Month: December 2017

Yayoi Kusama – Festival of Life

Yaşayan en önemli avant garde sanatçılardan biri olan Yayoi Kusama resim, entelasyon, happening, edebiyat, sinema dahil sanat disiplinlerinin birçoğunda önemli eserler ortaya koymuştur. Özellikle pop art, minimalizm ve feminist sanat ile ilgili çalışmaları ile tanınır. Cocukluk yillarinda gecirdigi ailesel travmalar onu halusinasyonlar gormeye itmistir. Annesi ve babasi gorucu usulu evlenmis, babasi zengin bir aileye damat gittigi icin esinin soyadini almis ve capkinliklar yapip ev disinda fazlaca vakit gecirmistir. Annesi ise bu durumu aciga cikarmak icin kucuk kizini casus olarak kullanmaya calismistir. Bu psikolojik travma Yayoi’nin erkek bedeni ve sekse karsi gecici sureli isteksizlik yasamasina neden olmustur.

 


Kusama 13 yasinda Ikinci Dunya savasi icin askeri parasut ureten bir fabrikaya calismaya gönderildi. Burada parasut dikerken, surekli duydugu siren sesleri ve savas ucaklarinin aktif bir sekilde inip kalkisi onu cok etkiledi. Bu onu ileride bir cok savas karsiti is yapmaya ve ozgurlugu asilamaya yoneltti. Yaklaşık on yaşından beri gördüğü halüsinasyonlardan etkilenerek benekler ve ağları resmeden Kusama ilk kişisel sergisini 1952’de Japonya’da açtı. 1957’de ABD’ye göç etti.16 yıl kaldığı bu ülkede pek çok ses getiren happening gerçekleştirdi, puantiye ve nokta desenlerini her disiplinde uyguladı; film yapımcılığı ve yayıncılık gibi işler yaptı. 1973’te ülkesine döndü ve gönüllü olarak bir akıl hastanesine yerleşti; burada çok sayıda roman, şiir ve otobiyografi yazarak edebi bir kariyer başlattı.

Yaşamını geceleri gönüllü olarak kaldığı bir akıl hastanesi ile gündüzlerini üç katlı dev atölyesi arasında geçirmektedir. 1990’lı yıllardan sonra uluslararası arenada Kusama’nın eserlerine ilgi gittikçe artmış ve Kusama dünyanın pek çok şehrinde geniş izleyici kitleleri tarafından izlenen projeler gerçekleştirmiştir.

Yakın geçmişte paylaştıgım Louis Vuitton sergisinde de Yayoi Kusama sanat eserlerinden esinlenilerek dizayn edilmiş puantiyeli çantaları sizinle paylaşmıştım. Hikayesi beni etkileyen sanatçilardan biridir Yayoi Kusama. Yaşadıgı onca zorluga ragmen bunu insanlık ile paylaşabilecegi guzel eserlere çevirmesi onu en cok takdir ettigim taraf kesinlikle. Umarim siz de bu sergiden benim kadar keyif almissinizdir.

Detaylı çalışmaları ve başarılarını daha ayrıntılı olarak görmek için bu bağlantıya tıklamanız yeterli!

İyi okumalar!
Mutlu cumartesileri!



Yayoi Kusama, one of the most important avant-garde artists living, has made important works in most of the art disciplines including painting, intellectual, happening, literature and cinema. She is especially known for her work on pop art, minimalism and feminist art. She born in 1929 in Matsumoto, Japan, Kusama grew up as the youngest of four children in an affluent family. However, her childhood was less than idyllic. Her parents were the product of a loveless, arranged marriage. Her absent father, emasculated by the fact that he had to take his wife’s surname as a condition of marrying into the wealthy family, spent most of his time away from home womanizing, leaving his angry wife to physically abuse and emotionally torment her youngest child. She would often send her daughter to spy on her father’s sexual exploits, the mental trauma of which caused Kusama to have a permanent aversion to sex, and the male body.


At the age of ten Kusama began experiencing vivid hallucinations in which flowers would speak to her and patterns in fabric would come to life and consume her. She began to draw these visions as a therapeutic outlet, providing her with solace and control over the anxiety that tormented her. When Kusama was 13 years old she was sent to work in a military factory sewing parachutes for Japan’s World War II efforts. Her adolescent years were spent in the darkness of the factory listening to air-raid sirens and the sounds of army planes flying overhead. The horrors of war would have a lasting effect on her, leading Kusama to create numerous anti-war works and to also value individual and creative freedom. Her experience at the factory also provided her with the utilitarian ability to sew, which would prove useful when she began creating her soft sculptures in the 1960s.

 

She spends her days in her atelier during the day and voluntarily at the mental hospital at nights. Kusama has become more popular after the 1990s and she had the chance to show her art in many countries to a bigger audience. For further information about her, you can visit the link here.

Enjoy the photos!
Happy Saturday!

  

Here some of her publications.

İşte sanatçının birkaç yazarın eserini görüyorsunuz.

FIT Fairytale Fashion.

Fairy Tale Fashion was a unique and imaginative exhibition that examined fairy tales through the lens of high fashion. In versions of numerous fairy tales by authors such as Charles Perrault, the Brothers Grimm, and Hans Christian Andersen, it is evident that dress was often used to symbolize a character’s transformation, vanity, power, or privilege. The importance of Cinderella’s glass slippers is widely known, for example, yet these shoes represent only a fraction of the many references to clothing in fairy tales.

Organized by associate curator Colleen Hill, Fairy Tale Fashion featured more than 80 objects placed within dramatic, fantasy-like settings designed by architect Kim Ackert. Since fairy tales are not often set in a specific time period, Fairy Tale Fashion included garments and accessories dating from the 18th century to the present. There was a particular emphasis on extraordinary 21st-century fashions by designers such as Thom Browne, Dolce and Gabbana, Tom Ford, Giles, Mary Katrantzou, Marchesa, Alexander McQueen, Rick Owens, Prada, Rodarte, and Walter Van Beirendonck, among others.

The exhibition’s introductory space featured artwork that has played a role in shaping perceptions of a “fairy tale” aesthetic. These included illustrations by renowned early 20th-century artists such as Edmund Dulac, Arthur Rackham, and A.H. Watson. Several recent, large-scale photographs from Kirsty Mitchell’s award-winning Wonderland series were also on display. This was the first time that Mitchell’s marvelous work—for which she designs and makes all of the elaborate costumes and sets—has been shown in the United States. Connections between fashion and storytelling are further emphasized by a small selection of clothing and accessories, including a clutch bag by Charlotte Olympia that resembled a leather-bound storybook.

The main gallery space used fashion to illustrate 15 classic fairy tales, arranged within four archetypal settings. Visitors first walked into the Forest, which included the tales “Little Red Riding Hood,” “Snow White,” “The Fairies,” “Rapunzel,” and “Snow White and Rose Red.” Several variations of Little Red Riding Hood’s red cloak were shown, beginning with a fashionable woolen cloak from the late 18th century—the style that is used to illustrate innumerable versions of the story—and concluded with a fall 2014 Comme des Garçons ensemble with an enormous, peaked hood in scarlet patent leather. Inspired by the fairy tale–themed fall 2014 presentation by Alice + Olivia designer Stacey Bendet, Snow White was portrayed wearing a black organza gown encrusted with rhinestones while lying in her glass coffin. The subsection on “Rapunzel” included a stunning dress from Alexander McQueen’s fall 2007 collection, made from deep emerald velvet embellished with copper-colored beads that created a motif of cascading hair.

The center of the gallery was dominated by a large Castle, in and around which the tales “Cinderella,” “Furrypelts,” “The Snow Queen,” “Beauty and the Beast,” and “Sleeping Beauty” were displayed. Cinderella was first shown in her rags, exemplified by a Giorgio di Sant’Angelo ensemble with a skirt made from shredded chiffon, and dating from his 1971 The Summer of Jane and Cinderella collection. Cinderella’s spectacular glass slippers were exemplified by a pair of 2014 heel-less shoes by Noritaka Tatehana, 3D-printed in clear acrylic and faceted to reflect light. Clothing was central to a lesser-known Brothers Grimm tale titled “Furrypelts,” which calls for a cloak of many furs, in addition to magnificent dresses that look like the sun, the moon, and the stars. The latter was represented by a dazzling, early 1930s evening gown by Mary Liotta, covered in silver stars crafted from beads and sequins. In “The Snow Queen,” the beautiful villainess wears a coat and cap of pristine white fur, exemplified in Fairy Tale Fashion by an opulent hooded fur cape by J. Mendel from 2011.

“The Little Mermaid” and “The Swan Maidens” were explored in the Sea section of the exhibition. Charles James’s Swan dress, from the mid-1950s, has a full skirt made from alternating layers of black, beige, and brown net that form an exceptionally graceful silhouette. Undercover’s spring 2015 collection featured numerous swan-inspired designs, one of which is now in the collection of The Museum at FIT—an especially detailed ensemble comprised of a feather-printed miniskirt worn beneath a tutu hand-painted with a plumage motif. It was paired with a motorcycle-style jacket with sleeves made from laser-cut silk “feathers.” “The Little Mermaid” was represented by a variety of beautiful, mermaid-inspired gowns, including Thierry Mugler’s 1987 bustier and fishtail skirt in metallic lilac fabric, and an elaborately crafted dress embellished with pearls, sequins, feathers, and Swarovski crystals from the spring 2015 Rodarte collection.

The exhibition also highlighted two fairy tales that take place in Parallel Worlds—Alice in Wonderland and The Wizard of Oz. Although Alice makes little reference to clothing, there is a distinct “Wonderland aesthetic” that has influenced fashion. This subsection featured a playful, bright blue mini-dress by Manish Arora, adorned with fabric playing cards that reference the tale’s Queen of Hearts and her playing card army. By contrast, The Wizard of Oz makes numerous references to fashion, including Dorothy Gale’s blue-and-white gingham frock, represented by a checked cotton dress from the early 1940s by Adrian, who also designed many of the costumes for the famous 1939 film version of the tale. Although Dorothy’s magical shoes are silver in the story, they are better remembered as the sparkling “ruby slippers” from the movie. A pair of bright red, crystal-encrusted stilettos by Christian Louboutin was unmistakably evocative of Dorothy’s iconic footwear.

A multi-author book, also titled Fairy Tale Fashion, was published by Yale University Press in early 2016. Featuring more than 150 beautiful photographs and illustrations, the book expands upon the rich and fascinating topic of fashion in fairy tales. In addition to extensive text by Colleen Hill, the publication includes essays by Patricia Mears, deputy director of The Museum at FIT; Ellen Sampson, fashion theorist and footwear designer; and Dr. Kiera Vaclavik, senior lecturer of French and Comparative literature at Queen Mary, University of London.

Fairy Tale Fashion was also featured in Google’s Arts & Culture “We Wear Culture” project, a collaboration with The Museum at FIT and over 180 renowned cultural institutions from New York, London, Paris, Tokyo, São Paulo, and around the world.

BIG RED RIDING HOOD
Hooded ensemble, Comme des Garcons, Spring/Summer 2015 on the right.

Rei Kawakubo took the red riding hood in a provocative new direction, designing an enormous, peaked headpiece in patent leather. Its size led to quips from the fashion media about a “Big Red Riding Hood.” This noteworthy design received, even more, attention when it was worn by Björk in the Spring 2015 issue of T magazine.


Cape, late 18th century, England or USA illustrating “Little Red Riding Hood”


THE CINDERELLA 

Christian Louboutin Cinderella Shoes 2012.



Cinderella shoes by Nicholas Kirkwood 2015.




Impossible Slippers by Noritaka Tatehana Glass Slippers 2014

Cinderella’s spectacular glass slippers were exemplified by a pair of 2014 heel-less shoes by Noritaka Tatehana, 3D-printed in clear acrylic and faceted to reflect light.

THE SNOW QUEEN

J. Mendel, ensemble, 2011 (cape) and spring 2008 (dress), France. Lent by J. Mendel illustrating “The Snow Queen” on the left.

The invisible shoe by Andreia Chaves.


THE SNOW WHITE
Dress, Rodarte, Spring/Summer 2008 ( on the left )

Snow White’s identifying colors — white, red, and black — are meaningful. According to the folklorist Cristina Bacchilega, the heroine embodies “the beauty and purity of white, the transformative powers of red or gold, the ritual — and sexual — death of black.”

The use of dye on this Rodarte dress was inspired by the look of blood in water, lending it an ominous beauty.


The gown Alice + Olivia Stacey Bendet Fall 2014. A Poisoned Apple, by Judith Leiber, Minaudiere Bag Fall 2013.


Snow White and Rose Red by Thom Browne. Man’s suite Fall 2014 and Woman’s ensemble Fall 2013.


Dolce and Gabbana Purple Corset Dress Fall 2014 and Peter Soronen Red Corset Dress 2007


Dolce and Gabbana Snow White Evening Gown 2012 is a gift of Bergdorf Goodman to FIT.

THE RAPUNZEL

Evening gown by Alexander Mc Queen Fall 2007 illustrating Rapunzel.

THE WONDERFUL WIZARD OF OZ


Christian Louboutin, Lady Lynch stilettos, fall 2009-2010. Lent by Christian Louboutin illustrating The Wizard of Oz. 

The first on the left is Ruby Gown by Rodarte Fall 2011, the second Thierry Mugler Evening Ensemble Fall 1997 Haute Couture, the green gown is by Molyneux 1930, the fourth Altuzzara 2015 and the last by Adrian 1942.


Ruby Slippers by Noritaka Tetahana 2010.

THE SLEEPING BEAUTY 

Sleeping Beauty’s Court, Dolce and Gabbana Dress and Hood Fall 2014 (left)
Sinister Fairies, Alexander Mc Queen Evening Gown 2007 (right)

 

Marchesa, Spring 2012 on the left and  Zuhair Murad, Haute Couture Spring 2015 on the right illustrates “The Sleeping Beauty.”

THE LITTLE MERMAID

The first dress The Sea Witch by Hideki Seo and the second on the left Thierry Mugler, ensemble, circa 1987, France illustrating “The Little Mermaid”.


Rodarte Dress The Spirit of the Sea inspired by The Little Mermaid.

ALICE IN WONDERLAND
Manish Arora, the purple dress, 2010 (remade 2015), France illustrating Alice in Wonderland.


Wonderland Motifs, Alice Shoes by Nicholas Kirkwood 2010.


The Pocket Watch Dress, Louis Feraud, Circa 1989.

BEAUTY AND THE BEAST 

Rodarte Dress Roses for Beauty inspired by Beauty and the Beast.


Mary Katrantzou


Walk in the Beast’s Shoes by Christian Louboutin