I went to the wildly popular (can hardly get a ticket) exhibit called "Infinity Mirrors" by Yayoi Kusama at the Seattle Art Museum last weekend. This photo above shows my favorite part of the exhibit - an all white room that has been transformed by the dot stickers given to the attendees as they pass through the room. I really like the idea of inviting the public to help create a cumulative piece; I also love that the room looks like a Dylan's Candy Bar exploded. I wonder if Dylan Lauren has seen this show. To me, it feels far more connected to candy and whimsy than infinity.
The exhibit is made up of different visual scenarios. Some moments are contained in tiny rooms, where docents allow you to experience the art for a mere 30 seconds. For example, the room (above) called "Phalli's Field" (don't get me started) is an odd collection of polka dot forms. For me, this Wonka-esque room got over-shadowed by our own reflections. It sounds funny, but in this world of using your phone to capture everything, I squandered my 30 seconds trying to get a good picture. Do I want another 30 seconds to just look around and be "in" her infinity? Not really.
This tiny room is called "Aftermath of Obliteration of Eternity, 2009." I loved seeing the golden lights floating everywhere. It is exactly like some images I've seen of sky lanterns being released. Look at this image from the Daily Mail and tell me if this exhibit is not eerily similar to a real life experience. This was the most peaceful room in the collection and closest to what I call beautiful.
I think that my overall response to this exhibit was tempered by the fact that my fellow attendees were downright dead inside. Hundreds of us stood in line waiting for our "7 minutes in Heaven" (Sorry, but it's weird to go in a small room with 3 people and be timed) and no one was talking. No one was pouring out of the room invigorated by the experience. No was shaken or perplexed or wanted to talk about it. They just moved on to the next line. Hmm.
I love going downtown. I love seeing art exhibits, and then giving you my impression. I love the guy in the photo (above) who is smiling so sweetly at me through a window in Yayoi Kauma's art installation. I'm glad I saw it, but I'm not so sure you have to.
I visited the Seattle Art Museum for the first time last week to see the Intimate Impressionism exhibit on loan from the National Gallery of Art in Washington, D.C. I am sharing this photo represent the collection because Oysters, 1862, Edouard Manet is featured on the home page of the art gallery. I have no intention of reproducing the collection without permission, so I'll show you this glimpse above to encourage you to seek out these glorious Impressionist artists on your own.
The limited engagement (October 1, 2015 - January 10, 2016) at the Seattle Art Museum posed a challenge for many art lovers. I know that I tried to make plans with a group of women to see the exhibit together, but the timing was difficult over the busy weeks leading up to the holidays. I made it downtown with Dan and my mom the last Friday night it was open and I am so glad we did.
The exhibit included 68 intimately scaled paintings displayed across many large rooms to accommodate the crowds. There were images that were familiar in style, like Claude Monet's ARGENTEUIL, CA. 1872, that had soft blue skies and white sailboats on a summer day. See some examples of Monet's Argenteuil paintings here.
I didn't realize that the subject matter of this collection would be so broad. When I think of Impressionist, I always think of landscapes. However, this exhibit covered people, pets, food and Degas' ballerinas. I enjoyed the mix and was interested to see how many times I confused Monet, Manet and Pissaro.
I'm sorry to say that the exhibit has closed and that this beautiful collection is on its way back to our nation's capital. It should be on display again as soon as the renovations in the East Wing of the National Gallery of Art are complete.
