Daido Moriyama (Ikeda, Osaka, 1938) lives and works in Tokyo. He first trained in graphic design before taking up photography under Takeji Iwamiya and Eikoh Hosoe as an assistant. He became an independent photographer in 1964, publishing Nippon Gekij Shashinch (Japan Theater Photo Album) in 1968 and Shashin yo Sayounara (Farewell Photography) in 1972; the work showed the darker sides of urban life and the city. He has had a radical impact on the photographic and art world in both Japan and in the West, with his expressive style of ‘are, bure, boke’ (rough, blurred and out-of-focus) and of quick snapshots without looking in the viewfinder.


Kusama started creating art at an early age and began writing poetry at age 18. Her mother was apparently physically abusive, and Kusama remembers her father as the type who would play around, who would womanize a lot.


When she was ten years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dense fields of dots".


“Polka dots can’t stay alone,” Japanese artist Yayoi Kusama once said of her attraction to the pattern that dominates her work. The artist thinks that her obsessive-compulsive disorder fuels her creativity.


In 1977 Kusama chose to move into a mental hospital. She still lives there today, producing new art from a nearby studio. A 2012 retrospective of her work featured abstract paintings, sculptures covered in phallic shapes and installations. “I have been grappling with art as a therapy for my disease,” she said in an interview. “I create art for the healing of all mankind.”


Yamamoto was born in 1957 in Gamagori City in Aichi Prefecture, Japan. He began his art studies as a painter, studying oil painting under Goro Saito in his native city. He presently uses photography to capture images evoking memories. He blurs the border between painting and photography, by experimenting with printing surfaces. He dyes, tones, paints on, and tears his photographs. His subjects include still-lives, nudes, and landscapes. He also makes installation art with his small photographs to show how each print is part of a larger reality.









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Louise Bourgeois was named after her father who wanted a boy. By 1924 her father, a tyrannical philanderer, was indulging in an extended affair with her English teacher and nanny. According to Bourgeois, her mother, Josephine, “an intelligent, patient and enduring, if not calculating, person,” was aware of her husband's infidelity, but found it easier to turn a blind eye. Bourgeois, an alert little girl, hoarded her memories in her diaries. As a result, she wished to execute manipulation in a similar manner; the medium became sculpture. Her father’s affair became the weapon in this revenge. Sculpture enables one to overcome the problem by displacing it; which finally allows the freedom to do what good manners forbade the child to do.


As a child, Bourgeois did not meet her father's expectations due to her lack of ability. Eventually, he came to adore her for her talent and spirit, but she continued to hate him for his explosive temper, domination of the household, and for teasing her in front of others.