Installation view of Narcissus Garden by Yayoi Kusama at the 33th Venice Biennale, 1966
Yayoi Kusama reclining on Accumulation No. 2, 1966
Photograph by Hal Reiff
Kusama’s Peep Show or Endless Love Show by Yayoi Kusama, 1966
Yayoi Kusama with Accumulation No.2 at her studio in New York, 1962-1964
Yayoi Kusama with sculptures in her New York studio, 1963
Yayoi Kusama with Infinity Mirrored Room - Love Forever installed for the 1966 solo exhibition Peep Show/Endless Love Show at Castellane Gallery, New York
"The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. My family was in the business of tapestry restoration, and my mother was in charge of the workshop. Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother."
Ann Slavit’s inflatable vinyl sculpture Della Street, exhibited at Museum of Contemporary Crafts, New York City, 1978
Photograph by Elliott Erwitt
Untitled (Ruth Asawa holding a looped wire sculpture) by Imogen Cunningham, 1952
Simon Schubert - Eins, zwei, drei…, 2008
Louise Bourgeois (French-American, 1911-2010) - Maman, 1999 Sculpture: Steel, Marble
Kusama in Phalli’s Field by Eikoh Hosoe, 1965
Tragic Anatomies by Jake and Dinos Chapman, 1996
The Chapmans’ aim is to unearth the contradictions and hypocrisies present in contemporary culture, posing questions but providing no answers.
“There’s nothing we’ve done here that can rival the darkness of the imaginations of children. They aren’t the innocents that adults want them to be.” -J.C.
2. Mirror, Mirror On The Floor Your Dad’s A Prick Your Mom’s A Whore
3. Catherine Milner
Fibreglass, resin and paint
Le genie de l’espece by Wolfgang Paalen, 1938
[T]he surrealist use of bones as material in connection with war and destruction becomes evident in Wolfgang Paalen’s 1938 bone pistol Le Genie de l’Espece, dating from the eve of the Second World War. In this work, chicken bones simulate the shape of the deadly weapon in the moulded trough of a velvet-lined pistol casket. Cause and effect seem to be coalesced in a matrix - the bones, arranged as a fantastic firearm, present death as the deliberate intention and inevitable result of the use of weaponry and are thus meant as an unmistakeable warning of conflict resolution by force. [ftp]
Penny Slinger with her sculpture ‘Fruit of My Womb’ in Knave magazine, Spring 1973.