Comments on: Yayoi Kusama – White Infinity Nets Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 By: Tania Tue, 10 Dec 2013 16:37:52 +0000 Luke, in answer to your question it may be that the work of the native australasian peoples has not (thankfully) become divorced from its roots, whereas ours (and in this context ours would include Yayoi’s) has. To quote from ‘The Prehistoric Rock Art of England’:-

‘England (and the rest of Britain and Ireland) is unique in that, unlike elsewhere in Europe, the overwhelming majority of art from the Neolithic and Bronze Age periods is entirely abstract.’

The art of the native peoples of Australia and the South Pacific is not ‘contemporary’, it is traditional and so retains a timeless quality. It is often insisted upon that ‘abstract art’ began in Western Europe c.1900 which is historically inaccurate depending upon the definition of ‘abstract art’. There has been a severe break in tradition in Western Europe which, as a consequence perhaps, has produced a desire for revolution and uniqueness in abstract expression which is probably neither desirable or achievable.

Kngwarreye’s work is tremendous, and for me at least, outranks Yayoi’s.

By: martin Wed, 27 Nov 2013 02:09:51 +0000 nice post, its incredible whay she does!
i found more videos of yayoi kusama arts,
Heres the link

By: Luke Elwes Wed, 06 Nov 2013 11:47:27 +0000 Yayoi Kusama’s Infinity Nets strike me as both visually captivating and critically problematic. It is hard to think of another contemporary artist who would be celebrated for so precisely reiterating the work that first brought her to the attention of the New York art world 54 years ago. The rules of abstract modernism that normally apply – of discernible progress and development in concept and execution – are here suspended. Is this because of her ambiguous status as the ‘outsider’ artist operating inside the art world? Or because of her exceptional status as an ‘eastern’ artist whose work appears to intersect with western concerns?

The spare, pulsing, repetitive and monumental quality of her Infinity Nets were initially identified by Donald Judd and others as exemplifying the developing East/West dialogue that informed the Zen minimalism of late 50’s and early 60s American abstraction (alongside Reinhardt, Martin, Irwin and others). Later on they came to mirror other concerns, both artistic and cultural, ranging from the psychological study of obsessive behaviour and mental illness (illustrating the new fashion for ‘outsider’ art) to the aesthetic exploration of ‘white noise’ in an electronic age and the current fascination with generating depthless and infinite fields in a virtual world.

Yet through all this her cosmic landscapes remain the same, continually repeating and returning to their own starting point. They are ‘out of time’ in the same way that native Australian art is; both apparently belonging to an abstract tradition and yet remaining apart, subject to their own laws and meanings and seemingly immune to standard critical judgement. There is clear visual overlap between her Infinity Nets and the work for example of Uta Uta Tjingala and Emily Kame Kngwarreye (particularly with her astonishing ‘Big Yam Dreaming’) in the current RA survey of Australian Art – so why is it exactly that their work continues to remain separated by cultural otherness while Kusama’s seemingly does not?