Yayoi Kusama
Aftermath of Obliteration of Eternity

Aftermath of Obliteration of Eternity

© Yayoi Kusama

Aftermath of Obliteration of Eternity
Aftermath of Obliteration of Eternity
ArtistJapanese, born 1929
CultureJapanese
Titles
  • Aftermath of Obliteration of Eternity
Date2009
MediumWood, metal, glass mirrors, plastic, acrylic paint, and LED, edition 3/3
DimensionsOverall: 163 1/2 × 163 1/2 × 113 1/4 in. (415.3 × 415.3 × 287.7 cm)
Credit LineMuseum purchase funded by the Caroline Wiess Law Accessions Endowment
Object number2016.34
Current Location
The Nancy and Rich Kinder Building
Gallery 100
On view

Explore Further

Description

Expanding upon
her lifelong obsession with the dissolution of the self into the infinite,
Yayoi Kusama created “Aftermath of Obliteration
of Eternity
the year of her 80th birthday. Viewers are invited to step
into the room and stand on the central platform. Over time a delicate,
shimmering mirage unfolds, as an array of lights ignites and is mirrored on
every surface of the all-encompassing environment.
In less than a minute,
however, all light disappears, and then the cycle starts anew.



Kusama
explains: “
Life is what I always try to understand—its depths and its
mystique of rise and fall. I struggle for it throughout my life. From day to
day, I understand the greatness brought by this mystique as well as that love
is eternal and keeps appearing and disappearing. And what is more, I am very
pleased to be alive after realizing that I have overcome this everyday life and
been able to reach today. Yet we keep flashing, disappearing, and again
blossoming out in this Eternity.”




ProvenanceThe artist; [David Zwirner Gallery, New York]; purchased by MFAH, 2016.
Exhibition History"Yayoi Kusama," Gagosian Gallery, New York, April 16–June 27, 2009.

"Yayoi Kusama: I Want to Live Forever," Padiglione d’Arte Contemporanea, Milan, November 28, 2009–February 14, 2010.

"Kusama: At the End of the Universe," The Museum of Fine Arts, Houston, June 12–September 18, 2016.

"Immersed: Local to Global Art Sensations," McNay Art Museum, San Antonio, June 7–September 2, 2018.

Cataloguing data may change with further research.

If you have questions about this work of art or the MFAH Online Collection please contact us.

Dragon Reflection
Ai Weiwei
2019–2020
Aluminum poles, steel wire, tempered glass mirrors, bamboo, silk, and LED lights
2019.695
Dress
Thea Porter
c. 1968–1970
Printed organdy, metallic thread, mirrors, and velveteen
91.1372.A,.B
Shawl or Cover
19th century
Silk and mirrors
33.74
Transparent Migrations
Amalia Mesa-Bains
2001
Mirrored armoire, 16 glass leaves, wire armatures, small gauze dress, lace mantilla, assorted crytal miniatures, shattered safety glass
2019.28
Paso del Quindío I
José Alejandro Restrepo
1992
Three-channel video installation with sound, edition 3/3 + 1 AP
2013.186
Payment of The Argentine Foreign Debt to Andy Warhol with Corn, The Latin American Gold
Marta Minujín
1985, printed 2010
Series of three digital C-prints registering a 12 shoot performance, edition 3/3 + AP
2022.192.1-.3
Worry Will Vanish Dissolution
Pipilotti Rist
2014
Four-channel video and sound installation, edition 3/3
2017.115
iilaalée = car (goes by itself) + ii = by means of which + dáanniili = we parade
Wendy Red Star
2016
Lithograph in colors and inkjet prints, printed chine-collé, on wove paper, artist's proof 3/3, aside an edition of 20
2019.289
A negra
Carmela Gross
1997/2009
Nylon tulle and iron structure on wheels, edition 3/3
2013.242
Orbit 11
Jennifer Steinkamp
2011
Single-channel video, edition 3/3 + 1 AP
2011.1021
Ascension
Bill Viola
2000
Single-channel video and stereo-sound installation, edition 3/3
2001.152
provided
Lester Rodríguez
2012
Toothpicks on wood, edition 3/3
2015.514