Still working in feverish catharsis at the age of 82, Yayoi Kusama is Japan’s most famous living artist. Yet in the United States she has only recently received a slice of the recognition that her expansive body of work and visionary approach deserve. Following a critically acclaimed retrospective at the Whitney last year, Kusama was picked up by David Zwirner in early 2013. For her[…..]

In contemporary U.S. culture, abstract art is difficult for many to grasp because it so completely defeats the imposition of language on art that cultural meaning falls away. If abstract art asserts meaning at all, it does so elliptically, circling around, not toward, the identifiable expression of objects, events, people, experiences, emotions, or ideas that representational art depicts. In a sense, then, abstract art is[…..]

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley Within the past five years two all-male bands have covered the ire-raising, too-sweet-for-comfort single by The Crystals, “He Hit Me (And it Felt Like a Kiss).” Carole King and Gerry Goffin purportedly wrote the song after learning singer Little Eva had been beaten, multiple times, by her boyfriend, though Eva claimed the[…..]

Japan is utterly strange, if we are to follow in the footsteps of Bill Murray and Scarlett Johansson in Sofia Coppola’s Lost in Translation (2003) as visitors to a country for whose culture and language have (nor do they want to have) absolutely no affinity. Yet their acute sense of dislocation and turmoil in which we are caught up simply play out at the fringes[…..]