pendeltåget in till centrum skulle alldeles strax gå när plötsligt allt flammade upp i ett bländande ljus – ögonblicket efter var det som om jorden skakade i sina grundvalar och hans nacke blixtrade till av en ohygglig smärta.Hisashi Tohara ägnar nästan en sida åt att försöka ge en föreställning om detta oerhörda ljus. Det var, förklarar han, ett ljus som aldrig slutade att strömma ut: ”oräkneliga partiklar av ljus” – ”bländande, gyllene med röda reflexer” – ”mikroskopiska, finare än ett damm av ljus” – ”en stormflod av ljus som översvämmade världen” – ”himmel och jord flöt i ett rött, gult, gyllene skimmer där man urskilde myriader av partiklar, än mer strålande. Under två eller tre sekunder kanske? Men det tycks mig” – minns han – ”som det varade betydligt längre. Och ändå inte mer än ett ögonblick.”Ögonvittnesskildringarna från Hiroshima har alla det gemensamt att de står mer eller mindre vanmäktiga inför den intensiva intighet som bomben utlöser. Hisashi Toharas minnesbilder är nedtecknade ett år efter bomben, därefter skrev han aldrig något mer. Enligt hans hustru var det heller ingenting han någonsin talade om; först efter hans död 2011 hittade hon berättelsen i en byrålåda. Som hos så många andra som överlevt liknande katastrofer genomsyras den inte bara av försöken att ge konkret gestalt åt det obeskrivliga, utan också av en dov, irrationell skam över att vara den som skonades. De sargade, sönderbrända, fastklämda, drunknande offer som kantar flyktvägen ut ur den förstörda staden hemsöker hans minnen som en kör av tysta, anklagande spöken.Samma dunkla upplevelse av hur skulden på något obevekligt vis faller på de oskyldiga offrens axlar går också som en sugande underström genom den främsta litterära skildringen av katastrofen i Hiroshima: Masuji Ibuses dokumentära kollektivroman ”Kuroi ame” – Svart regn. Ibuse var redan före kriget en av Japans mest uppburna författare, och ”Svart regn” blev bland det sista han skrev. Boken utgavs först 1969 och bygger på ett stort antal vittnesmål som fogats samman till en lågmäld, kollektiv berättelse. Titeln, ”Svart regn”, syftar på det våldsamma skyfall som bröt ut några timmar efter explosionen och som många av de brännskadade offren hälsade med jubel – utan att veta, förstås, att vattnet var radioaktivt och att de som drack det gick en säker död till mötes.Detta historiska markperspektiv är det fina med Ibuses roman. Ingen vet ju riktigt vad som hänt. Men att det är något exceptionellt blir uppenbart redan under de första veckor efter bomben när berättelsen utspelar sig. Ogräsen skjuter fart och blir monsterhöga, mystiska utslag visar sig på de överlevandes kroppar och leder snabbt till döden. Inga förklaringar ges, allt framstår som en obarmhärtig prövning. Frågan är, å andra sidan, om någon alls skulle bli lugnad av att veta vad sådana fenomen beror på, vad som faktiskt sker i en kropp som smittas av akut strålsjuka. Hur vävnaderna i de inre organen faller sönder, hur blodkärlens väggar drabbas av nekros, hur blodet slutar producera antikroppar och immunförsvaret upphör att fungera. Hur vatten tränger ut under huden där det bildar stora blåsor som brister, hur syrebristen i blodet orsakar så kallad cyanos, ett slags lilafärgade utslag som spricker upp och blöder. Hur bakterier från inälvorna tar sig ut och infekterar blodet och leder till akut sepsis.Som sagt, jag vet inte om det gör katastrofen mer begriplig. Men allt detta vet vi idag. Det är helt enkelt några av de nya kunskaper atomåldern fört med sig. Dessutom: med bomben föddes insikter som också utlöste en helt ny etisk diskussion. Den tyske filosofen Günther Anders, som besökte Hiroshima och Nagasaki i slutet av femtiotalet, beskrev det som att det som drabbat dessa båda städer var den första konkreta erfarenheten av hur kärntekniken och dess konsekvenser från och med nu förenar hela mänskligheten i en kuslig ödesgemenskap. Historiefilosofiskt, skriver han, är dessa vapensystem inte längre ett medium utan själva scenen där historien utspelar sig.Efter hemkomsten från Japan tar Anders kontakt med Hiroshimapiloten Claude Eatherly, som vid den här tiden sitter intagen på ett mentalsjukhus för sina samvetsbetänkligheter. Deras korrespondens, som sträcker sig över nästan två år, utkommer så småningom under titeln ”Samvete förbjudet” – och i ett av dessa publicerade brev minns Eatherly hur han på morgonen den 6 augusti slås av den förfärande insikten om vad som är på väg att ske. Han sitter själv inte i bombplanet, utan flyger i förväg för att rekognoscera målet: en järnvägsbro i utkanten av staden. Han ser den tydligt genom de lätta cumulusmolnen. I samma ögonblick som han ger klartecken glider molnen bort, bomben riktas fel och han inser att den nu kommer att träffa stadens centrum.Claude Eatherly kommer så länge han lever aldrig att bli fri från det han varit med om. Samma sak gäller förstås de tusentals överlevande, på japanska hibakusha, som likt offren för de nazistiska förintelselägren bär sitt ofattbara trauma i tysthet mitt i en till synes likgiltig omvärld. Vad är det för mening att berätta? Hur beskriver man det obeskrivliga? Hur förklara skuldkänslorna hos den som överlevt? ”Du såg ingenting i Hiroshima”, som det heter i Marguerite Duras manuskript till Alain Resnais ”Hiroshima, min älskade”. Nej – men på stadens Fredsmuseum finns några konkreta kvarlevor: en bit vägg med långa strimmor av det svarta, radioaktiva regnet, trappstenen med skuggan efter någon som satt och väntade på att banken skulle öppna. Men också mängder med teckningar, utförda av hibakusha under åren efter bomben; bilder som började dyka upp i offentligheten på sjuttiotalet och sedan vuxit till en egen genre av vittnesmål. Enkla, expressiva försök att skildra förödelsen, paniken, massdöden. Mänskliga spöken med håret på ända, kläderna i trasor och skinnslamsor hängande från kroppen. Floden som svämmar över av lik. Vanmäktiga bilder av de första sekundernas intensiva ljus.Barnen som överlevde, skriver Hisashi Tohara, kom att kalla bomben för ”pikadon”: av orden för ”ljus” och ”dån”. Det ljuset, och det dånet, är det som lyser upp och genljuder genom decennierna som följer. Med skuggorna av hundratusen döda. Atomhöst”Din första tanke när du vaknar skall vara 'atom'.” Så inleder Günther Anders sina Atomålderns bud, publicerade i dagstidningen Frankfurter Allgemeine 1957. Den tyske filosofen och författaren hade då sedan ett decennium ägnat sig åt att försöka greppa den moraliska vidden av atombomberna mot Hiroshima och Nagasaki – och kommit till slutsatsen att bombens själva existens i grunden hade förändrat mänskligheten som kollektiv. Som han uttryckte det i sin brevväxling med den olycklige Hiroshimapiloten Claude Eatherly något år senare hade hotet om planetens totala förintelse fört oss alla samman i en ofrivillig ödesgemenskap av ”oskyldigt skyldiga”. Eatherly, med sina förtärande självförebråelser – som till slut drev honom så långt att han upprepade gånger begick våldsbrott och bankrån, bara för att bevisa sig skyldig till något, och slippa ifrån sin roll som krigshjälte – framstod för Anders som en förebild i denna universella olycksgemenskap. Ett offer för bomben, han också.Om någon tycker det här påminner om hur man idag tänker kring klimatförändringarna, ligger det mycket i det. Men detta första decennium efter bomben var det inte många i västvärlden som delade Anders tankar. När han och Eatherly brevväxlade satt piloten inspärrad på ett militärt mentalsjukhus med sina skuldkänslor. I femtiotalets USA fanns ingen plats för sådana som han. Det skulle så småningom förändras – men trots att bilderna och vittnesmålen från Hiroshima nått den amerikanska allmänheten redan 1946, i John Herseys berömda reportage, fick de väldigt liten effekt i offentligheten. Här dominerade den officiella historieskrivningen där det som skett i Hiroshima och Nagasaki var ett nödvändigt ont, närmast framtvingat för att äntligen få den japanska krigsmakten att kapitulera. Den berättelsen gäller till stor del än idag, trots att den faktiskt inte har mycket fog för sig. Som historikern Tsuyoshi Hasegawa kunde visa redan 2005 var Japans kapitulation bara en tidsfråga; det som fick USA att detonera bomberna var att Sovjetunionen efter Tysklands kapitulation fått händerna fria i Fjärran Östern. I en stormoffensiv hade Röda armén ockuperat Manchuriet och var på väg mot Japan över öarna i norr. Vad det handlade om för USA:s del var att inte Sovjet skulle hinna först.Atombombsåldern kom alltså att inledas i en stämning av förnekelse och förträngning. Medan efterkrigstidens optimistiska konsumtionssamhälle tog form började en vanvettig atomkapprustning. Från de första bomberna hade den amerikanska atombombsarsenalen vuxit till 170 stycken 1949, när Sovjetunionen gjorde sitt första kärnvapenprov, och åren som följde gick det slag i slag. 1952 testsprängde USA sin första termonukleära vätebomb, stark som tusen Hiroshimabomber, och redan i mitten av decenniet hade de båda kärnvapenmakterna bomber nog för att med marginal spränga hela den mänskliga civilisationen till grus. Detta samtidigt som politikerna drömde om en framtida teknokratisk utopi flödande av billig energi, där bilarna drevs av små kärnreaktorer. Skulle kriget ändå råka bryta ut fick skolbarnen lära sig att krypa ner under bänkarna, och speciella dräkter tillverkades för att skydda mot strålningen.Under tiden drogs ritningarna upp för den oundvikliga förintelsen. 2008 berättade den pensionerade amerikanske försvarstjänstemannen John Rubel hur han i december 1960 suttit med under ett hemligt möte där ett par höga officerare lade fram de detaljerade planerna för en så kallad förebyggande kärnvapenattack mot Sovjetunionen. Som Rubel mindes det skulle angreppet enligt ingenjörernas beräkningar leda till döden för cirka sexhundra miljoner människor. Rubel erkände att han själv i stunden saknat civilkurage för att protestera, och jämförde med den nazistiska Wannseekonferensen där planerna för den slutliga, industriella lösningen av judefrågan tog form. ”Jag kände,” skrev han, ”att det jag bevittnade var ett liknande nedstigande i mörkrets hjärta, en grumlig underjordisk värld som styrdes av ett disciplinerat, noggrant och livaktigt men hjärndött grupptänkande med syfte att utrota hälften av människorna som levde på nästan en tredjedel av jordytan.”I Japan däremot var de postnukleära stämningarna annorlunda – av naturliga skäl. Trots att det under hela femtiotalet rådde ett offentligt tabu mot att diskutera katastrofen och dess följder är det ingen överdrift att säga att hela den japanska konsten och litteraturen under efterkrigstiden utvecklades i skuggan av Hiroshima och Nagasaki. Bomberna och den amerikanska ockupationen sände chockvågor genom den japanska kulturen och födde experimentella konströrelser som den minimalistiska arte poveragruppen Mono-ha, eller den betydligt våldsammare Gutai, vars medlemmar besköt sina målardukar med kanon: bägge strömningar som i sin tur också gjorde djupa intryck på yngre konstnärer som Yoko Ono, Tetsumi Kudo och Yayoi Kusama. Nobelpristagaren Kenzaburo Oe gav 1965 ut sina Anteckningar från Hiroshima, en samling personliga reportage där de överlevande, som efter tjugo år fortfarande lever i skräck för blodcancer och andra efterverkningar, lyfts upp till en sorts nationella, moraliska förebilder: ”Bara genom liv som deras,” skriver Oe, ”kan människor framträda med värdighet i vårt samhälle.”Och med tiden växte protesterna i styrka även i västvärlden. Precis som man likt Theodor Adorno kunde se det som ”barbariskt” att skriva poesi efter Auschwitz kunde man som Günther Anders spekulera i vad det betydde att bedriva filosofi efter Hiroshima. Hans kollega Hannah Arendt delade synen på bomben som en mänsklighetens vändpunkt – men för henne stod den framför allt för en förlust av politiskt handlingsutrymme, där teknologins råa styrka tog förnuftets plats. Man frestas citera president Trumans tillkännagivande den 6 augusti 1945, där han proklamerar Hiroshimabomben som ”den organiserade vetenskapens största historiska bragd”. Som Arendt uttrycker det i Människans villkor har denna etiskt förblindade vetenskap trätt ut i offentligheten som en av ”de mäktigaste, maktgenererande grupperingar historien skådat.”Atomålderns etik måste med andra ord ta formen av en civilisationskritik. Mot slutet av sextiotalet uppgick antalet atombomber i världen till över 30 000 – men då var också motståndet i full kraft. Ett motstånd som inte bara riktades mot kärnvapenrustningen utan också mot den fredliga atomkraften och hela den teknokratiska kultur som gjort det möjligt att spela med så fruktansvärda insatser. Att en olycka vid ett kärnkraftverk kan få precis samma förödande effekter som en bomb har världen sedan dess tvingats till insikt om, gång på gång: i Harrisburg, Tjernobyl, Fukushima. Namnen hemsöker vår tid, som skuggan av en mardröm. Den där tanken som man nuddar när man vaknar. Och som sedan försvinner. AtomvinterEtt minne från när det kalla kriget var som kallast, början på åttiotalet: jag sitter hemma i soffan i föräldrahemmet och ser på teven där USA:s president Reagan flinande avslöjar att en kärnvapenattack mot Sovjetunionen kommer att starta om fem minuter. Ett skämt, tydligen. Mitt minne av händelsen är lite oklart: eftersom ”skämtet” gjordes inför en radiosändning borde ljudupptagningen ha spelats upp till stillbilder, jag vet inte – men det jag tydligt minns är hur det medan skratten klingar ut i teven ändå hinner gå ett frostigt spöke genom vardagsrummet. Hur mina föräldrar liksom fryser till i tevesoffan och hur vi sedan också skrattar, lättade – och lite chockade: det var nära ögat. Om det är något vi har förstått på sista tiden är det ju hur nära det faktiskt verkar vara. Atomklockan, som den kallas, har länge stått på bara någon minut i tolv.Världen, kanske särskilt Europa, gick i detta tidiga åttiotal nästan bara och väntade på den stora smällen. Om vi idag förskräcks av de klimatförändringar som utsläppen av växthusgaser är på väg att leda till så är de trots allt ingenting emot det som skulle bli följden om ett fullskaligt kärnvapenkrig bröt ut. Inte som en effekt av själva explosionerna – men allt stoft de rörde upp, alla bränder de orsakade skulle lägga sig som ett lock på atmosfären i flera års tid och sänka temperaturen på jordytan till katastrofala nivåer. Fenomenet gick under begreppet atomvinter: ett ord som de här åren låg som ett kylelement under den dystopiska tidsandan med dess undergångsfantasier och nihilistiska yuppieideal. Med dess apolitiska alienering, och en popkultur som manglade ut sin svarta depprock och sina frostiga syntslingor över en ekande posthistorisk avgrund.Men den hotande atomvintern gav också näring åt en växande proteströrelse. Civilisationskritiken, som under sextio- och sjuttiotalen blivit ett allt tyngre inslag i kärnvapenmotståndet förenades på åttiotalet med feministiska, postkoloniala och antikapitalistiska strömningar i en gränsöverskridande skepsis mot den tekniska utvecklingen som filosofen och antikärnvapenveteranen Günther Anders såg som ett senkommet historiskt genombrott när han i början av åttiotalet samlade sina reflexioner i de här frågorna i boken Hiroshima ist überall, Hiroshima är överallt. I England tog ett feministiskt fredsläger form i protest mot utplaceringen av kärnvapen vid armébasen i Greenham Common. I Australien protesterade urbefolkningen mot uranbrytningen på traditionell aboriginsk mark, i New Mexico i USA krävde Navajofolket kompensation för kärnvapenprovens radioaktiva kontaminering. Och i Oceaniens övärld växte rörelsen för ”ett kärnvapenfritt Stilla Havet”, som en reaktion på de franska och amerikanska provsprängningar som gjort många öar obeboeliga. För dem som tvingats bort från sina hem var stormakternas så kallade ”nukleära kolonialism” bara ännu en form av cyniskt imperialistiskt våld.Denna världsomspännande folkrörelse såg för en kort tid ut att faktiskt stå inför ett globalt genombrott. I juni 1982 samlade en demonstration i New York en miljon deltagare i protest mot kärnvapenrustningen; några veckor tidigare hade bortåt hundratusen människor tågat genom Göteborg under samma paroller. Jag var själv en av dem. Liknande fredsmarscher ägde rum över hela den europeiska kontinenten. Vad vi kanske inte riktigt förstod, tror jag – hur vi nu skulle kunnat göra det, där vi vällde fram, mitt i alltihop – var hur snärjda vi alla redan var i den nukleära terrorbalansens världsordning. För om nu ”Hiroshima är överallt”, som Günther Anders skrev – måste det då inte betyda att också protesterna blir en del av systemet: en balanserande motvikt som invaggar oss i tron att den nukleärteknologiska utvecklingen trots allt ska gå att tämja och hantera? Sedda från dagens tidsavstånd kan de ju faktiskt se så ut, som en avledande, kringgående rörelse, en historiens list som tillfälligt öppnade en politisk ventil och lät oron pysa ut, utan att i grunden ändra något överhuvudtaget. Allt medan utvecklingen gick vidare i sina obevekliga spår.Nej, jag vet inte. Men kanske var det en sådan insikt som landade i världens medvetande i april 1986, med haveriet i Tjernobyl. Plötsligt visade det sig mycket konkret – om man nu inte redan hade förstått det – att Hiroshima verkligen var överallt: i luften, i vattnet, i maten vi äter. Helt oberoende av nationsgränser och politiska system. Sociologen Ulrich Beck skrev i sin uppmärksammade bok Risksamhället hur händelser som just den i Tjernobyl tvingar hela samhället att orientera sig efter potentiella risker, försöka förutse och förebygga – och inte minst: uppfostra sina medborgare i riskmedvetenhet, eller uttryckt på ett annat sätt, i oro. Vi får i förlängningen ett samhälle där rädslan är det som binder samman, ett samhälle vars främsta uppgift blir att vidmakthålla en bedräglig illusion om säkerhet.I detta risksamhälle måste till slut också kärnteknologin banaliseras och kläs i termer av säkerhet. Det talas om kärnvapnen som ett skyddande ”paraply”, om kärnenergin som en trygghet i en osäker och föränderlig omvärld. Hiroshima känns mycket avlägset. Att besöka staden idag ger upphov till en märklig svindelkänsla: åttio år efter bomben sjuder staden av liv som vilken modern metropol som helst, de hypersnabba shinkansentågen anländer och avgår på sekunden på den centrala järnvägsterminalen, nästan som om inget hänt. Men det har det. Det har det, verkligen – under ytan ömmar fortfarande traumat, men med sin ärrvävnad av monument och museala artefakter, all denna rekvisita i en minneskultur som hoppas läka det som inte går att läka.Kanske är det det han menar, den japanske mannen i Alain Resnais film Hiroshima, min älskade, när han säger till sin franska älskarinna att hon aldrig har sett något i Hiroshima. För det som skett går inte att se. Med varje gest som återkallar minnet följer en som hjälper till att utplåna det. I filmen är den franska kvinnan själv på flykt undan ett krigstrauma: hennes första kärlek var en tysk ockupationssoldat – och minnet av hur hon blev vittne till hans död för en anonym kula från en motståndsman är, förstår man, det hon nu på ett bakvänt sätt försöker bearbeta genom att vara med och spela in en ”fredsfilm” (som det kallas) i Hiroshima.Men traumat, visar det sig, går inte att förtränga. Det finns kvar. Precis som atomvintern finns kvar – som en iskall, omedveten rysning under kärnvapenparaplyet. Spöket från Hiroshima, skuggan av den okände som satt och väntade på bankens trappa just när bomben föll, har vuxit till ett skymningsdunkel som vi mer eller mindre tycks ha vant oss vid. Om det totala atomkriget bryter ut skulle det, enligt en vanlig uppgift, ta sjuttiotvå minuter innan det mesta av vår civilisation är ödelagd. En dryg timme. Längre är den inte, framtiden.Dan Jönssonförfattare och essäistLitteraturAnnie Jacobsen: Kärnvapenkrig – ett scenario. Översättare: Claes-Göran Green. Fri Tanke, 2024.Tsuyoshi Hasegawa: Racing the Enemy – Stalin, Truman, and the Surrender of Japan. Harvard University Press, 2005.Marguerite Duras: Hiroshima, mon amour – filmmanus och berättelse. Översättare: Annika Johansson. Modernista, 2014.H. G. Wells: Tono-Bungay. (Ej översatt till svenska i modern tid, original: Macmillan, 1909.)Günther Anders: Hiroshima ist überall. C. H. Beck, 1982.Hisashi Tōhara: Il y a un an Hiroshima. översättare: Dominique Palmé. Gallimard, 2011 (postum utgåva från återfunnen text).Masuji Ibuse: Black Rain. Översättare: John Bester. Kodansha International, 1969.Claude Eatherly / Günther Anders: Samvete förbjudet – brevväxling. Översättare: Ulrika Wallenström. Daidalos, 1988.Kenzaburō Ōe: Hiroshima Notes. Översättare: David L. Swain & Toshi Yonezawa. Marion Boyars, 1995.Peter Glas: Först blir det alldeles vitt – röster om atomvintern. Natur & Kultur, 1984.Ulrich Beck: Risksamhället – på väg mot en annan modernitet. Översättare: Svenja Hums. Bokförlaget Daidalos, 2018.Hannah Arendt: Människans villkor. Översättare: Alf Ahlberg. Rabén & Sjögren, 1963.LjudSylvain Cambreling, Nathalie Stutzmann, Theresa Kohlhäufl, Tim Schwarzmaier, August Zirner med Bayerska Radions Kör och Symfoniorkester (München): Voiceless Voice In Hiroshima. Kompositör: Toshio Hosokawa med texter från liturgin, Paul Celan och Matsuo Bashō. Col legno, 2001.Sveriges Radios arkiv.US National archives.Hiroshima mon amour (1959), regi: Alain Resnais, manus: Marguerite Duras. Producent: Argos Films. Musik: Georges Delerue och Giovanni Fusco.

Riwo finishes up Rebellious Creative Expression month with Yayoi Kusama, a rebel in polka dots. She's been called “one of the most important artists to come out of Japan.”  She's not only a polka dot pop artist but also a filmmaker, protestor, author, sculptor, and fashion designer. She hit on rebellious creative expression on so many fronts. 

ZEIT Kunst ist ein neuer Teil der ZEIT, der ein, zwei mal im Jahr rauskommen wird und jedes Mal bekannte Künstler um ein Motto herum einlädt, Werke beizusteuern. Christoph und sein Team starten voll durch und haben zu Beginn gleich mal Günther Uecker, Elizabeth Peyton, Tyler Mitchell, Rineke Dijkstra und Yayoi Kusama mit dabei, die exklusive Arbeiten beigesteuert haben, die bisher noch nirgendwo veröffentlicht wurden.

Nathalie Obadia « L'art contemporain ; Des esprits conquérants » (Le cavalier Bleu)L'art contemporain, tel qu'il est apparu depuis la fin des années 60, est indissociable des logiques de mondialisation et de softpower qui fédèrent de multiples acteurs et autant de figures majeures au service de la création et de sa diffusion.En premier lieu, les artistes avec des figures comme Gerhard ­Richter, Louise Bourgeois, Damien Hirst ou Yayoi Kusama, mais aussi les curat­ors dont Harald Szeemann est un précurseur et la Cheikha Hoor Al Qasimi une incarnation des sensibilités du Sud Global, les galeristes avec Larry Gagosian et Marian Goodman, les foires dont ­l'emblématique Art Basel incarnée par Marc Spiegler, des collectionneurs comme François Pinault ou Uli Sigg, sans oublier celles et ceux qui ont œuvré à la muséification de l'art contemporain comme ­Suzanne Pagé ou Renzo Piano qui lui a créé ses plus lumineux écrins.Partant de sa double expertise de galeriste et d'enseignante, ­Nathalie Obadia nous présente ici les figures majeures de l'art contemporain et nous permet de saisir leur étroite imbrication et interdépendance.Musique: "Hymne à l'amour" Edith Piaf Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Natasha Degen, the chair of Art Market Studies at Fashion Institute of Technology and the author of Merchants of Style: Art and Fashion after Andy Warhol, is back on the podcast to discuss the ever more insidious relationship between fashion and art. We discuss her concept of Art Pop, which are commercial ventures that are given an air of an art project, what the second rounds of collaboration between Louis Vuitton and Takashi Murakami and Yayoi Kusama signify, and why fashion is increasingly getting into film, TV, and books and literature.Support the show

It's my birthday on Wednesday! I haven't planned a party or anything, I figure I'm moving away in July so I'll have a going-away party then, but now I'm still kind of in the midst of doing all this stuff with the show and it just doesn't feel like the right time for a party. And it's my birthday, so I should get to choose when the party is, right? RIGHT?!!   On the day I'm going to go to South Melbourne Markets for breakfast, then go with my mate to the Yayoi Kusama exhibition at the NGV, then in the evening I'm having dinner with another friend. That sounds perfect to be honest.

Stuur me een bericht.Winny Ang heeft er een reis opzitten. Wanneer ze aanklopt heeft ze twee treinen genomen, waarin ze, naar buiten turend, het verstedelijkt landschap langzaam zag verdwijnen en plaatsmaken voor weidse vlakten. Het laatste halfuur legde ze af met een deelfiets, dwars door de velden, met minstens vijftien kilogram aan boeken op het rek. Want voor Winny zijn verhalen en atomen de dingen waaruit de wereld is opgebouwd. Een babbel over kunst en illustratie, mens-zijn en inclusie.In het gesprek bewandelen we voortdurend de grens tussen creativiteit en zorg, als die grens al bestaat. Vaak merken we dat we in het gesprek op dat ene woordje botsen: belonging; je thuisvoelen in de wereld.In deze podcast komen volgende illustratoren en kunstenaars aan bod: Oliver Jeffers, Sam Winston, Eleni Debo, Shaun Tan, Beatrice Alemagna, Enrika Verbruggen en Yayoi Kusama.Ben jij mijn volgende gast in Podlood? In de rubriek 'De Podloodlijn' bel ik met mensen die graag iets willen vertellen over een of meerdere tekeningen of illustraties, die in hun leven belangrijk zijn geweest.Wil je graag meer weten, of wil je meedoen en bellen met mij tijdens een opname van 'De Podloodlijn'? Stuur me dan een bericht via mijn website. Ik kijk ernaar uit!Meer Podlood? Voor meer info over de podcast en afleveringen, surf naar www.podlood.be. Voor nieuws en updates, abonneer je op Brief uit het atelier, de nieuwsbrief waarin schrijf ik over boeken of andere dingen waaraan ik werk en ook over nieuwe afleveringen van deze podcast. Je kan ook @kristoftekent volgen op Instagram. Je kan Podlood gratis steunen door de show in jouw favoriete podcast-app vijf sterren te geven, een positieve review te schrijven én een vriend of vriendin die veel voor jou (be)tekent over de podcast te vertellen. Dit helpt Podlood echt vooruit. Will je all the way steunen? De Podlood-pin is hét symbool van jouw appreciatie voor de show. Een podcast onderhouden brengt kosten met zich mee en jouw bijdrage helpt deze te dragen, in stijl. Je bestelt de pin op www.podlood.be. Podlood is een productie van en door Kristof Devos. Logo, cover art en branding door Kristof Devos. Theme song door Skilsel. ©Kristof Devos

A Fundação Louis Vuitton, de Paris, apresenta a mostra “Pop Forever”. A exposição revisita a corrente artística que surgiu nos anos 1950, com raízes no dadaísmo, e destaca a obra do norte-americano Tom Wesselman. Patrícia Moribe, em ParisSem manifesto e sem fronteiras, o pop foi uma das correntes artísticas mais importantes do século 20 e sua influência continua forte nas artes plásticas e na música até hoje. As cores, o psicodelismo, o objeto cotidiano como fonte de inspiração, a sensualidade e o absurdo são elementos recorrentes.Quem pensa em pop, pensa em Andy Warhol. Ele era o rei em uma Nova York efervescente, onde tudo era possível. Em seu espaço antológico, The Factory, flanavam intelectuais, dramaturgos, drag queens, artistas sem-teto, celebridades de Hollywood e milionários. Ele teria cunhado a frase de que no futuro todos seriam famosos por 15 minutos – e depois cairiam no esquecimento. Um dos quadros mais famosos de Warhol, um silkscreen da série retratando Marilyn Monroe está na exposição.Mas o fio condutor da exposição é a obra de Tom Wesselman (1931-2004), que morreu em 2004 aos 73 anos.“É uma exposição dupla, pois é, ao mesmo tempo, uma retrospectiva dedicada a este artista, Tom Wesselmann, que é considerado um dos pais fundadores do movimento pop”, explica Oliver Michelon, um dos curadores. “Mas também é uma exposição dedicada à arte pop, já que é, no fim das contas, uma leitura do pop a partir da obra de Tom Wesselmann e uma interpretação um pouco mais ampla do pop, já que vamos abordar as origens do movimento, por volta de 1960, até os dias de hoje”, acrescenta.“Tom Wesselmann, junto com Roy Lichtenstein, Andy Warhol e James Rosenquist, é uma das primeiras grandes figuras do pop”, relata o curador. “Ou seja, ele aparece na cena artística de Nova York no começo dos anos 60 com obras que mostram objetos de consumo cotidiano, formas vibrantes, enfim, que fazem a arte passar para uma nova dimensão ao se apropriar da cultura popular. É uma espécie de detonador do pop. Desde o começo dos anos 1960 até o meio da década, e depois, obviamente, sua obra também evolui.”A mostra reúne 150 pinturas e trabalhos com técnicas mistas do artista. Há também 70 obras de outros nomes do pop, além de Andy Warhol, como os recordes de quadrinhos de Roy Lichtenstein, a releitura da bandeira norte-americana de Jasper Johns e as bolinhas de Yayoi Kusama.O projeto levou cerca de dois anos para ser concretizado e teve dois curadores convidados, Dieter Buchhart e Anna Karina Hofbauer. “Nunca é fácil conseguir os empréstimos, ainda mais de artistas excepcionais como é o caso”, diz Michelon. “Também pudemos contar com o apoio generoso da família Wesselman, que nos emprestou muitas peças.”O diálogo do pop acontece com artistas contemporâneos, como Jeff Koons e Ai Weiwei, além da nova geração representada por Derrick Adams, Tomokasu Matsuyama e Mickalene Thomas, que criaram peças especialmente para a exibição.“Pop Forever” fica em cartaz na Fundação Louis Vuitton até 24 de fevereiro de 2025.  

Mr. Daisuke Miyatsu is one of the most prominent art collectors from Japan. He tells us how he fell in love with the work of Yayoi Kusama. - 日本を代表するアートコレクター宮津大輔さん。4月21日までメルボルンのNGV（ビクトリア国立美術館）で開催されている草間彌生展にも沢山の作品を貸し出されています。

Filipino couple and Yayoi Kusama collectors Lito and Kim Camacho have a private collection with some pieces featured in the National Gallery of Victoria (NGV) exhibition until April 21, 2025. - Ang mag-asawang Lito at Kim Camacho, mga kolektor ng mga likha ni Yayoi Kusama, ay may pribadong koleksyon, kung saan ang ilan sa mga ito ay bahagi ng exhibition ng National Gallery of Victoria (NGV) hanggang Abril 21, 2025.

Send us a textThis week on Off the Easel, Skye Becker-Yamakawa and Catherine Moore explore the essential topic of photo references for artists. Whether you use references daily or occasionally, this episode offers valuable insights into their fascinating history, tips for ethical usage, and where to find free resources—plus advice on creating your own.Stay tuned until the end for a fun art news story featuring two icons: Cyndi Lauper and the "Polka Dot Princess" herself, Yayoi Kusama. Don't miss this informative and entertaining episode!Check out Skye's and Catherine's work at:Skye Becker-Yamakawa IG: https://www.instagram.com/skyesartshop/ Web: http://www.skyesart.com/ Catherine Moore IG: https://www.instagram.com/teaandcanvas/ Web: http://teaandcanvas.com/ Polka Dot Raven IG: https://www.instagram.com/polkadotraven/

Vera Glushchenko, an art historian from Melbourne, is visiting the Arty podcast. We talked about Japanese artist Yayoi Kusama's exhibition at the National Gallery of Victoria in Melbourne, which will be open until April 21. - В гостях у подкаста об искусстве Arty искусствовед из Мельбурна Вера Глущенко. Мы поговорили о выставке японской художницы Яёи Кусамы в Национальной галерее Виктории в Мельбурне, которая будет открыта до 21 апреля и фотографиями с которой вы, скорее всего, уже любуетесь в Инстаграме.

Nat introduces the team to some interesting table tennis facts; Chris KP shares some interesting facts and stats on clouds; art curator Meg Slater talks about the upcoming Yayoi Kusama exhibition at the NGV; Vanessa Toholka chats about the Taiwanese tradition of giving treats to their technology; and satirist James Schloeffel from The Shovel takes the team through the news records of this past year.With presenters Monique Sebire, Daniel Burt & Nat Harris.Website:  https://www.rrr.org.au/explore/programs/breakfasters/Facebook:  https://www.facebook.com/Breakfasters3RRRFM/Twitter:  https://twitter.com/breakfasters

It's MIAMI art fair week - we are ready for Art Basel, Untitled, NADA and more! We meet legendary art collecting family THE RUBELL'S!!!! Mera, Don and Jason!!!Don and Mera Rubell started collecting in 1965 while living in New York, acquiring their first work after a studio visit and paying on a modest weekly installment plan. The Rubells grew their collection by looking at art, talking with artists, and trusting their instincts. Their son, Jason Rubell, joined them in 1982 in building the collection, extending the multigenerational family passion for discovering, engaging, and supporting many of today's most compelling artists. The Rubells moved to Miami in 1992, and together with Jason and their daughter, Jennifer, began developing hotels and an art foundation and museum to house and publicly exhibit their expanding art collection.Since the Rubells' first acquisition, they've amassed one of the most significant and far-ranging collections of contemporary art in the world, encompassing over 7,700 works by more than 1,000 artists—and still growing. The collection is further distinguished by the diversity and geographic distribution of artists represented within it, and the depth of its holdings of works by seminal artists.The Rubells are drawn to emerging and underrecognized artists. They were among the first to acquire work by now-renowned contemporary artists, including Jean-Michel Basquiat, Cecily Brown, Keith Haring, Rashid Johnson, Hayv Kahraman, Jeff Koons, William Kentridge, Yoshitomo Nara, Cindy Sherman, Yayoi Kusama, Kara Walker, Purvis Young, and Mickalene Thomas, among many others. They continue to vigorously collect by visiting studios, art spaces, fairs, galleries, biennials, and museums, and by talking with artists, curators, and gallerists. If the work grabs them, they dig deeper—conducting intensive research before they welcome it into their collection.Jason Rubell started collecting contemporary art in 1983 at the age of 14, acquiring the painting Immigrants from then-emerging George Condo via Pat Hearn Gallery. At first supporting his collecting habit by stringing tennis rackets, Jason's early support of artists grew into a life-defining passion. Jason's studies at Duke and experience with organizing and touring the exhibition of his collection were instrumental in the Rubell family's decision to open their collection to the public, ensuring it would serve as a broader resource for audiences to encounter contemporary art and the ideas it explores. In 1993, the Rubells' passion became their mission when they opened the Rubell Family Collection/Contemporary Art Foundation in Miami's Wynwood neighborhood. The establishment of the RFC pioneered a new model for sharing private collections with the public and spurred the development of Wynwood as one of the leading art and design districts in the U.S. After nearly 30 years, the collection relocated to the Allapattah neighborhood in December 2019 and was renamed the Rubell Museum to emphasize its public mission and expanded access for audiences. The opening of the Rubell Museum DC in October 2022 further deepened the family's commitment to sharing their collection as a public resource, providing opportunities for residents and visitors of the nation's capital to engage with today's most compelling artists.Follow: @RubellMuseum on Instagram.Vanessa Raw: This is How the Light Gets In, the Rubell's Artist in Residence for 2024 opens on December 2nd.Visit: http://rubellmuseum.org/ Hosted on Acast. See acast.com/privacy for more information.

Yayoi Kusama dominates the art world from her home, a psychiatric facility in Japan. Today, why she's on a career high.    Find out more about The Front podcast here. You can read about this story and more on The Australian's website or on The Australian's app. This episode of The Front is presented by Claire Harvey and produced and edited by Jasper Leak. Our team includes Kristen Amiet, Lia Tsamoglou, Tiffany Dimmack, Joshua Burton and Stephanie Coombes. Original music is by Jasper Leak.  See omnystudio.com/listener for privacy information.

Welcome back to Print Market News, your weekly roundup of everything happening in the print world - fast and focused!   In this episode, we dive deep into the latest trends and highlights from the global prints market. As spotlighted by journalists and industry experts, the high-volume, lower-value segment is drawing fresh eyes with innovative trends in online marketplaces and unique artist collaborations. We examine how Keith Haring's legendary Subway Drawings are preparing to make headlines at Sotheby's, why public art displays from Yayoi Kusama and Shepard Fairey are sparking global attention, and what recent collaborations from KAWS and Andy Warhol mean for art collectors. Join us as we explore key movements, auctions, and collaborations defining the week in print art.

Today I talked with Stijn Vanheule about Why Psychosis Is Not So Crazy: A Road Map to Hope and Recovery for Families and Caregivers (Other Press, 2024). Are we all a little crazy? Roughly 15 percent of the population will have a psychotic experience, in which they lose contact with reality. Yet we often struggle to understand and talk about psychosis.  Drawing on his work in Lacanian psychoanalysis, Stijn Vanheule seeks to answer this question, which carries significant implications for mental health as a whole. With a combination of theory from Freud to Lacan, present-day research, and compelling examples from his own patients and well-known figures such as director David Lynch and artist Yayoi Kusama, he explores psychosis in an engaging way that can benefit those suffering from it as well as the people who care for and interact with them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Today I talked with Stijn Vanheule about Why Psychosis Is Not So Crazy: A Road Map to Hope and Recovery for Families and Caregivers (Other Press, 2024). Are we all a little crazy? Roughly 15 percent of the population will have a psychotic experience, in which they lose contact with reality. Yet we often struggle to understand and talk about psychosis.  Drawing on his work in Lacanian psychoanalysis, Stijn Vanheule seeks to answer this question, which carries significant implications for mental health as a whole. With a combination of theory from Freud to Lacan, present-day research, and compelling examples from his own patients and well-known figures such as director David Lynch and artist Yayoi Kusama, he explores psychosis in an engaging way that can benefit those suffering from it as well as the people who care for and interact with them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I talked with Stijn Vanheule about Why Psychosis Is Not So Crazy: A Road Map to Hope and Recovery for Families and Caregivers (Other Press, 2024). Are we all a little crazy? Roughly 15 percent of the population will have a psychotic experience, in which they lose contact with reality. Yet we often struggle to understand and talk about psychosis.  Drawing on his work in Lacanian psychoanalysis, Stijn Vanheule seeks to answer this question, which carries significant implications for mental health as a whole. With a combination of theory from Freud to Lacan, present-day research, and compelling examples from his own patients and well-known figures such as director David Lynch and artist Yayoi Kusama, he explores psychosis in an engaging way that can benefit those suffering from it as well as the people who care for and interact with them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Today I talked with Stijn Vanheule about Why Psychosis Is Not So Crazy: A Road Map to Hope and Recovery for Families and Caregivers (Other Press, 2024). Are we all a little crazy? Roughly 15 percent of the population will have a psychotic experience, in which they lose contact with reality. Yet we often struggle to understand and talk about psychosis.  Drawing on his work in Lacanian psychoanalysis, Stijn Vanheule seeks to answer this question, which carries significant implications for mental health as a whole. With a combination of theory from Freud to Lacan, present-day research, and compelling examples from his own patients and well-known figures such as director David Lynch and artist Yayoi Kusama, he explores psychosis in an engaging way that can benefit those suffering from it as well as the people who care for and interact with them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Kyle Wood is back as a guest today as he and Tim talk about their favorite sci-fi artists to share with their students. Listen as they discuss the connections between art and science fiction, as well as explore various artists whose work intersects with themes of futurism, technology, and imagination. Hear what they have to say about Salvador Dali, Yayoi Kusama, Cai Guo-Qiang, and so many more artists--both historical and contemporary--who explore speculative themes, blurring the lines between reality, imagination, and science in their work. Resources and Links Read Kyle Wood's articles, and listen to the Who Arted? podcast Tony Oursler's Alien Invasion Check out the work of Rosemary Lee and Lynn Hershman You know you want to see a Cowboy Shooting a Dinosaur Vija Celmins, Umberto Boccioni, and Salvador Dali

Hello and welcome back to a new episode of Jo's Art History Podcast Bitesize. The week we deep dive into the wonderful world of Yayoi Kusama and her pumpkins! Host: Jo McLaughlin Instagram: ⁠⁠https://www.instagram.com/josarthistory/⁠⁠ Website: ⁠⁠https://www.josarthistory.com/podcast⁠⁠ Email: ⁠⁠josarthistory@gmail.com⁠⁠ Please support the podcast by buying me a book from my Amazon Wishlist - this will go towards future episodes of the podcast: https://www.amazon.co.uk/hz/wishlist/ls/FZ1XZKILJJCJ?ref_=wl_sha

When developing a business centered around Japanese prints, there are many factors to consider: the audience, the history, and how you want to be perceived by the public. The appeal of the Japanese aesthetic, along with your own personal aesthetic and brand identity, can also be just as important to your business. On this episode of The Unfinished Print, I speak with Malene Wagner, a gallerist, curator, writer, and art historian whose business operates under the name Tiger Tanuki. Malene shares her passion for collecting and selling Japanese prints, and we explore the European perspective on Japanese prints and printmaking. We also dive into Japanese aesthetics and how they are interpreted through a Western lens. Additionally, Malene discusses how these aesthetics influence her brand, Tiger Tanuki, the role history plays in shaping her business, and her upcoming book. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Malene Wagner & Tiger Tanuki - Instagram, website ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.  Uniqlo -  a Japanese clothing brand known for its affordable, minimalist, and high-quality everyday wear. It focuses on functional designs, using innovative fabrics like Heattech for warmth and AIRism for breathability. Uniqlo is popular worldwide for offering essential wardrobe staples and often collaborates with well-known designers and artists to create unique collections. Clear Day With A Southern Breeze (1831) is a print usually known as "Red Fuji." From the series Thirty Six Views of Mt. Fuji this print was actually pink, red was used in later impressions by publisher Nishimuraya Yohachi.  The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Yayoi Kusama -  is a pioneering Japanese artist known for her immersive installations and polka dot motifs that explore themes of infinity, identity, and mental health. Born in 1929 in Matsumoto, Japan, Kusama began her artistic journey through painting and avant-garde practices, eventually moving to New York in the late 1950s, where she became a key figure in the pop art and feminist movements. Her works, range from large-scale installations like the "Infinity Mirror Rooms" to her vibrant sculptures and paintings. Kusama's art is a deeply personal expression of her own experiences with mental illness, transforming her obsessions into stunning visual experiences that resonate globally. Today, she is celebrated as one of the most influential contemporary artists, with exhibitions and installations that captivate audiences worldwide. From "Life Is The Heart of A Rainbow", Installation (2017) MANGA - was an exhibition from May 23 - August 26, 2019 held at the British Museum in London, England.  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Tomoo Inagaki (1902-1980) - introduced to mokuhanga by Onchi Kōshirō and Un'cihi Hiratsuka in 1923. Beginning in 1924, Inagaki published his first prints in magazines such as Shi to hanga (issue 13), Hanga (issues 6, 9/10, 11, 14), and Kitsutsuki, and exhibited with the Nihon Sôsaku-Hanga Kyôkai (Japan Creative Print Association). He became a member of the Nihon Hanga Kyôkai (Japan Print Association) in 1932 and participated in various post-war international competitions, including the Paris, Tokyo, and Lugano biennales. His cat prints have been highly collectible. More info can be found at Viewing Japanese Prints, here. The Rival Cats - 18" x 24" (1960's - 1970's) Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Frances Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Japanese Bath (1937) - 11 7/8" x 9 5/8 " Yoshitomo Nara - is a renowned Japanese contemporary artist and is celebrated for his distinctive paintings and sculptures featuring figures with large heads and expressive eyes, often exploring themes of innocence, rebellion, and solitude.  Change The History (2007) acrylic on wood 74-7/16" × 55-1/2" × 3-1/8" Mingei - is a Japanese term that translates to "folk craft" or "people's art." It refers to a movement that emerged in the early 20th century, emphasizing the value and beauty of traditional, handmade crafts created by anonymous artisans. Mingei focuses on everyday objects, such as pottery, textiles, furniture, and utensils, that reflect the culture and daily life of the people who made them. Lawrin Smith - is the author of the book "The Prints of Yoshitoshi: A Complete Illustrated Catalog" (2009). This comprehensive catalog focuses on the works of Tsukioka Yoshitoshi. The book provides detailed descriptions and illustrations of Yoshitoshi's prints, showcasing his significant contributions to the ukiyo-e genre and his influence on modern printmaking. Wabi-sabi is a Japanese aesthetic philosophy that celebrates the beauty of imperfection, transience, and the natural cycle of life. It combines two concepts: "wabi," which refers to rustic simplicity and tranquility found in nature, and "sabi,"which denotes the beauty that comes with age and wear. Wabi-sabi values simplicity, asymmetry, and the unique characteristics of objects and experiences, encouraging appreciation for the impermanent and humble aspects of life. This philosophy is reflected in various forms of art, architecture, and design, emphasizing natural materials and handcrafted items, and fostering mindfulness and acceptance of the imperfections that make life beautiful. A-yo - is a renowned Japanese artist associated with the Gutai Art Association, an avant-garde group that emerged in post-war Japan. Known for his vibrant colors and distinctive style, Ay-O's work often incorporates elements of nature, light, and movement, reflecting themes of playfulness and spontaneity. He engages with materials in innovative ways and has explored performance art as part of his creative expression. With extensive exhibitions both in Japan and internationally, Ay-O has made significant contributions to contemporary art, emphasizing the joy of creation and the aesthetic experience. Marcel Duchamp (1887–1968) was a French-American artist and a key figure in modern art, known for his significant influence on the Dada movement and conceptual art. He initially trained as a painter but became renowned for challenging traditional notions of art through his controversial works, such as "Fountain"(1917), a readymade sculpture of a urinal that questioned the definition of art and the role of the artist. Duchamp's other notable pieces, including "The Large Glass" (1915–1923) and "Bicycle Wheel" (1913), explored themes of chance and perception. His innovative ideas about art as a conceptual experience rather than a purely visual one continue to resonate, solidifying his status as one of the most influential artists of the 20th century.   Fountain (1917) replica (1964)   Naoko Matsubara - is a contemporary Japanese printmaker known for her expertise in mokuhanga. Born in Osaka, she studied at Kyoto Seika University, where she specialized in printmaking and mastered the techniques of this ancient art form. Matsubara's work often blends traditional methods with contemporary themes, exploring the relationship between nature, culture, and identity. Her prints are characterized by intricate details, vibrant colors, and a deep appreciation for the materials and techniques involved in woodblock printing. She teaches and promotes mokuhanga both in Japan and abroad, exhibiting her work in galleries and museums worldwide and receiving numerous awards for her contributions to the field. Naoko's interview with The Unfinished Print can be found, here.    Gihachiro Okuyama (1907-1981) - was a prominent Japanese printmaker and painter associated with the sōsaku hanga (creative prints) movement. Born in Tokyo, he studied traditional Japanese painting and was influenced by Western art styles, leading to innovative woodblock prints characterized by bold colors and dynamic compositions that blend traditional aesthetics with modern elements. Throughout his career, Okuyama exhibited extensively in Japan and internationally, contributing significantly to contemporary printmaking while also playing a vital role in art education by sharing his expertise with future generations. His work reflects a deep engagement with the cultural exchanges between East and West during the post-war period.     Moonscape - 10" x 21"   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Prince Rokuson Tsunemoto from Suikoden of Japanese Heroes (1843) 10" x 7"    Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history.    Kabuki Plays - Narukami and Princess Toki (ca. 1890's) triptych   Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Dog, Daschund 2 10" x 15"   Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's.      Anxiety (1894)   Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim.   Mill in Sunlight (1908). Credit: Kunstmuseum Den Haag, The Hague, The Netherlands © 2021 Mondrian/Holtzman Trust   Shunga - meaning "spring pictures," is a genre of Japanese erotic art that flourished during the Edo period (1603–1868), characterized by woodblock prints, paintings, and illustrated books depicting explicit sexual scenes often combined with humor, romance, and social commentary. Notable for its vibrant colors and intricate details, shunga explores themes of intimacy and sexuality, serving both as entertainment and education in a culture where such topics were often taboo. The genre reflects societal attitudes toward love and relationships and has a rich history despite facing censorship at various times. Today, shunga is recognized as a significant part of Japanese art history, appreciated for its aesthetic qualities and cultural context. Paul Binnie - Candlelight (1994) kappazuri print 24" x 18"  Tosa Prefecture - historically known as Tosa Province, is located in the southern part of Shikoku, Japan, and corresponds to present-day Kochi Prefecture. Renowned for its natural beauty, including mountains, rivers, and coastal landscapes, Tosa has a rich cultural heritage that includes traditional crafts like Tosa washi (handmade paper) and Tosa pottery. The region is famous for its vibrant festivals, such as the Yosakoi Festival, which features lively dance performances, and is known for its agricultural products, particularly citrus fruits like yuzu and sudachi, along with seafood. Kochi City, the capital of Kochi Prefecture, serves as the cultural and economic center, showcasing local cuisine, historical sites, and museums. Tosa's unique blend of natural scenery, traditional crafts, and cultural events contributes to its significance within Japan. © Popular Wheat Productions opening and closing credit - I Am Pentagon by the band Make Up from their album Save Yourself (1999) released by K Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

Yayoi Kusama: Aspiring to Pumpkin's Love, the Love in My Heart, 2023. David Zwirner at Art Basel 2024 Unlimited. Basel ...

Hybrid vehicles of a different kind will soon be seen on London's roads - behold the era of the ‘tram-bus'.Officially called ieTrams, they will ply one of the capital's longest routes, the 15-mile 358 line from Crystal Palace to Orpington.The striking new vehicles might look like a rounded single-decker with covered wheels, but the hardware includes a pantograph overhead fast-charging system used in electric tramsMark Blunden speaks to Evening Standard transport editor Ross Lydall about this new age for the capital's public transport.In part two, a look at what public art's in store for London this year - as a giant polka-dotted pumpkin by Japanese artist Yayoi Kusama is installed in Kensington Palace - and we're joined the Royal College of Art's head of programme for MA sculpture, Sarah Staton. Hosted on Acast. See acast.com/privacy for more information.

Hosts Zak and Lianne explore the fascinating life of Yayoi Kusama featuring a chance discovery in a secondhand bookshop, couches covered in phalluses, and a “happening” with four nude dancers gyrating on Wall St. whilst the artist painted them with polka dots. Then, we'll answer the question on everyone's mind - what is happening with the Ghanaian crown jewels?! Follow up on Instagram! @notarthistorians Sources: https://www.tate.org.uk/art/artists/yayoi-kusama-8094/introduction-yayoi-kusama https://www.bbc.com/culture/article/20180925-yayoi-kusamas-extraordinary-survival-story https://www.christies.com/en/stories/yayoi-kusama-collecting-guide-c540ed4a4c70465fb06c6467e830c8df#:~:text=She%20now%20lives%20voluntarily%20in,been%20her%20home%20since%201977. https://psychnews.psychiatryonline.org/doi/full/10.1176/appi.pn.2017.9a21 https://americanart.si.edu/blog/kusama-cornell-art https://www.huffpost.com/entry/kusama-and-cornell-an-unl_b_1580210 https://whitneymuseum.tumblr.com/post/31820518666/fly-back-to-me-spring-flower-and-i-shall-tie-a https://www.portlandgarmentfactory.com/news/2016/8/15/soft-sculpture-survey-yayoi-kusama https://actipedia.org/project/anatomic-explosion https://subversivesweetheartfatp.wordpress.com/feminist-artist/ https://www.bbc.com/news/world-africa-68925059 https://www.bbc.com/news/world-africa-45406557?xtor=AL-72-%5Bpartner%5D-%5Byahoo.north.america%5D-%5Blink%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D https://afktravel.com/98696/10-things-you-didnt-know-about-the-ashanti-kingdom/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

This week, Sadie introduces us to the best selling living woman artist in the world, Yayoi Kusama. With 90+ years of life focused on her artistic exploration inspired by a troubled childhood and hallucinations, she has built an empire beyond any explanation. Sadie and Stauney discuss her troubling beginnings, her artistic ideas being stolen by some of the most famous names of the 60's, and her eventual triumph in the age of social media as her vast "worlds" of mirrors, dots, and color send the viewers into a different world. She is the perfect example of how determination and variety can lead you to success. TW: Mentions of abuse, mental health issues including depression and suicide attempts, and Trypophobia. Learn more about your ad choices. Visit megaphone.fm/adchoices

Get the worksheets & complete show notes for this episode at https://cariocaconnection.comIn this episode of Carioca Connection, Alexia and Foster revisit their experience at the Yayoi Kusama exhibit in Porto's Serralves Museum.They dive into the Japanese artist's trippy "infinity rooms" - these mind-blowing installations of mirrored balls that make you feel like you're trapped in an endless kaleidoscope. Hilarity ensues as Foster admits he got totally lost.  It's the perfect chance to learn fun vocabulary like Alexia's nostalgic reconnection with Kusama's immersive art she first saw years ago in Rio. Pay attention as they dissect art terms like "curadoria" (curation) and crack up over words like "bengaleiro" (that room to stash your stuff).Whether you're an art buff or just love getting a taste of authentic Brazilian culture and language, this is an entertaining must-listen!E agora em português...Nesse episódio do Carioca Connection, Alexia e Foster relembram sua experiência na expo da Yayoi Kusama no Museu Serralves, no Porto.  Eles mergulham nas psicodélicas "salas do infinito" da artista japonesa - instalações multi-dimensionais de bolas espelhadas que te fazem sentir preso em um caleidoscópio sem fim. A maior brincadeira é o Foster admitir que ficou totalmente desnorteado lá dentro!É a oportunidade perfeita pra aprender vocabulário divertido como a reconexão nostálgica da Alexia com a arte imersiva de Kusama, que ela conheceu anos atrás no Rio. Fiquem ligados enquanto eles destrincham termos como "curadoria" e morrem de rir com palavras como "bengaleiro".  Seja você um amante das artes ou só queira ter um gostinho da cultura e língua brasileiras autênticas, este é um episódio educativo e divertido! Ready to massively improve your Brazilian Portuguese in 2024?

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists' (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative. In this NBN interview, Holes is exlored and discussed as an experimental biography of holes. Hilary White is a writer and researcher, currently an IRC postdoc at Maynooth University, Ireland, working on a project entitled Forms of Sleep. She co-ran the experimental poetry reading and commission series, No Matter, in Manchester, and co-edited the zine series, Academics Against Networking. Her writing appears in MAP, Banshee, zarf, and The Stinging Fly. Holes is her first novel. Rachel Pafe is a writer and researcher interested in modern Jewish thought, critical theories of mourning, and the boundaries of biographical writing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Serralves quer "chegar ao fim do infinito". Exposição de Yayoi Kusama abriu esta semana

Ospite della 98° puntata di Illuminismo psichedelico, avvenuta dal vivo agli ex magazzini generali del porto di Livorno nell'ambito della tre giorni di arte contemporanea organizzata da Carico Massimo e intitolata "Cosa succede al di fuori degli stati ordinari di coscienza?", secondo appuntamento della rassegna "Coordinate. Lo sguardo dal di fuori", è l'artista Holly Heuser. Holly è nata nel 1979 a Tangeri, si è formata a Hong Kong ed è di stanza a Milano. È devota all'esercizio quotidiano del disegno psicadelico. Nel corso della sua formazione gli studi di incisione l'hanno portata a sancire la sovranità tecnica della cornice rettangolare contenitiva nei sui lavori, sempre riempita da un segno ostinatamente sporco. Nel 2022 ha pubblicato un fumetto intitolato "Milano Emotiva" (Agenzia X). In questa puntata insieme a Holly abbiamo fatto un viaggio nell'arte psichedelica decisiva nella sua formazione, partendo dal Dr. Seuss, e passando per Alex Grey, Yayoi Kusama, Lois Wain e il Prof. Bad Trip.

Nearing artist Yayoi Kusama's 95th birthday, we look at some of her early works from the 1950's – 60's, the “Infinity Nets” series. With their simple color palettes and repetitive pattern, they seem to go on forever – into infinity! A part of the artist's meditative practice, the act of creating them was a way to focus and calm the mind. An important foundation of her practice and future body of work, this series has always been one of Claire's favorites. Check out more images of the artist's work on our Instagram. Like what you hear? Please rate us and follow along!

Josh sits down with Melissa Chiu, Director of the Hirshhorn Museum and Sculpture Garden on the occasion of the museum's 50th anniversary, and the 10th anniversary of her tenure as Director. Listen as Melissa reflects on the unique role of the national museum, their TV show, The Exhibit: Finding the Next Great Artist, and the ways artists have influenced the museum, from Hiroshi Sugimoto's vision for the revitalized sculpture garden, to the impact of Yayoi Kusama's Infinity Mirror Rooms. She also shares her personal observations on the evolution of the art world in Asia over the last several decades.

Yayoi Kusama is one of the most popular contemporary artists with her infinity rooms drawing massive crowds wherever they are installed. In the infinity rooms, the walls are covered in mirrors creating reflections of reflections that seem to go on forever. This idea of playing with reflections was a fixture in Kusama's work pretty much from the start. As I covered in my previous episode about Yayoi Kusama, she grew up in Japan where her family owned a nursery. She was surrounded by plans and looked at nature around her imagining not only what was beyond the mountains in the landscape, but what was inside the plants, the rocks, the dirt. This is where we get her signature polka dots. She refers to the repeated dots as Infiniti nets, a visualization of the structures that make up all of the things in our world and even our universe. It seems fitting that in 1966, she created Narcissus Garden to catapult her career to the next level. The piece consisted of an installation of 1,500 reflective spheres. It feels both personal to Kusama and simultaneously generic as the woman who grew up at her family's garden nursery installed a garden of mass-produced mirrored spheres. In 1966, she accompanied the installation with a performance as she dressed in a gold kimono and sold the mirrored balls for $2 each. Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere—in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders.  In Alice in Japanese Wonderlands: Translation, Adaptation, Mediation (U Hawaii Press, 2023), Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture.  Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the “father of the Japanese short story,” Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere—in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders.  In Alice in Japanese Wonderlands: Translation, Adaptation, Mediation (U Hawaii Press, 2023), Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture.  Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the “father of the Japanese short story,” Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere—in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders.  In Alice in Japanese Wonderlands: Translation, Adaptation, Mediation (U Hawaii Press, 2023), Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture.  Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the “father of the Japanese short story,” Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere—in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders.  In Alice in Japanese Wonderlands: Translation, Adaptation, Mediation (U Hawaii Press, 2023), Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture.  Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the “father of the Japanese short story,” Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Since the first translations of Lewis Carroll's Alice books appeared in Japan in 1899, Alice has found her way into nearly every facet of Japanese life and popular culture. The books have been translated into Japanese more than 500 times, resulting in more editions of these works in Japanese than any other language except English. Generations of Japanese children learned English from textbooks containing Alice excerpts. Japan's internationally famous fashion vogue, Lolita, merges Alice with French Rococo style. In Japan Alice is everywhere—in manga, literature, fine art, live-action film and television shows, anime, video games, clothing, restaurants, and household goods consumed by people of all ages and genders.  In Alice in Japanese Wonderlands: Translation, Adaptation, Mediation (U Hawaii Press, 2023), Amanda Kennell traverses the breadth of Alice's Japanese media environment, starting in 1899 and continuing through 60s psychedelia and 70s intellectual fads to the present, showing how a set of nineteenth-century British children's books became a vital element in Japanese popular culture.  Using Japan's myriad adaptations to investigate how this modern media landscape developed, Kennell reveals how Alice connects different fields of cultural production and builds cohesion out of otherwise disparate media, artists, and consumers. The first sustained examination of Japanese Alice adaptations, her work probes the meaning of Alice in Wonderland as it was adapted by a cast of characters that includes the “father of the Japanese short story,” Ryūnosuke Akutagawa; the renowned pop artist Yayoi Kusama; and the best-selling manga collective CLAMP. While some may deride adaptive activities as mere copying, the form Alice takes in Japan today clearly reflects domestic considerations and creativity, not the desire to imitate. By engaging with studies of adaptation, literature, film, media, and popular culture, Kennell uses Japan's proliferation of Alices to explore both Alice and the Japanese media environment. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

CHAOSScast – Episode 73 In today's episode, the conversation dives deep into the Linux Foundation Research Open Source Maintainers Report. Georg, Alyssa, Dawn, Sophia, and Anita engage in a thoughtful discussion about the report's methodology, findings, and implications for open source projects. They explore topics such as the challenges of obtaining a representative sample in open source research, the bias toward technical contributors, and the importance of considering the long-term engagement lifecycle of contributors. Additionally, they touch upon the report's best practices, including documentation and diversity, and how these practices can be connected across different categories. Download this episode now to learn more! [00:2:50] Georg discusses the two main sections of the report: demographics of maintainers and contributors and maintainer best practices. He asks for thoughts and questions about the report. [00:03:13] Alyssa expresses curiosity about the methodology, the number of interviews (32), and the diversity of projects covered in the research. Dawn shares her perspective on the number of interviews, stating that in-depth qualitative interviews can lead to convergence on key topics. [00:05:32] Sophia discusses the challenges of obtaining a representative sample in open source research and mentions the effort to increase diversity in project types. She highlights the discussion of findings in percentages and expresses that it may be more quantitative than typical interview-based research. [00:07:54] Dawn agrees with Sophia's points and mentions her skepticism about percentages based on a small sample size. Georg mentions concerns about small sample sizes affecting the ability to make claims, especially with regards to best practices. [00:09:49] Alyssa expresses that some sections of the report resonated with her, while others, like the funding and satisfaction sections, did not. She questions the methodology and the types of questions asked. Sophia responds, mentioning the challenges of sampling in open source research and how the findings resonated with her to some extent. She highlights the issue of funding and its potential impact on open source community culture. [00:13:24] Georg asks if the findings and best practices aligned with their understanding the methodology helped in interpreting the findings. Anita adds her perspective, mentioning that the research highlights the transition from contributors to maintainers but raises questions about the representation of non-technical contributors. [00:14:45] Alyssa notes the term “super coders” used in the report and how it implies a technical background for maintainers. Dawn and Anita express concerns about bias towards technical contributors and the exclusion of non-technical contributors in the research. Sophia acknowledges the bias in open source data and the need for more inclusive understanding of contributors. [00:17:19] Georg raises the intriguing issue of maintainers being paid but feeling unsupported by their organizations. Dawn shares her experience of challenges in justifying promotions for open source developers within companies, and the visibility issue of open source work within organizations. [00:19:33] Alyssa highlights the tension between company priorities and open source community priorities, and the balancing act that open source developers have to manage while wearing multiple hats, and Sophia shares her thoughts on this. [00:21:53] Georg transitions the discussion to the best practices section of the report, and Anita shares that she finds the documentation, especially when engineers are tasked with writing it. She discusses issues related to technical jargon and the usability of documentation. [00:24:00] Georg acknowledges the recuring challenge of documentation in open source projects and mentions the importance of considering different learning styles when creating documentation. Alyssa suggests that there could be opportunities to connect best practices across different categories. [00:26:27] Now the conversation shifts towards the diversity section of the report, where Georg discusses the lack of well-structured diversity efforts in many open source projects. [00:28:09] Sophia comments about the identifiable interviews in the research, noting that having named participants may have limited the depth of the diversity discussion due to privacy concerns. Alyssa comments on the decision to have identifiable interviews and highlights that it influenced the way the research results were presented, including the discussion on diversity. [00:30:41] Georg brings up the connection between the discussion in the report and the work being done in the CHAOSS Project. Dawn emphasizes the importance of thinking about metrics and how they can be applied in open source projects, and she provides examples of how metrics can be used to measure specific aspects of project health. [00:32:43] Alyssa expresses curiosity about what others think of the report's conclusion and the attributes table, which suggests a strategy for project health assessment and improvement. [00:33:30] Georg shares his perspective on the conclusion and mentions that the strategy for improving project health based on complexity and lifecycle stages seems self-evident. Sophia mentions that it doesn't fully address the lifecycle of contributors beyond the onboarding phase and points out there is a lack of discussion about when contributors may want to step away from a project and the issue of aging out of longstanding projects. Value Adds (Picks) of the week: [00:36:44] Georg's pick is visits from families. [00:37:08] Anita's pick is recently getting her Bachelor of Science in Microbiology and wondering what her next steps are. [00:37:39] Dawn's pick is walks around the Old Town section of her neighborhood seeing really old buildings. [00:38:18] Alyssa's pick is the sun and seeing a Yayoi Kusama art show. [00:39:14] Sophia's pick is making a lot of homemade herbal tea. Panelists: Georg Link Dawn Foster Sophia Vargas Alyssa Wright Anita ihuman Links: CHAOSS (https://chaoss.community/) CHAOSS Project Twitter (https://twitter.com/chaossproj?lang=en) CHAOSScast Podcast (https://podcast.chaoss.community/) podcast@chaoss.community (mailto:podcast@chaoss.community) Ford Foundation (https://www.fordfoundation.org/) Georg Link LinkedIn (https://www.linkedin.com/in/georglink/) Dawn Foster Twitter (https://twitter.com/geekygirldawn?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor) Sophia Vargas Twitter (https://twitter.com/Sophia_IV) Alyssa Wright LinkedIn (https://www.linkedin.com/in/alyssapwright/) Anita ihuman Twitter (https://twitter.com/Anita_ihuman) Linux Foundation Research Open Source Maintainers July 2023 Report (https://project.linuxfoundation.org/hubfs/LF%20Research/Open%20Source%20Maintainers%202023%20-%20Report.pdf?hsLang=en) Mozilla-Open Source Archetypes: A Framework For Purposeful Open Source (https://blog.mozilla.org/wp-content/uploads/2018/05/MZOTS_OS_Archetypes_report_ext_scr.pdf) Yayoi Kusama (https://en.wikipedia.org/wiki/Yayoi_Kusama) Special Guests: Alyssa Wright and Anita ihuman.

In this episode, Nathan and Breck discuss: Art as an investment and the value it holds from a monetary and aesthetic standpoint The rise of fine art as an alternative asset class The role of an art consultant in the buying and selling process of fine art  The impact Breck's grandfather had on his life and the community they lived in thanks to his influence as the founder of Xerox How family values and community involvement shape who you are Key Takeaways: There is a hunger for people to understand art as an asset while also appreciating the aesthetic of the works itself Follow your passion and find a way to incorporate it into your work each and every day. Determining the impact you want to make with generational wealth starts and ends with your family dynamic. Finding common ground, a shared vision and how you orient together is key to a successful family experience. Embrace your strengths, have sure footing, and maintain a bit of a practical planning view to see the bigger picture in life. “Art is about context, and the reason why art is in our museums is because it resonates with a moment in time.” —  Breck Kling   About Breck Kling: Breck is an Acquisitions and Collection Management Specialist and Fine Art Consultant that has been with Heather James Fine Art since 2017. He spends his time between Palm Beach Florida and Jackson Hole Wyoming. First introduced to HJFA as a collector, Breck's collection includes works by Robert Rauschenberg, Chuck Close, Takashi Murakami, Yoshimoto Nara, and Dana Schutz. He was a longtime board member of the Memorial Art Gallery, Rochester, NY, and was an advisor to the first VOLTA art fair in Basel, CH, in 2005. Breck has sat on the board of his family's foundation (www.wilsonfdn.org) for over 25 years and he is also a co-founder and a trustee of Silicon Couloir, a network for entrepreneurs based in Jackson Hole.  Breck's passions are art and meeting new people.  He spends the majority of his time meeting new collectors and helping clients navigate collecting decisions . Breck's perspective as a collector and decades of experience in the artworld offers his clients unique insights at any stage in their collecting process.  Breck has also assisted collectors in selling works by Claude Monet, Jackson Pollock, Pat Steir, Andy Warhol, Willam de Kooning, Louise Bourgeois, Robert Motherwell, Yayoi Kusama, Takashi Murakami, James Rosenquist, Alexander Calder, and Zao Wou-Ki among others.  Breck spends winters in Palm Beach and enjoys time with his two kids, golf and recently discovered pickle ball.    Connect with Breck Kling:  LinkedIn: Breck Kling | LinkedIn Website: Art Consultant | Heather James Fine Art Connect with Nathan Mersereau:  Phone: 248-645-1520 Website: www.dayinacanoe.com Email: nathan.mersereau@planningalt.com Twitter: @NathanMersereau

Few people inspire us more than Yayoi Kusama.Cal recently discovered this 94-year old's work while at the Guggenheim in Bilbao. Like many others, he was immediately gripped by her art – enough to be the only artist he looked up after his visit. Little did he know she was one of the world's most successful living artists, had been creating thousands of pieces across nearly a century, and has quite the storied past.In this episode, you'll learn about this incredible artist, from her long-time struggle with mental health (she has been living out of a mental facility for 50 years!) to her alienation from the art community and Japan, and how she ultimately succeeded beyond all of that noise by continuing to create a gobsmacking amount of art. A true hero's journey. It's truly a wonder that we hadn't heard of Yayoi earlier. We hope this episode leaves you just as astounded by her as we are.

"One with Eternity" has drawn nearly half a million visitors throughout its historic run. Hirshhorn Museum leaders discuss what comes next.

Where does our spirit go when we die? Frances Morris has this question figured out: she will return to the home in which she was born, a Georgian house abreast the Meridian Line in Greenwich. In this deeply personal conversation, Frances explains why her childhood home has such an emotional hold over her. Southeast London has been the backdrop to her whole life, and it's fitting that she has worked at the forefront of its most important cultural institution: Tate Modern. Not only was she the gallery's first female director, but Frances has also redefined the perception of female artists, spearheading retrospectives of Louise Bourgeois, Yayoi Kusama, Agnes Martin and others. Shortly before we recorded this podcast, it was announced that she will be leaving for pastures new. I've come to meet her in her office within the bowels of the gallery, and, understandably, she is in reflective mood. This is one of the most memorable conversations I've ever had. Frances feels like someone I've known for ever, and her background and story have significant parallels with my own. I really hope you enjoy it as much as I did. This conversation was recorded in person at the Tate Modern. For more on Frances Morris:Head over to our website for more images of the places discussedVisit the Tate Modern For more from the The Modern House: Sign up to our newsletter for weekly interior inspiration Subscribe to our YouTube channel Follow us on Instagram Check out Matt Gibberd's latest book, A Modern Way To Live Executive Producer: Kate Taylor of Feast CollectiveProduction: Hannah PhillipsMusic: FatherGraphic Design: Tom Young Hosted on Acast. See acast.com/privacy for more information.

Yayoi Kusama is one of the most popular contemporary artists with her infinity rooms drawing massive crowds wherever they are installed. In the infinity rooms, the walls are covered in mirrors creating reflections of reflections that seem to go on forever. This idea of playing with reflections was a fixture in Kusama's work pretty much from the start. As I covered in my previous episode about Yayoi Kusama, she grew up in Japan where her family owned a nursery. She was surrounded by plans and looked at nature around her imagining not only what was beyond the mountains in the landscape, but what was inside the plants, the rocks, the dirt. This is where we get her signature polka dots. She refers to the repeated dots as Infiniti nets, a visualization of the structures that make up all of the things in our world and even our universe. It seems fitting that in 1966, she created Narcissus Garden to catapult her career to the next level. The piece consisted of an installation of 1,500 reflective spheres. It feels both personal to Kusama and simultaneously generic as the woman who grew up at her family's garden nursery installed a garden of mass-produced mirrored spheres. In 1966, she accompanied the installation with a performance as she dressed in a gold kimono and sold the mirrored balls for $2 each. Check out my other podcasts Art Smart | Rainbow Putty Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On the occasion of Yayoi Kusama's new exhibition at David Zwirner New York, we revisit a conversation on the legendary artist's effect on culture at large with two experts on art in the digital landscape: Jia Jia Fei, a digital strategist for the art world, and Christian Luiten, founder of the popular digital platform Avant Arte. I Spend Each Day Embracing Flowers will be on view at 535 and 519 West 19th street through July 21st, 2023.