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Sanja Ivekovic
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Almost a half-century after Yayoi Kusama debuted her landmark installation Infinity Mirror Room--Phallis Field (1965) in New York, the work remains challenging and unclassifiable. Shifting between the Pop-like and the Surreal, the Minimal and the metaphorical, the figurative and the abstract, the psychotic and the erotic, with references to free love and psychedelia, it seemed to embody all that the 1960s was about, while at the same time denying the prevailing aesthetics of its time. A precursor of performance-based feminist art practice, media pranksterism, and Occupy movements, Kusama (born in 1929) was once as well known as her admirers--Andy Warhol, Donald Judd, and Joseph Cornell.
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