http://www.artsconnected.org/resource/90688/yayoi-kusama-oven-pan-1963 ArtsConnectEd.org Art Collector Set: Yayoi Kusama, <i>Oven-Pan</i> (1963) http://www.artsconnected.org/images/favicon.png http://www.artsconnected.org/resource/90688/yayoi-kusama-oven-pan-1963 16 16 http://www.artsconnected.org/resource/90688/yayoi-kusama-oven-pan-1963 Mon, 01 Jun 1998 00:00:00 -0400 <table cellspacing="0"> <tr> <td class="detail_label">Title</td> <td><h3>Yayoi Kusama, <i>Oven-Pan</i> (1963)</h3></td> </tr> <tr> <td class="detail_label">Author</td> <td><h3>Walker Art Center</h3></td> </tr> <tr> <td class="detail_label">Date</td> <td><h3>1998</h3></td> </tr> <tr> <td class="detail_label" style="padding-right:7px;">Institution</td> <td>Walker Art Center</td> </tr> </table><br/>"Dismantling and accumulating, proliferating and separating, the sense of obliterating and the sounds from the invisible cosmos. What are all these things?"--Yayoi Kusama <p>At age 27, Yayoi Kusama left her native Japan for New York and quickly established a reputation for herself in avant-garde art circles. Though her work has elements of Pop, Fluxus, Minimalism, and Surrealism, it is distinct in its obsessive, often sexually charged sensibility.</p> <p><i>Oven-Pan</i> is part of a continuing body of works, begun in 1962, which Kusama calls "aggregation sculptures," "accumulation sculptures," or "compulsion furniture." Often, they combine an object associated with women's work--in this case, a metal "oven pan"--with a covering of stuffed, phallic protrusions. At times, Kusama has expanded these works to room-sized installations in which the environment becomes a field of obliterating, menacing proliferations.</p> http://www.artsconnected.org/resource/90688/yayoi-kusama-oven-pan-1963 "Dismantling and accumulating, proliferating and separating, the sense of obliterating and the sounds from the invisible cosmos. What are all these things?"--Yayoi Kusama At age 27, Yayoi Kusama left her native Japan for New York and quickly established a reputation for herself in avant-garde art circles. Though her work has elements of Pop, Fluxus, Minimalism, and Surrealism, it is distinct in its obsessive, often sexually charged sensibility. Oven-Pan is part of a continuing body of works, begun in 1962, which Kusama calls "aggregation sculptures," "accumulation sculptures," or "compulsion furniture." Often, they combine an object associated with women's work--in this case, a metal "oven pan"--with a covering of stuffed, phallic protrusions. At times, Kusama has expanded these works to room-sized installations in which the environment becomes a field of obliterating, menacing proliferations. " type="image/jpeg" />"Dismantling and accumulating, proliferating and separating, the sense of obliterating and the sounds from the invisible cosmos. What are all these things?"--Yayoi Kusama At age 27, Yayoi Kusama left her native Japan for New York and quickly established a reputation for herself in avant-garde art circles. Though her work has elements of Pop, Fluxus, Minimalism, and Surrealism, it is distinct in its obsessive, often sexually charged sensibility. Oven-Pan is part of a continuing body of works, begun in 1962, which Kusama calls "aggregation sculptures," "accumulation sculptures," or "compulsion furniture." Often, they combine an object associated with women's work--in this case, a metal "oven pan"--with a covering of stuffed, phallic protrusions. At times, Kusama has expanded these works to room-sized installations in which the environment becomes a field of obliterating, menacing proliferations. " type="image/jpeg" />Copyright 1998 Walker Art CenterWalker Art Center