<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to showcase how she addressed various aspects of identity during her time in the U.S., and how she expressed social critique by means of bodily performance. In this article I will analyse and interpret one photograph by the artist previously discussed in my master’s thesis, an image of the so-called Presidential Orgy, a series of happenings staged in Kusama’s studio in 1968. I apply the method of visual analysis and draw on a variety of sources, both literary and visual, to give insight into the historical background, since it is crucial not to look at Kusama’s artworks as isolated objects. Rather, we need to understand that rapid changes in the art world, as well as in gender relations, the rise of popular media, and major societal events like the changes in the aftermath of World War II on the one hand, and the ongoing Vietnam War on the other, were pivotal factors causing cultural upheavals that became important themes in Kusama’s art in the 1960s.</p>
</abstract>

The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to showcase how she addressed various aspects of identity during her time in the U.S., and how she expressed social critique by means of bodily performance. In this article I will analyse and interpret one photograph by the artist previously discussed in my master’s thesis, an image of the so-called Presidential Orgy, a series of happenings staged in Kusama’s studio in 1968. I apply the method of visual analysis and draw on a variety of sources, both literary and visual, to give insight into the historical background, since it is crucial not to look at Kusama’s artworks as isolated objects. Rather, we need to understand that rapid changes in the art world, as well as in gender relations, the rise of popular media, and major societal events like the changes in the aftermath of World War II on the one hand, and the ongoing Vietnam War on the other, were pivotal factors causing cultural upheavals that became important themes in Kusama’s art in the 1960s.

Ambivalent Identity: Kusama Yayoi’s Intersectional Body Art of the 1960s

Vienna Journal of East Asian Studies

This work is licensed under the Creative Commons Attribution 4.0 International License.

{"article-title":"Ambivalent Identity: Kusama Yayoi\u2019s Intersectional Body Art of the 1960s"}

The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to...

Ambivalent Identity: Kusama Yayoi’s Intersectional Body Art of the 1960s

Pubblicato online: 13 ago 2021

Pagine: 34 - 58

Ricevuto: 22 gen 2021

Accettato: 19 mag 2021

DOI: https://doi.org/10.2478/vjeas-2021-0002

Parole chiave
intersectionality, identity, body art, Kusama Yayoi, 1960s

© 2021 Lisa Braitner, published by Sciendo

This work is licensed under the Creative Commons Attribution 4.0 International License.

Ambivalent Identity: Kusama Yayoi’s Intersectional Body Art of the 1960s

Pubblicato online: 13 ago 2021

Pagine: 34 - 58

Ricevuto: 22 gen 2021

Accettato: 19 mag 2021

DOI: https://doi.org/10.2478/vjeas-2021-0002

Parole chiaveintersectionality, identity, body art, Kusama Yayoi, 1960s

© 2021 Lisa Braitner, published by Sciendo

This work is licensed under the Creative Commons Attribution 4.0 International License.

Parole chiave
intersectionality, identity, body art, Kusama Yayoi, 1960s