Yayoi Kusama The Oibration Room Analysis

Contemporary art has started in the late 20th century and is currently active through the 21st century. Artists of today work in a range of materials, methods, concepts and ideas where they challenge the diversity of today’s culture and technology. The contemporary world has been defined as a positive change towards each other’s cultural backgrounds and a reinforcement on concepts of frameworks, such as, identity, politics and culture.

Identity has been one of the main concepts in art. All artists today represent a bit of themselves in their artwork, almost like a thematic method to creating an art piece. Their identity is what makes them unique next to other artists. An artwork will always have a hint of the artist, such as, their ethnic

In 1948 while living in Japan, Kusama studied the Nihonga style at the Kyoto School of Art and Crafts. A technique which may reference to her work today. This style is a modern simplistic and repetitive approach to art, as the polka dots are to Kusama. We may suggest that some of her techniques of using her medium may embrace from what she learned while studying the Nihonga style.

The Obliteration Room is where Kusama started a project with a white space (representing a living room), with white walls and white furniture to have a space completely white, almost like a primed white canvas. The experience was for the audience to interact with the room by having a sheet of coloured dots to stick wherever they wanted – whether they placed it in no order what so ever or to create a pattern on the wall or on the furniture. The curational aspect was up to the audience and the creation of the polka dots was up to the artist in selection of size and colours that Kusama wanted the spots to

The town is known for the craftmanship of porcelain for the Emperor’s court. Being able to work in this town with the community that lives there, Weiwei wanted to adapt old techniques to today’s modern world. The amount of seeds needed to create such an extensive installation, Weiwei employed more than 1600 people to help him create this project. While bringing the community together the artist was also helping them to gain money, as many families were bankrupted and they felt happy to help him in such an elaborate journey. Bringing old traditions to the surface and teaching them to the new generation where the old techniques will keep on being