“Accumulations” are what Yayoi Kusama called these multiple soft sculpture phalluses that she patiently sewed and placed in rooms, in platforms mounted on floors and walls, and even in two rowboats. Kusama made these pillow-esque, polka-dotted, cartoon-like, engorged phalluses as a way to get over her fear of sex – and one vintage 1960s photo depicts her lying uncomfortably on top of a patch of them. Much of the wall text at Seattle Art Museum quaintly names them as “tubers”.
By the artist’s request, each installation room was accessible for a timed period, from about 20 – 30 seconds depending on the room. It was fairly disorienting and completely trippy to enter the room, and try to visually make sense of the lights and mirror reflections – literally, the smoke-and-mirrors of it all. The infinity-ness created by multiple mirrors, reflecting yourself in an endless field of phalluses (Phalli’s Field) was reminiscent of being at the Tulip Festival for example…phalluses as far as the eye could see. But I was more interested in the actual sculptures, rather than their reflections. These funny, bumbling things, with their red polka dots scream out as physical comedy. And there was certainly something funny about two lesbians being locked in a room with many dozens of them…
I knew someone once who also made soft sculptures of phalluses. Those were bigger, and more obvious, and clearly were stylized self-portraits of some kind. It was so personal that I was often embarrassed to hear this person talk about his work, because it was essentially like hearing him talk about his own penis. Cringe. (You too, Master of None, bringing your penis’s “gregarious” personality into conversation with women. I wanted to give up watching the show just for that). Kusama’s work was actually smaller (per each phallus), but felt bigger. As flashy as it was, it came from a humble, exploratory place, that was willing to laugh at itself, not a sling-it-around place that needs to stake some kind of claim.
Other accumulations (of memories and associations):
The demand for this exhibition exceeded the open hours of the museum, so we saw this show at about 11:00 PM one evening, when the museum extended their hours. The lines for each viewing room snaked around the larger room of the museum, and because of the wait time and repetitive nature of seeing the same people over and over again as the lines wound around, we found ourselves in lots of friendly conversations. While people had their phones out for photos, it seemed like folks were more engaged with other people in the line, not with staring at their phones. Mia wondered if this was part of the artist’s plan. Maybe it was the festive atmosphere of being in the museum at night. I don’t know why, just an observation.
Mia’s comment that maybe Kusama wanted to foster connections among the viewers as they waited to enter her environments made me think of the architect Paul Rudolph, who designed the buildings on the University of Massachusetts Dartmouth campus. They are not attractive or stately; in fact, I’d consider them visually harsh. But I felt my heart soften toward them a bit when I learned that Rudolph deliberately created hidden or off-kilter building entrances and approaches, the better to engage the then-commuter students in dialogue with each other as they tried to make their way around.
We waited in line for several hours, sitting on the floor. Some people brought special stadium chairs and food, ready to camp out for the duration. I haven’t waited in line like that since sleeping overnight in a sleeping bag on the sidewalk in Washington, DC about 20 years ago. My friend Tribs and I went to see the Van Gogh show at the National Gallery. I’ll never forget the police officers kicking us through our sleeping bags to wake us up in the morning and get us vertical again to clear the sidewalk.
It was in this Kusama line (we were about 200th, according to a count done by one of the museum staff) that Mia and I mapped out the plan to move me into my new studio. If we hadn’t had that time, surrounded by our own and others’ palpable anticipation and excitement at seeing art, we might not have arrived there. Certainly not before she left for Italy, because there were too many other things to do that seemed higher-priority.
So I left this show feeling like I’d been to Infinity, the Tulip Festival, a carnival funhouse, my grad school days, a sidewalk in Washington, DC, and moved a little closer to my wife. I visited in my mind with a couple of old friends (and foes). We made new acquaintances, not friends for life, but friends for an evening, friends we were happy to see again elsewhere in the exhibition. Were these just ultra-personal dots I was connecting, the criss-crossing of random stories that tell me I’m rambling as I’m getting older? Was there something more going on that I was tapping into?
In one of the films, Kusama discussed her desire to add peace and love to the world, saying that each day is a “test for how much I can contribute to society”. If that’s the measuring stick, I believe that all these connections forged that night embody that desire, and prove it true.