ARDEZART

The Japanese avant-garde artist transformed dots, nets and mirrored space into an expansive language of infinity, perception and connection. Image: NGV International. Source: designboom.com . Yayoi Kusama, the Japanese avant-garde artist whose dots, nets and mirrored environments became some of the most recognizable images in contemporary art, has died at 97. Her studio and official website announced that she died at a hospital in Tokyo on August 14, 2026. The announcement did not disclose a cause of death. It also stated that Kusama continued to paint until her final days, maintaining a lifelong commitment to artistic production. Her studio’s announcement was independently reported by the Associated Press . The news closes the life of an artist whose work made repetition feel both intimate and cosmic. Kusama’s motifs were simple: a circle, a line, a net, a mirrored reflection. Yet through obsessive accumulation, these modest elements became environments capable of altering a view...

  The immersive exhibition combines photography, film, sound and movement to translate Chicago’s improvised music culture into a multisensory visual experience. Making sound visible Tangible Sound: Arrival to a Higher Ground asks a simple but productive question: what would music look and feel like if it became a visual environment around the audience? The project combines the work of photographer Lauren Deutsch, filmmaker Jonathan Woods and the Tangible Sound Collaborative. Its focus is Chicago’s creative improvised music community, with sound translated into color, texture and movement. Why the format matters Immersive art is often discussed as a technology category, but the strongest projects use technology as a bridge between disciplines. Here, photography, moving image and sonic experience are not separate exhibits; they are different ways of translating the same cultural source. That approach fits a broader trend in digital and installation art: audiences are increasing...

  Gaku Tada’s stylized Blender animation shows why the most interesting 3D work may be moving away from perfect realism and toward visible artistic authorship. When realism stops being the point One of the most persistent goals in computer graphics has been realism: better materials, better lighting, better simulation and fewer visual clues that an image was rendered. Gaku Tada’s latest Blender work moves in the opposite direction. Creative Bloq highlighted the artist’s new Deep Paint scene on August 5, describing a quiet woodland animation with painterly textures, soft color transitions and an illustration-like finish. The underlying scene still uses the logic of 3D — camera, lighting, geometry and motion — but the image is designed to feel hand-made rather than physically perfect. The 2D–3D boundary keeps dissolving Blender has become particularly interesting for artists who do not want to choose between 2D and 3D. Grease Pencil, non-photoreal rendering workflows and painter...

  Instead of forcing Berlin into one fixed wordmark, the museum’s new identity draws from the city’s signage, architecture and typographic contradictions. A city that refuses a single voice Stadtmuseum Berlin is becoming Berlin Museum, and the institution has paired the new name with an identity designed to behave more like the city than a conventional museum brand. The official museum site says its colors, logos and typefaces are intended to reflect the many stories and perspectives that make up Berlin. Brand studio Stan Hema built the system around typography pulled from the visual memory of the city: U-Bahn signage, historic buildings, streets, shops and everyday lettering. Instead of one immutable wordmark, the identity can change while staying inside a recognizable system. Why the logo count became the headline Creative Bloq notes that the identity combines two typefaces drawn from a pool of nine, producing up to 81 wordmark combinations. That sounds like a direct violati...