Contemporary Art by Christine Girl White Umbrella Red Dress

Japanese artist and writer

"Kusama" redirects here. For the film director, see Karyn Kusama.

Yayoi Kusama 草間 彌生
Kusama in 2016
Born	Yayoi Kusama (草間 彌生) (1929-03-22) 22 March 1929 (historic period 93) Matsumoto, Nagano, Empire of Nippon
Nationality	Japanese
Known for	Painting cartoon sculpture installation fine art operation art picture show fiction fashion writing
Move	Pop art minimalism feminist fine art ecology art
Awards	Praemium Imperiale
Website	www.yayoi-kusama.jp

Yayoi Kusama ( 草間 彌生 , Kusama Yayoi , born 22 March 1929) is a Japanese gimmicky artist who works primarily in sculpture and installation, but is also active in painting, functioning, video art, fashion, poetry, fiction, and other arts. Her piece of work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Fine art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as 1 of the virtually important living artists to come out of Japan.^[1]

Kusama was raised in Matsumoto, and trained at the Kyoto City Academy of Arts in a traditional Japanese painting way chosen nihonga.^[2] Kusama was inspired, however, past American Abstruse impressionism. She moved to New York Urban center in 1958 and was a part of the New York advanced scene throughout the 1960s, especially in the pop-art motility.^[3] Embracing the rise of the hippie counterculture of the late 1960s, she came to public attending when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots.^{[iv] [5]} Since the 1970s, Kusama has connected to create art, about notably installations in various museums around the world.^[six]

Kusama has been open almost her mental health. She says that art has become her way to express her mental problems.^[7] She reported in the interview she did with Infinity Net "I fight pain, anxiety, and fright every twenty-four hours, and the only method I have establish that relieved my illness is to keep creating art. I followed the thread of fine art and somehow discovered a path that would allow me to live."^[8]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano.^[9] Born into a family of merchants who owned a plant nursery and seed subcontract,^[x] Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career.^[7] Her mother was not supportive of her creative endeavors; Kusama would rush to finish her art because her mother would take it away to discourage her.^[11] Her mother was likewise plain physically abusive,^[12] and Kusama remembers her begetter as "the blazon who would play around, who would womanize a lot".^[10] The artist says that her mother would often transport her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male person'southward lower trunk and the phallus: "I don't similar sex. I had an obsession with sexual practice. When I was a kid, my father had lovers and I experienced seeing him. My female parent sent me to spy on him. I didn't want to have sex activity with anyone for years [...] The sexual obsession and fear of sex sit adjacent in me."^[xiii] Her traumatic childhood, including her fantastic visions, can exist said to be the origin of her creative style.^[xiv]

When Kusama was ten years old, she began to experience bright hallucinations which she has described every bit "flashes of calorie-free, auras, or dense fields of dots".^[15] These hallucinations too included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,^[16] a procedure which she has carried into her artistic career and which she calls "self-obliteration".^[17] Kusama's art became her escape from her family and her own listen when she began to have hallucinations.^[11] She was reportedly fascinated past the polish white stones roofing the bed of the river near her family home, which she cites as another of the seminal influences behind her lasting fixation on dots.^[18]

When Kusama was xiii, she was sent to work in a military factory where she was tasked with sewing and fabricating parachutes for the Japanese regular army, then embroiled in Earth War II.^[ane] Discussing her time in the factory, she says that she spent her boyhood "in closed darkness" although she could always hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight.^[1] Her childhood was greatly influenced by the events of the state of war, and she claims that it was during this period that she began to value notions of personal and artistic freedom.^[18]

She went on to written report Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948.^[19] Frustrated with this distinctly Japanese manner, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.^[20]

Early success in Nippon: 1950–1956 [edit]

By 1950, she was depicting abstract natural forms in water colour, gouache, and oil pigment, primarily on paper. She began covering surfaces—walls, floors, canvases, and later, household objects, and naked administration—with the polka dots that would become a trademark of her work.

The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded piece of work in which she incorporated these dots was a drawing in 1939 at age 10, in which the epitome of a Japanese woman in a kimono, presumed to be the creative person's mother, is covered and obliterated past spots.^[21] Her first series of big-scale, sometimes more than xxx ft-long canvass paintings,^[22] Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

On her 1954 painting Flower (D.Due south.P.South) Kusama has said:

One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked upwardly I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt equally if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. Equally I realised information technology was actually happening and non just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I roughshod down the stairs spraining my ankle.^[23]

New York City: 1957–1972 [edit]

An Infinity Room installation

Later living in Tokyo and France, Kusama left Japan at the age of 27 for the United states of america. She has stated that she began to consider Japanese society "likewise small, besides servile, too feudalistic, and too scornful of women".^[15] Before leaving Japan to the U.s.a., she destroyed many of her early works.^[24] In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.^[25] She stayed at that place for a year^[sixteen] before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice.^[26] During her time in the US, she chop-chop established her reputation equally a leader in the avant-garde movement and received praise for her piece of work from the anarchist fine art critic Herbert Read.^[27]

In 1961 she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend.^[28] In the early 1960s Kusama began to create so-called soft sculptures by covering items such equally ladders, shoes and chairs with white phallic protrusions.^[29] Despite the micromanaged intricacy of the drawings, she turned them out fast and in majority, establishing a rhythm of productivity which she however maintains. She established other habits too, like having herself routinely photographed with new piece of work^[16] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.^[13]

A polka-dot has the grade of the dominicus, which is a symbol of the free energy of the whole world and our living life, and besides the form of the moon, which is at-home. Round, soft, colorful, senseless and unknowing. Polka-dots become move ... Polka dots are a style to infinity.

—Yayoi Kusama, in Manhattan Suicide Aficionado^[thirty]

Since 1963, Kusama has continued her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing within on a small platform, an observer sees lite repeatedly reflected off the mirrored surfaces to create the illusion of a never-catastrophe space.^[31]

During the following years, Kusama was enormously productive, and by 1966 she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell amidst her friends and supporters. Yet, she did not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to aid Kusama stave off financial hardship.^[19] She was non able to make the money she believed she deserved, and her frustration became and so extreme that she attempted suicide.^[xi]

In the 1960s, Kusama organized outlandish happenings in conspicuous spots similar Central Park and the Brooklyn Bridge, often involving nudity and designed to protestation the Vietnam State of war. In one, she wrote an open up letter to Richard Nixon offering to have sexual practice with him if he would stop the Vietnam war.^[22] Betwixt 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, every bit in the Grand Orgy to Awaken the Dead at the MoMA (1969), which took identify at the Sculpture Garden of the Museum of Modern Fine art.^[29] During the unannounced issue, eight performers under Kusama'due south direction removed their vesture, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.^[32]

In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Self-obliteration at 33 Walker Street in New York and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore East in New York Urban center.^[19] She opened naked painting studios and a gay social lodge called the Kusama 'Omophile Kompany (kok).^[33] The nudity present in Kusama'due south art and fine art protests was severely shameful for her family unit. This made her feel alone, and she attempted suicide again.^[11]

In 1966, Kusama first participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpeting". As presently as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a aureate kimono,^[22] began selling each individual sphere for ane,200 lire (US$2), until the Biennale organizers put an stop to her enterprise. Narcissus Garden was every bit much nigh the promotion of the artist through the media every bit it was an opportunity to offer a critique of the mechanization and commodification of the art market.^[34]

During her time in New York, Kusama had a cursory human relationship with artist Donald Judd.^[35] She then began a passionate, but ideal, relationship with the surrealist artist Joseph Cornell. She was 26 years his junior – they would telephone call each other daily, sketch each other, and he would send personalized collages to her. Their lengthy clan would last until his death in 1972.^[35]

Render to Japan: 1973–1977 [edit]

In 1973, Kusama returned in ill health to Japan, where she began writing shockingly visceral and surrealistic novels, short stories, and poetry. In 1977, Kusama checked herself into a infirmary for the mentally ill, where she eventually took up permanent residence. She has been living at the hospital since, by selection.^[36] Her studio, where she has connected to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.^[37] Kusama is often quoted every bit saying: "If information technology were non for art, I would have killed myself a long time ago."^[38]

From this base of operations, she has connected to produce artworks in a diverseness of media, as well as launching a literary career by publishing several novels, a poetry collection, and an autobiography.^[12] Her painting style shifted to high-colored acrylics on canvas, on an amped-upwardly scale.^[16]

Revival: 1980s–nowadays [edit]

Her organically abstract paintings of one or two colors (the Infinity Nets series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international involvement.^[39] Yayoi Kusama: A Retrospective was the first critical survey of Yayoi Kusama presented at the Centre for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.^{[40] [41]}

Following the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with small pumpkin sculptures in which she resided in color-coordinated sorcerer's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to represent for her a kind of alter-ego or cocky-portrait.^[42] Kusama's afterward installation I'm Here, but Zippo (2000–2008) is a simply furnished room consisting of table and chairs, identify settings and bottles, armchairs and rugs, however its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV light. The result is an endless infinite infinite where the self and everything in the room is obliterated.^[43]

Narcissus Garden (2009), Instituto Inhotim, Brumadinho, Brazil

The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. Perchance one of Kusama's most notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.^[44]

In her ninth decade, Kusama has connected to work every bit an artist. She has harkened back to earlier work by returning to drawing and painting; her piece of work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-canvas works. Besides featured was an exploration of infinite space in her Infinity Mirror rooms. These typically involve a cube-shaped room lined in mirrors, with h2o on the floor and flickering lights; these features propose a blueprint of life and death.^[45]

In 2015-2016 the showtime retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to four major museums in the region, opening at Louisiana Museum of Modern Fine art in Denmark and continuing to Henie Onstad Kunstsenter Museum, Norway, Moderna Museet in Sweden, and Helsinki Art Museum in Finland. This major show contained more than than 100 objects and big scale mirror room installations. It presented several early works that had not been shown to the public since they were first created, including a presentation of Kusama'south experimental mode design from the 1960s.

In 2017, a l-year retrospective of her work opened at the Hirshhorn Museum in Washington, DC. The showroom featured six Infinity Mirror rooms, and was scheduled to travel to v museums in the US and Canada.^{[46] [47]}

On 25 February 2017, Kusama'due south All the Eternal Beloved I Accept for the Pumpkins showroom, ane of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily airtight for three days following harm to i of the showroom's glowing pumpkin sculptures. The room, which measures 13 square feet (1.ii chiliad²) and was filled with over sixty pumpkin sculptures, was one of the museum's almost popular attractions e'er. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a bear witness with that kind of visitor demand", with the room averaging more than than 8,000 visitors between its opening and the engagement of its temporary closing. While there were conflicting media reports about the cost of the damaged sculpture and how exactly it was cleaved, Allison Peck stated that "at that place is no intrinsic value to the private piece. Information technology is a manufactured component to a larger slice." The exhibit was reconfigured to make up for the missing sculpture, and a new one was to be produced for the showroom by Kusama.^[48] The Infinity Mirrors exhibit became a sensation among art critics besides equally on social media. Museum visitors shared 34,000 images of the exhibition to their Instagram accounts, and social media posts using the hashtag #InfiniteKusama garnered 330 million impressions, every bit reported by the Smithsonian the day afterwards the exhibit's closing.^[49] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.^[l]

Also in 2017, the Yayoi Kusama Museum opened in Tokyo, featuring her works.^[51]

On 9 November 2019, Kusama's Everyday I Pray For Love exhibit was shown at David Zwirner Gallery until 14 December 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied by a catalogue published by David Zwirner books containing texts and poems from the artist. This exhibition also included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW Upwardly TO THE UNIVERSE, 2019.^[52]

In January 2020, the Hirshhorn appear it would debut new Kusama acquisitions, including two Infinity Mirror Rooms, at a forthcoming exhibition chosen Ane with Eternity: Yayoi Kusama in the Hirshhorn Collection.^[53] The name of the exhibit is derived from an open up letter Kusama wrote to then-President Richard Nixon in 1968, writing: "allow's forget ourselves, dearest Richard, and become one with the absolute, all together in the birthday."^[54]

In November 2021,^[55] a awe-inspiring exhibition offer an overview of Kusama'southward master creative periods over the past 70 years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost three,000 m² across the Museum's two buildings, in six galleries and includes 2 new works: A Bouquet of Love I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her piece of work [edit]

Curator Mika Yoshitake has stated that Kusama's works on display are meant to immerse the whole person into her accumulations, obsessions, and repetitions. These space, repetitive works were originally meant to eliminate Kusama's intrusive thoughts, only she now shares it with the world.^[56] Claire Voon has described ane of Kusama'due south mirror exhibits as being able to "transport you to serenity creation, to a alone labyrinth of pulsing light, or to what could be the enveloping innards of a leviathan with the measles".^[57]

Creating these feelings amongst audiences was intentional. These experiences seem to exist unique to her work because Kusama wanted others to sympathise with her in her troubled life.^[57] Bedatri D. Choudhury has described how Kusama's lack of feeling in control throughout her life fabricated her, either consciously or subconsciously, want to command how others perceive time and infinite when inbound her exhibits. This statement seems to imply that without her trauma, Kusama would not accept created these works as well or perhaps not at all. Art had get a coping mechanism for Kusama.^[58]

Works and publications [edit]

Performance [edit]

In Yayoi Kusama's Walking Piece (1966), a performance that was documented in a series of xviii color slides, Kusama walked forth the streets of New York City in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, however, was made to look inauthentic, as information technology was actually a black umbrella, painted white on the outside and decorated with false flowers. Kusama walked down unoccupied streets in an unknown quest. She so turned and cried without reason, and eventually walked away and vanished from view.

This performance, through the association of the kimono, involved the stereotypes that Asian-American women continued to face up. However, equally an avant-garde artist living in New York, her state of affairs altered the context of the dress, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audition categorized her, by showing the absurdity of culturally categorizing people in the earth'south largest melting pot.^[59]

Film [edit]

In 1968, Kusama and Jud Yalkut'south collaborative work Kusama's Self-Obliteration won a prize at the Fourth International Experimental Film Competition in Belgium^[threescore] and the Second Maryland Movie Festival and the 2d prize at the Ann Arbor Motion picture Festival. The 1967 experimental film, which Kusama produced and starred in, depicted Kusama painting polka dots on everything effectually her including bodies.^[60]

In 1991, Kusama starred in the film Tokyo Decadence, written and directed past Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.^{[nineteen] [61]}

Fashion [edit]

In 1968, Kusama established Kusama Manner Company Ltd, and began selling avantgarde way in the "Kusama Corner" at Bloomingdales.^[62] In 2009, Kusama designed a handbag-shaped cell telephone entitled Pocketbook for Space Travel, My Doggie Band-Band, a pinkish dotted phone in accompanying dog-shaped holder, and a red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Total Happiness With Dots, for Japanese mobile communication behemothic KDDI Corporation'southward "iida" brand.^[63] Each telephone was express to ane,000 pieces.

In 2011, Kusama created artwork for 6 limited-edition lipglosses from Lancôme.^[64] That same year, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products,^[65] including leather goods, ready-to-wearable, accessories, shoes, watches, and jewelry.^[66] The products became bachelor in 2012 at a SoHo pop-upward store, which was decorated with Kusama's trademark tentacle-like protrusions and polka-dots. Eventually, six other popular-up shops were opened around the world. When asked about her collaboration with Marc Jacobs, Kusama replied that "his sincere mental attitude toward fine art" is the same as her ain.^[67]

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled 7. 1 year later, her kickoff novel Manhattan Suicide Addict appeared. Betwixt 1983 and 1990, she finished the novels The Hustler's Grotto of Christopher Street (1983), The Burning of St Mark'south Church building (1985), Between Heaven and World (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), aslope several issues of the magazine South&Thou Sniper in collaboration with photographer Nobuyoshi Araki.^[19] Her most contempo writing try includes her autobiography Infinity Net ^[68] published in 2003 that depicts her life from growing up in Nippon, her difference to the United States, and her render to her dwelling land, where she now resides. Infinity Net too includes some of the artist's poetry and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, more often than not in the form of brightly hued monstrous plants and flowers, for public and private institutions including Pumpkin (1994) for the Fukuoka Municipal Museum of Fine art; The Visionary Flowers (2002) for the Matsumoto City Museum of Art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, France; Pumpkin (2006) at Bunka-mura on Benesse Island of Naoshima; Hello, Anyang with Honey (2007) for Pyeonghwa Park (now referred as Earth Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles.^[69] In 1998, she realized a mural for the hallway of the Gare practice Oriente subway station in Lisbon. Alongside these monumental works, she has produced smaller scale outdoor pieces including Central-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, so painted in urethane to sleeky perfection.^[70]

In 2010, Kusama designed a Town Sneaker styled motorbus, which she titled Mizutama Ranbu (Wild Polka Dot Dance) and whose route travels through her hometown of Matsumoto.^[nineteen] In 2011, she was commissioned to design the front embrace of millions of pocket London Underground maps; the issue is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the artist's work at the Whitney Museum of American Art in 2012, a 120-foot (37 grand) reproduction of Kusama's painting Yellow Trees (1994) covered a condominium building under structure in New York's Meatpacking District.^[71] That same yr, Kusama conceived her floor installation Thousands of Optics as a commission for the new Queen Elizabeth II Courts of Law, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, Peel." Zegher, Chiliad. Catherine de. Within the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Printing, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
• Institute of Gimmicky Art, Boston, 30 January – 12 May 1996.
• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, N.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-2 OCLC 42448762
• Robert Miller Gallery, New York, 11 June – seven August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Beloved Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998. ISBN 978-0-875-87181-3 OCLC 39030076
• Los Angeles County Museum of Art, 8 March – eight June 1998; three other locations through four July 1999.
• Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-3-852-47034-4 OCLC 602369060
• Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-2 OCLC 50628150
• Seven European exhibitions in France, Federal republic of germany, Kingdom of denmark, etc.; 2001–2003.
• Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-4-048-53741-4 OCLC 169879689
• Mori Art Museum, vii Feb – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, v June – 22 August 2004.
• Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-4-568-10353-3 OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – 19 Dec 2004; Kyōto Kokuritsu Kindai Bijutsukan, half-dozen January – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 Feb – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 Apr – 3 July 2005; at Matsumoto-shi Bijutsukan, 30 July – 10 October 2005.
• Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-2 OCLC 501970783
• Victoria Miro Gallery, London, ten Oct – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-1-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.
• Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-one-854-37939-9 OCLC 781163109
• Reina Sofia, Madrid, x May – 12 September 2011; Centre Pompidou, Paris, 10 Oct 2011 – 9 January 2012; Whitney Museum of American Fine art, New York, 12 July – xxx September 2012; Tate Modern (London), nine February – v June 2012.
• Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Have Arrived in Sky. New York: David Zwirner, 2014. ISBN 978-0-989-98093-7 OCLC 879584489
• David Zwirner Gallery, New York, 8 November – 21 December 2013.
• Laurberg, Marie: Yayoi Kusama – In Infinity, Kingdom of denmark: Louisiana Museum of Modern Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
• David Zwirner Gallery, New York, ix Nov – fourteen December 2019.^[73]

Analogy work [edit]

• Carroll, Lewis and Yayoi Kusama. Lewis Carroll's Alice's Adventures in Wonderland. London: Penguin Classics, 2012. ISBN 978-0-141-19730-2 OCLC 54167867

Capacity [edit]

• Nakajima, Izumi. "Yayoi Kusama between abstraction and pathology." Pollock, Griselda. Psychoanalysis and the Paradigm: Transdisciplinary Perspectives. Malden, MA: Blackwell Pub, 2006. pp. 127–160. ISBN 978-1-405-13460-6 OCLC 62755557
• Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Autumn." Schulz R, Bonanni G, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-3-835-30423-9 OCLC 429664716
• Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Art and Classical Myth. Farnham, Surrey: Ashgate, 2011. pp. 87–109. ISBN 978-0-754-66974-half-dozen OCLC 640515432

Autobiography, writing [edit]

• Kusama, Yayoi. A Volume of Poems and Paintings. Tokyo: Nihon Edition Fine art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Prototype = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-4-891-94130-vii OCLC 54943729
• Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Mind Books, 1998. ISBN 978-0-965-33043-5 OCLC 82910478
• Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: 3 Novellas. Berkeley, Calif: Wandering Mind Books, 1998. ISBN 978-0-965-33042-8 OCLC 45665616
• Kusama, Yayoi. Infinity Net: The Autobiography of Yayoi Kusama. Chicago: The University of Chicago Press, 2011. ISBN 978-0-226-46498-5 OCLC 711050927
• Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-2-840-66115-3 OCLC 420073474

Catalogue raisonné, etc. [edit]

• Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992. ISBN 978-4-872-42023-four OCLC 45198668
• Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon Press, 2003. ISBN 978-0-714-83920-2 OCLC 749417124
• Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Furniture by Graf: Decorative Way No. iii. Tōkyō: Seigensha Art Publishing, 2003. ISBN 978-4-916-09470-4 OCLC 71424904
• Kusama, Yayoi. Kusama Yayoi zen hangashū, 1979–2004 = All Prints of Kusama Yayoi, 1979–2004. Tōkyō: Abe Shuppan, 2006. ISBN 978-four-872-42174-3 OCLC 173274568
• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Press, 2017. ISBN 978-0-714-87345-9 OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-three-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an artist's co-op. She showed a series of white cyberspace paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella then acquired paintings from the show).^[21] Kusama has since exhibited work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting alongside European artists including Lucio Fontana, Pol Coffin, Otto Piene, and Gunther Uecker, in 1962 she was the only female artist to accept part in the widely acclaimed Nul (Null) international group exhibition at the Stedelijk Museum in Amsterdam.^[74]

Exhibition list [edit]

Yayoi Kusama'south retrospective exhibition at Tate Modern, London, in early 2012

Yayoi Kusama's Obliteration Room (2015) was inspired past the before Infinity Mirror Room

An exhibition for the HAM art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Self-Obliteration (Operation) at Video Gallery SCAN, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Centre for International Gimmicky Arts, New York
• 1993: Represented Japan at the Venice Biennale
• 1996: Contempo Works at Robert Miller Gallery
• 1998–1999: Retrospective exhibition of work toured the Us and Japan
• 1998: "Dear Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Love Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Modern Art, New York, Walker Art Middle, Minneapolis and Museum of Gimmicky Art, Tokyo)
• 2000: Le Consortium, Dijon
• 2001–2003: Le Consortium – exhibit traveled to Maison de la Civilization du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul
• 2004: KUSAMATRIX, Mori Art Museum, Tokyo
• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Gimmicky Art, Sapporo Art Park, Hokkaido); Eternity – Modernity, National Museum of Modern Art, Tokyo (touring Japan)
• 2007: FINA Festival 2007. Kusama created Guidepost to the New Space, a vibrant outdoor installation for Birrarung Marr abreast the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this fourth dimension displayed as floating "humps" on a lake.^[75]
• 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands
• 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
• August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Eye, out of the eye and Toyota car polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'due south Field. Equally of 13 September of that twelvemonth the mirror room is permanently exhibited in the archway area of the museum.
• July 2011: Museo Reina Sofía, Madrid, Spain
• 2012: Tate Modernistic, London.^[76] Described as "alike to being suspended in a cute cosmos gazing at infinite worlds, or similar a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",^[77] the exhibition features a retrospective spanning Kusama's entire career.
• fifteen July 2013 – iii November 2013: Daegu Art Museum, Daegu, Korea
• xxx June 2013 – 16 September 2013: MALBA, the Latinamerican Art Museum of Buenos Aires, Buenos Aires, Argentina
• 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
• 17 September 2015 – 24 January 2016: In Infinity, Louisiana Museum of Modern Art, Humlebæk, Denmark^[78]
• 12 June – nine Baronial 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Gimmicky Fine art, Moscow, Russian federation. This was the artist'due south first solo exhibition in Russia.^[79]
• 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
• 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
• 12 June – eighteen September 2016: Kusama: At the Cease of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• 1 May 2016 – xxx Nov 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.
• 25 May 2016 – 30 July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.
• 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Mod Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.^[lxxx]
• 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Commonwealth of australia.^[81]
• 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum evidence originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[82] [47]}
• xxx June 2017 – ten September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Fine art Museum, Seattle, Washington
• nine June 2017 – 3 September 2017: Yayoi Kusama: Life is the Centre of a Rainbow, National Gallery Singapore.^[83]
• October 2017 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Broad, Los Angeles, California
• October 2017 – Feb 2018: Yayoi Kusama: All the Eternal Love I Have for the Pumpkins, Dallas Museum of Art, Dallas, Texas
• November 2017 – Feb 2018: Yayoi Kusama: Life is the Heart of a Rainbow and Obliteration Room, GOMA, Brisbane, Australia^[84]
• December 2017 – Apr 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
• March 2018 – Feb 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Nippon
• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada
• March–July 2018: Yayoi Kusama: All About My Dear, Matsumoto City Museum of Fine art, Matsumoto, Nagano, Japan
• May–September 2018: Yayoi Kusama: Life is the Heart of a Rainbow, Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Djakarta, Republic of indonesia^[85]
• July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Art, exhibition travels to Cleveland, Ohio
• July–November 2018: Yayoi Kusama: Where The Lights In My Heart Go, exhibition travels to deCordova Museum and Sculpture Park, Lincoln, MA
• 26 July 2018 - Spring 2019: Yayoi Kusama: With All My Love for the Tulips, I Pray Forever ^[86] (2011)
• March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, The Netherlands
• 9 November 2019 – 14 December 2019: Yayoi Kusama: Everyday I Pray For Love, David Zwirner Gallery, New York, NY^[73]
• iv January – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
• 4 April – xix September 2020: Yayoi Kusama: "One with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC^[53]
• 31 July 2020 – 3 January 2021: STARS: 6 Gimmicky Artists from Japan to the World, Tokyo, Nippon^[87]
• x April 2020 – 31 October 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY^{[88] [89]}
• fifteen November 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Fine art, Israel ^{[90] [91]}

Permanent Infinity Room installations [edit]

• Infinity Dots Mirrored Room (1996), Mattress Factory, Pittsburgh, Pennsylvania
• Infinity Mirror Room fireflies on Water (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
• You lot Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona^[92]
• Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Fine art, Humlebæk, Denmark^[93]
• The Souls of Millions of Lite Years Away (2013), The Wide, Los Angeles, California^[47]
• The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Australia, Canberra^[94]
• Phalli's Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
• Dear is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts^[95]
• Calorie-free of Life (2018), Due north Carolina Museum of Art, Raleigh, North Carolina
• Brilliance of the Souls (2019), Museum of Modernistic and Contemporary Fine art in Nusantara (Museum MACAN), Dki jakarta, Indonesia^[96]
• Infinity Mirror Room – Allow's Survive Forever (2019), Art Gallery of Ontario, Toronto, Ontario^[97]

Peer review [edit]

• Applin, Jo. Yayoi Kusama: Infinity Mirror Room – Phallis Field. Afterall, 2012.
• Hoptman, Laura J., et al. Yayoi Kusama. Phaidon Press Limited, 2000.
• Lenz, Heather, director. Infinity. Magnolia Pictures, 2018.

Collections [edit]

Kusama's piece of work is in the collections of museums throughout the earth, including the Museum of Modern Fine art, New York; Los Angeles County Museum of Fine art, Los Angeles; Walker Fine art Middle, Minneapolis; Phoenix Art Museum, Phoenix; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; Utah Museum of Fine Arts, Table salt Lake City, UT; and the National Museum of Modernistic Fine art, Tokyo.

Recognition [edit]

Yayoi Kusama's image is included in the iconic 1972 poster Some Living American Women Artists past Mary Beth Edelson.^[98]

In 2017, a l-year retrospective of Kusama'south work opened at the Hirshhorn Museum in Washington, DC. That same year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at the Museum of Modernistic Fine art (1998), the Whitney Museum (2012), and the Tate Modern (2012).^{[99] [100] [101]} In 2015, the website Artsy named Kusama one of its top 10 living artists of the year.^[102]

Kusama has received many awards, including the Asahi Prize (2001); Ordre des Arts et des Lettres (2003); the National Lifetime Achievement Award from the Order of the Rising Dominicus (2006); and a Lifetime Achievement Laurels from the Women's Caucus for Art.^[103] In October 2006, Kusama became the beginning Japanese woman to receive the Praemium Imperiale, one of Japan'due south highest honors for internationally recognized artists.^[104] She as well received the Person of Cultural Merit (2009) and Ango awards (2014).^[105] In 2014, Kusama was ranked the about popular artist of the year after a record-breaking number of visitors flooded her Latin American bout, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico City received more than viii,500 visitors each day.^[106]

The octogenarian also gained media attention for partnering with the Hirshhorn Museum and Sculpture Garden to make her 2017 Infinity Mirror rooms accessible to visitors with disabilities or mobility issues; in a new initiative among fine art museums, the venue mapped out the half dozen individual rooms and provided handicapped individuals visiting the exhibition access to a complete 360-caste virtual reality headset that immune them to experience every aspect of the rooms,^[107] as if they were actually walking through them.^[108]

Fine art market [edit]

Kusama's work has performed strongly at sale: meridian prices for her work are for paintings from the late 1950s and early 1960s. Every bit of 2012, her work has the highest turnover of whatsoever living woman artist.^[109] In November 2008, Christie'southward New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd,^[19] No. ii, for US$five.i million, then a tape for a living female artist.^[110] In comparing, the highest price for a sculpture from her New York years is £72,500 (US$147,687), fetched past the 1965 wool, pasta, paint and hanger assemblage Golden Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the top price for ane of her sculptures, also at Sotheby's in 2007^[111] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for United states$960,000 at Art Basel/Hong Kong in May 2013, the highest price paid at the show. Kusama became the most expensive living female creative person at sale when White No. 28 (1960) from her signature Infinity Nets serial sold for $seven.1 million at a 2014 Christie'southward auction.^[112]

In pop civilisation [edit]

Anti-graffiti art inspired by Kusama'south polka dot motif serves every bit (from a altitude) camouflage in Idaho (2015)

• Superchunk, an American indie ring, included a song called "Art Class (Song for Yayoi Kusama)" on its Hither's to Shutting Upwardly anthology.^[113]
• In 1967, Jud Yalkut made a motion picture of Kusama titled Kusama'southward Self-Obliteration. ^[114]
• Yoko Ono cites Kusama as an influence.^{[115] [116]}
• The 2004 Matsumoto Performing Art Eye in Kusama's hometown Matsumoto, designed past Toyo Ito, has an entirely dotted façade.^[117]
• She is mentioned in the lyrics of the Le Tigre song "Hot Topic".^[118]
• In 2013, the British indie pop duo The Boy Least Likely To made song tribute to Yayoi Kusama, writing a song specially near her.^[119] They wrote on their blog that they admire Kusama's work because she puts her fears into it, something that they themselves oft practice.^[120]
• The Nels Cline Singers dedicated 1 track, "Macroscopic (for Kusama-san)" of their 2014 anthology, Macroscope to Kusama.^[121]
• Magnolia Pictures released the biographical documentary Kusama: Infinity on 7 September 2018^[122] and a DVD version on 8 January 2019.^[123]
• Veuve Clicquot and Kusama created a limited-edition canteen and sculpture in September 2020.^[124]

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External links [edit]

• Official Site
• YAYOI KUSAMA MUSEUM (English)
• Love Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
• How to Paint Like Yayoi Kusama
• Yayoi Kusama in the drove of The Museum of Modern Art
• [*Women Artists and Postwar Abstraction | HOW TO Run across the art motion with Corey D'Augustine, MoMA
• Phoenix Art Museum online Archived 28 January 2019 at the Wayback Automobile
• Globe is a polka dot. An interview with Yayoi Kusama Video past Louisiana Channel
• BBC NewsNight Yayoi Kusama
• Why Yayoi Kusama matters now more than e'er
• Yayoi Kusama fine art for the Instagram age
• Yayoi Kusama/artnet

ritchienourins.blogspot.com

Source: https://en.wikipedia.org/wiki/Yayoi_Kusama

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