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自分が読んで興味深く感じた英文記事を中心に取り上げる予定です

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Kusama Infinity

 


中国でのニセ展覧会はなかなか大胆ですね。日本のチームラボだって丸パクリしていますが、中国の場合はそのままご本人の作品としてしまうとは。。。

世界中で展覧会を開き、注目を集めている草間さんですが、イギリスではドキュメンタリー映画が公開されているそうです。有名な「無限の鏡の間」がInfinity Mirrored Roomのように英訳されているためか日本の翻訳記事では「無限の鏡の部屋」と訳されていることも多いです。この辺りは言葉の面倒くさいところですね。



去年も大規模な展覧会がアメリカで開かれていたようで、PBS Neshourでも紹介されていました。



Mar 10, 2017 7:28 PM EDT

彼女の作品は現役の女性芸術家として最高値で落札されているそうです。といっても評価を受け始めたのは1990年代以降みたいで、日本で勲章を受けたのも海外で評価を受けてからだとWSJの記事で書かれています。

WSJ. MAGAZINE  MAGAZINE - CULTURE
Kusama already holds the record for the highest price paid for a work by a living female artist. At 87, with two new exhibitions, she’s busier than ever
By Darryl Wee
Feb. 6, 2017 10:24 a.m. ET

A turning point finally came when she was chosen to represent Japan at the Venice Biennale in 1993, yet prices for her work did not rise significantly until the past decade. In the ’90s, “a 2-meter-by-2-meter painting from the ’60s sold for about $50,000, while a new work might have fetched $20,000,” says Ota. “Today, a new painting of that size would sell through a gallery for about $750,000, but often for more than $1 million at auction.” Fierce competition among her collectors has pushed other prospective buyers to the auction market, where prices are even higher: Kusama set a record for living female artists with the most expensive piece ever when her 1960 painting White No. 28 sold for $7.1 million at Christie’s in 2014.

Kusama recently received the Order of Culture, one of Japan’s highest honors, personally bestowed by Emperor Akihito in November. Such belated recognition is familiar terrain to Japanese contemporary artists, who are often passed over during their early days. The careers of younger artists like Takashi Murakami, 55, and Yoshitomo Nara, 57, have followed a similar pattern: Flee the constraints of Japan, build up a body of work and an audience in an international art capital and return to Japan to be validated after being feted by a foreign audience.




ポップな作風に思えますが、彼女はまさに命を削って作品作りをしていると語っています。若者へのアドバイスが重すぎるのではと心配してしまうのは、Yutaが軟弱な人生を送っているからでしょうか。



草間彌生が一般受けするのもセルフィー受けするからという人たちもいるみたいで映画評ではSkeptics would say that a sizable number of Kusama's new fans don't care about art nearly as much as they do about finding a novel backdrop for their next selfieと触れています。

12:08 PM PDT 9/6/2018 by John DeFore

Not just for the selfie crowd.

Not that anybody is fretting too much today about Kusama's place in art history. Though Lenz addresses the failures and breakdowns to come, the film is eager to move toward Kusama's rediscovery, decades after her political Happenings, when retrospectives created new fans for her work. Social media, of course, eventually had much to do with this. Skeptics would say that a sizable number of Kusama's new fans don't care about art nearly as much as they do about finding a novel backdrop for their next selfie — and if that backdrop is a Kusama "Infinity Room" that multiplies the Insta-narcissist's image over and over into the horizon, so much the better. But the fickleness of fame and commerce aside, Kusama: Infinity presents a creative life that is worth exploring, even by those who've been scared away by the crowds.

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Yuta

Author:Yuta
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