{"id":15114,"date":"2014-04-09T02:37:13","date_gmt":"2014-04-09T01:37:13","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15114"},"modified":"2014-04-09T02:37:13","modified_gmt":"2014-04-09T01:37:13","slug":"kusamas-self-obliteration-a-film-by-jud-yalkut","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/04\/09\/kusamas-self-obliteration-a-film-by-jud-yalkut\/","title":{"rendered":"Kusama\u2019s Self-Obliteration, a film by Jud Yalkut"},"content":{"rendered":"<p><a href=\"http:\/\/www.youtube.com\/watch?v=n6wnhLqJqVE\" target=\"_blank\"><img decoding=\"async\" alt=\"kusama1.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/04\/kusama1.jpg\" \/><\/a><\/p>\n<p>Yayoi Kusama&#8217;s art has often been classed as psychedelic\u2014some of her mirrored rooms were featured in the travelling <em>Summer of Love<\/em> exhibition in 2005\u2014but this is more a consequence of her activities meshing with the interests of the late 60s than anything else; her preoccupations always seem a lot more personal and obsessive. Jud Yalkut&#8217;s short film shows Kusama and various friends cavorting in typical underground-movie fashion in 1967, the main indicator of the artist&#8217;s involvement being her sticking polka dots (and leaves) onto everything: trees, people, cats, horses, even a river. Later on there&#8217;s more polka-dotting at some kind of body-paint happening inside one of her mirrored rooms. The film itself is pretty psychedelic in the second half, looking like outtakes from Roger Corman&#8217;s <em>The Trip<\/em>. The of-the-moment score was provided by The CIA Change, whoever they were. Watch it <a href=\"http:\/\/www.youtube.com\/watch?v=n6wnhLqJqVE\" target=\"_blank\">here<\/a>.<\/p>\n<p><a href=\"http:\/\/www.youtube.com\/watch?v=n6wnhLqJqVE\" target=\"_blank\"><img decoding=\"async\" alt=\"kusama2.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/04\/kusama2.jpg\" \/><\/a><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/03\/08\/infinite-reflections\/\">Infinite reflections<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2008\/02\/19\/yayoi-kusama\/\">Yayoi Kusama<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/11\/26\/the-art-of-yayoi-kusama\/\">The art of Yayoi Kusama<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yayoi Kusama&#8217;s art has often been classed as psychedelic\u2014some of her mirrored rooms were featured in the travelling Summer of Love exhibition in 2005\u2014but this is more a consequence of her activities meshing with the interests of the late 60s than anything else; her preoccupations always seem a lot more personal and obsessive. Jud Yalkut&#8217;s &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/04\/09\/kusamas-self-obliteration-a-film-by-jud-yalkut\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Kusama\u2019s Self-Obliteration, a film by Jud Yalkut&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,7,17],"tags":[5958,271],"class_list":["post-15114","post","type-post","status-publish","format-standard","hentry","category-art","category-film","category-psychedelia","tag-jud-yalkut","tag-yayoi-kusama"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3VM","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=15114"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15114\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}