From his Room #1, 1964, (in which he moved the contents of his bedroom into a gallery), to his mirrored Room #2, 1966, to his boxes, chair transformations, photographs, Polaroids, and bronzes, Lucas Samaras’ obsession with representing the self has been characterized by a trippiness that transcends the homespun nature of his production. His pin-and-yarn-encrusted boxes echo those of Joseph Cornell, just as his life (as seen through his work) mirrors that artist’s in its insularity and in the belief it seems to evince that all of the material one needs to create art (both psychic and physical) can be found within one’s home. Samaras’ self-involvement and eclectic output have made him an unusually elusive figure despite his fame. The least considered side of his output is probably his paintings, perhaps because, judged by the standards of this medium (and outside the context of his larger
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