User:Mgutierrez249/sandbox

Yayoi Kusama has an artwork that is called Infinity Mirror Room (Fire-flies on the Water), 2000, mixed media, installation view. In the article The Spell to Re-integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era, Lynn Zelevansky states that “Her environmental sculptures, in which day-to-day living spaces are covered with colourful stuffed phalli ... represent another examples of Kusama’s frantic effort to transform the weakening, abnormal forces into living energy”. The medium that Kusama uses for the sculptures, turns the room that was just full of mirrors into a form of energy. Also, in the article The Spell to Re-integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era, Pamela Miki said that “The fact that Kusama 'transcends illness' with her work implies that we, as viewers, are contaminated too, and experience a kind of mutation”. Kusama wants the viewers to also experience what she sees in her hallucinations/illness. Another statement from the article The Spell to Re-integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era, Pamela Miki states that “That experience demands that we be honest in recognizing this as an example of evolution, and at the same time, pay due respect to ourselves as the subjects of that evolution”. In order to enjoy the experience provided by the artwork, viewers should respect themselves. By doing this they will experience the artwork fully and calmly. In the article Too infinity, Adrian Lee said that “The 88-year-old Japanese artist is best known for her mirrored rooms, filled with firefly lights or groves of surreal objects. These spaces have now become glittering backdrops for the young and affirmation-hungry on social media, bringing her rising fame”. Kusama is known for her infinity room artworks. Her different backdrops in the infinity rooms have made her famous. In the article Review: [Untitled], Jo Applin said that “In  2004, when Kusama’s 2002 mirror room, “Fireflies on the Water,” (dubbed “an epic piece” by the Brooklyn Rail) was on view at the Whitney Biennial four decades after Kusama had first exhibited in that museum, the raucous wait in line to view the piece was several hours long”. The artwork is still good piece since people still want to view it after the time it was originally exhibited.

Hasegawa, Yuko, and Pamela Miki. “The Spell to Re-Integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era.” Afterall: A Journal of Art, Context and Enquiry, no. 13, 2006, pp. 46–53. JSTOR, www.jstor.org/stable/20711605. Accessed 19 May 2020.

LEE, ADRIAN. “To Infinity.” Maclean’s, vol. 131, no. 3, Apr. 2018, pp. 16–17. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=128330957&site=ehost-live&scope=site.

Rodenbeck, Judith. Woman's Art Journal, vol. 33, no. 2, 2012, pp. 42–44. JSTOR, www.jstor.org/stable/24395288.