Often working with repetition, dots, circles and spheres, Self Obliteration showcases the span of Kusama's work at that time through filmic depictions of her performances and installations. Kusama, born in Japan in 1929, has recently made a come back with exhibitions all over the world since 2010, but prior to her reemergence she had gone into the shadows, mostly of her own depression, since the late 1970s. Of these avant-garde films made in the 1960s, my current favorite is Yayoi Kusama's, Self Obliteration (1967). When access to, and understanding of filmmaking tools were very limited, imagine how much effort it took for a performance artist or an independent filmmaker to successfully execute a watchable film.įilm formats suitable for amateurs were introduced at the turn of the 20th century, but it wasn't until the advent of Kodak's Super 8 in the mid 1960s that easy-to-use cameras became ubiquitous. With this accessibility, American avant-garde artists started using film as a medium for performance more than ever before. During this time, pop art, modernism and feminist art had taken up discussions on 'the image,' the self, and popular culture in general and so film was applied as one of the platforms to further this discussion. But in LA almost everything is about film and television (save for the occasional laser hair removal or cosmetic dentistry advert).īeing surrounded by the effects of Hollywood, I've been thinking about the history of filmmaking. Considering the massive crews it takes to make a blockbuster, and juxtaposing that with prosumer access to filmmaking technology, I've been trying to imagine a time when editing required the actual cutting of film. In San Francisco most ads are tech related, or bills selling alcohol and fancy destination hotels. Coming back to LA after a nearly two year hiatus, I'm strangely feeling more at-home with all the entertainment billboards.
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