Picture of a Child Hoding a Rainbow Umbrella Art Work

Japanese artist and writer

"Kusama" redirects here. For the film manager, 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 (age 93) Matsumoto, Nagano, Empire of Nihon
Nationality	Japanese
Known for	Painting drawing sculpture installation fine art performance art picture show fiction style writing
Movement	Pop fine art minimalism feminist art environmental art
Awards	Praemium Imperiale
Website	world wide web.yayoi-kusama.jp

Yayoi Kusama ( 草間 彌生 , Kusama Yayoi , born 22 March 1929) is a Japanese gimmicky creative person who works primarily in sculpture and installation, but is also agile in painting, performance, 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, Art Brut, popular art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged equally one of the nigh important living artists to come out of Japan.^[ane]

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts in a traditional Japanese painting style called nihonga.^[2] Kusama was inspired, however, by American Abstract impressionism. She moved to New York City in 1958 and was a part of the New York avant-garde scene throughout the 1960s, peculiarly in the pop-fine art motion.^[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.^{[4] [five]} Since the 1970s, Kusama has continued to create fine art, most notably installations in diverse museums effectually the world.^[vi]

Kusama has been open about her mental health. She says that art has become her way to limited her mental issues.^[7] She reported in the interview she did with Infinity Cyberspace "I fight hurting, feet, and fearfulness every twenty-four hour period, and the simply method I have found that relieved my disease is to go along creating fine art. I followed the thread of art and somehow discovered a path that would allow me to alive."^[8]

Biography [edit]

Early on life: 1929–1949 [edit]

Yayoi Kusama was built-in on 22 March 1929 in Matsumoto, Nagano.^[9] Born into a family of merchants who owned a constitute plant nursery and seed farm,^[10] 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 female parent was not supportive of her creative endeavors; Kusama would blitz to finish her art because her mother would take it away to discourage her.^[11] Her mother was also patently physically calumniating,^[12] and Kusama remembers her father as "the blazon who would play effectually, who would womanize a lot".^[10] The artist says that her mother would often send her to spy on her male parent's extramarital affairs, which instilled inside her a lifelong contempt for sexuality, particularly the male's lower body and the phallus: "I don't like sex. I had an obsession with sex. When I was a child, my male parent had lovers and I experienced seeing him. My mother sent me to spy on him. I didn't want to have sex with anyone for years [...] The sexual obsession and fear of sexual activity sit side by side in me."^[13] Her traumatic childhood, including her fantastic visions, tin can exist said to be the origin of her artistic mode.^[14]

When Kusama was x years onetime, she began to experience vivid hallucinations which she has described as "flashes of calorie-free, auras, or dense fields of dots".^[15] These hallucinations also included flowers that spoke to Kusama, and patterns in cloth 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 mind when she began to have hallucinations.^[11] She was reportedly fascinated by the smooth white stones roofing the bed of the river near her family home, which she cites equally some other of the seminal influences behind her lasting fixation on dots.^[18]

When Kusama was 13, she was sent to work in a military machine factory where she was tasked with sewing and fabricating parachutes for the Japanese army, then embroiled in World State of war II.^[ane] Discussing her fourth dimension 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 flight overhead in wide daylight.^[i] Her childhood was greatly influenced past the events of the war, and she claims that it was during this menstruum that she began to value notions of personal and artistic liberty.^[18]

She went on to study Nihonga painting at the Kyoto Municipal Schoolhouse of Arts and Crafts in 1948.^[nineteen] Frustrated with this distinctly Japanese style, she became interested in the European and American advanced, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.^[xx]

Early success in Nippon: 1950–1956 [edit]

Past 1950, she was depicting abstruse natural forms in water color, gouache, and oil pigment, primarily on paper. She began roofing surfaces—walls, floors, canvases, and subsequently, household objects, and naked assistants—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 primeval recorded work in which she incorporated these dots was a drawing in 1939 at historic period 10, in which the image of a Japanese woman in a kimono, presumed to be the artist'due south mother, is covered and obliterated by spots.^[21] Her starting time serial of large-scale, sometimes more than 30 ft-long sail 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.Southward.P.S) Kusama has said:

I day I was looking at the ruby blossom patterns of the tablecloth on a table, and when I looked up I saw the aforementioned pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and exist reduced to nothingness. As I realised it was really happening and non merely in my imagination, I was frightened. I knew I had to run abroad lest I should be deprived of my life by the spell of the ruby flowers. I ran desperately up the stairs. The steps below me began to fall autonomously and I fell down the stairs spraining my ankle.^[23]

New York City: 1957–1972 [edit]

An Infinity Room installation

After living in Tokyo and France, Kusama left Japan at the age of 27 for the U.s.. She has stated that she began to consider Japanese gild "too pocket-size, as well servile, likewise feudalistic, and too scornful of women".^[15] Before leaving Japan to the United States, 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 there for a year^[16] earlier 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 communication.^[26] During her time in the The states, she quickly established her reputation as a leader in the avant-garde motion and received praise for her 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 on 1960s Kusama began to create so-called soft sculptures past covering items such as ladders, shoes and chairs with white phallic protrusions.^[29] Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she even so maintains. She established other habits too, like having herself routinely photographed with new piece of work^[sixteen] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.^[13]

A polka-dot has the class of the lord's day, which is a symbol of the energy of the whole world and our living life, and too the grade of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots get move ... Polka dots are a mode to infinity.

—Yayoi Kusama, in Manhattan Suicide Addict^[30]

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. Continuing inside on a small platform, an observer sees light 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 past 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. However, she did not profit financially from her work. Around this fourth dimension, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off fiscal hardship.^[nineteen] She was not able to make the money she believed she deserved, and her frustration became so farthermost that she attempted suicide.^[11]

In the 1960s, Kusama organized outlandish happenings in conspicuous spots similar Central Park and the Brooklyn Span, oft involving nudity and designed to protest the Vietnam War. In one, she wrote an open up letter of the alphabet to Richard Nixon offer to have sexual activity with him if he would stop the Vietnam war.^[22] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, unremarkably involving Kusama painting polka dots on her naked performers, as in the Grand Orgy to Awaken the Dead at the MoMA (1969), which took place at the Sculpture Garden of the Museum of Modern Art.^[29] During the unannounced event, eight performers under Kusama's 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 Cocky-obliteration at 33 Walker Street in New York and performed aslope Fleetwood Mac and Country Joe and the Fish at the Fillmore Eastward in New York Urban center.^[19] She opened naked painting studios and a gay social club called the Kusama 'Omophile Kompany (kok).^[33] The nudity nowadays in Kusama's art and fine art protests was severely shameful for her family. This fabricated her feel alone, and she attempted suicide once more.^[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 rug". Every bit soon as the piece was installed on a lawn exterior the Italian pavilion, Kusama, dressed in a aureate kimono,^[22] began selling each individual sphere for 1,200 lire (US$2), until the Biennale organizers put an finish to her enterprise. Narcissus Garden was equally much about the promotion of the artist through the media as 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 brief human relationship with artist Donald Judd.^[35] She and so began a passionate, but platonic, relationship with the surrealist creative person 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 association would last until his death in 1972.^[35]

Return 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 hospital for the mentally ill, where she eventually took upwardly permanent residence. She has been living at the infirmary since, past option.^[36] Her studio, where she has connected to produce work since the mid-1970s, is a brusque distance from the hospital in Tokyo.^[37] Kusama is often quoted equally maxim: "If it were not for art, I would have killed myself a long time ago."^[38]

From this base of operations, she has continued to produce artworks in a diversity of media, likewise equally launching a literary career past publishing several novels, a poetry collection, and an autobiography.^[12] Her painting style shifted to high-colored acrylics on canvas, on an amped-upwards scale.^[16]

Revival: 1980s–present [edit]

Her organically abstruse paintings of one or ii 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 tardily 1980s and 1990s, when a number of retrospectives revived international involvement.^[39] Yayoi Kusama: A Retrospective was the get-go critical survey of Yayoi Kusama presented at the Center 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 magician's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of blackness spots. The pumpkin came to represent for her a kind of modify-ego or self-portrait.^[42] Kusama's later installation I'm Here, but Null (2000–2008) is a simply furnished room consisting of table and chairs, place 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 space space where the self and everything in the room is obliterated.^[43]

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

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

In her ninth decade, Kusama has continued to work as 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. Also 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 suggest a blueprint of life and expiry.^[45]

In 2015-2016 the first retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to four major museums in the region, opening at Louisiana Museum of Modern Art in Denmark and continuing to Henie Onstad Kunstsenter Museum, Kingdom of norway, Moderna Museet in Sweden, and Helsinki Art Museum in Finland. This major evidence contained more than 100 objects and large scale mirror room installations. It presented several early works that had non been shown to the public since they were get-go created, including a presentation of Kusama'south experimental fashion blueprint from the 1960s.

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

On 25 February 2017, Kusama'south All the Eternal Honey I Have for the Pumpkins showroom, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for iii days following damage to one of the showroom's glowing pumpkin sculptures. The room, which measures 13 foursquare anxiety (ane.2 m²) and was filled with over 60 pumpkin sculptures, was one of the museum's nigh popular attractions ever. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a show with that kind of visitor need", with the room averaging more 8,000 visitors between its opening and the date of its temporary closing. While in that location were alien media reports almost the cost of the damaged sculpture and how exactly it was cleaved, Allison Peck stated that "there is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." 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 amongst fine art critics as well as 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, as reported by the Smithsonian the day after the showroom'south endmost.^[49] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.^[50]

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

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

In January 2020, the Hirshhorn announced it would debut new Kusama acquisitions, including two Infinity Mirror Rooms, at a forthcoming exhibition called 1 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: "let's forget ourselves, dearest Richard, and get one with the absolute, all together in the birthday."^[54]

In Nov 2021,^[55] a monumental exhibition offering an overview of Kusama'south master artistic periods over the past seventy years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Fine art. The retrospective spans near 3,000 m² beyond the Museum'due south ii 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 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 infinite, repetitive works were originally meant to eliminate Kusama's intrusive thoughts, but she now shares it with the earth.^[56] Claire Voon has described one of Kusama's mirror exhibits equally beingness able to "send you lot to quiet cosmos, 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 be unique to her work because Kusama wanted others to sympathise with her in her troubled life.^[57] Bedatri D. Choudhury has described how Kusama'south lack of feeling in control throughout her life made her, either consciously or subconsciously, want to control how others perceive time and space when inbound her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works also or maybe not at all. Art had go 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 18 color slides, Kusama walked along the streets of New York Urban center in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, withal, was made to look inauthentic, as it was actually a black umbrella, painted white on the exterior and decorated with fake flowers. Kusama walked downward unoccupied streets in an unknown quest. She and then turned and cried without reason, and eventually walked away and vanished from view.

This functioning, through the clan of the kimono, involved the stereotypes that Asian-American women connected to face. However, as an avant-garde artist living in New York, her state of affairs altered the context of the apparel, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audience categorized her, by showing the applesauce of culturally categorizing people in the world's largest melting pot.^[59]

Film [edit]

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

In 1991, Kusama starred in the pic 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 Fashion Visitor Ltd, and began selling avantgarde mode in the "Kusama Corner" at Bloomingdales.^[62] In 2009, Kusama designed a purse-shaped jail cell phone entitled Pocketbook for Space Travel, My Doggie Band-Ring, a pink dotted phone in accompanying dog-shaped holder, and a cherry-red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Total Happiness With Dots, for Japanese mobile communication behemothic KDDI Corporation's "iida" brand.^[63] Each phone was limited to i,000 pieces.

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

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled 7. 1 year later, her first novel Manhattan Suicide Addict appeared. Between 1983 and 1990, she finished the novels The Hustler's Grotto of Christopher Street (1983), The Burning of St Mark's Church building (1985), Betwixt Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), aslope several problems of the mag S&M Sniper in collaboration with photographer Nobuyoshi Araki.^[19] Her most contempo writing try includes her autobiography Infinity Cyberspace ^[68] published in 2003 that depicts her life from growing upwardly in Japan, her divergence to the United States, and her return to her home land, where she now resides. Infinity Net too includes some of the artist's verse and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, mostly in the form of brightly hued monstrous plants and flowers, for public and private institutions including Pumpkin (1994) for the Fukuoka Municipal Museum of Art; The Visionary Flowers (2002) for the Matsumoto Urban center Museum of Art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, French republic; Pumpkin (2006) at Bunka-mura on Benesse Island of Naoshima; Hello, Anyang with Love (2007) for Pyeonghwa Park (now referred every bit World 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 do Oriente subway station in Lisbon. Aslope these awe-inspiring works, she has produced smaller calibration outdoor pieces including Key-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, then painted in urethane to glossy perfection.^[70]

In 2010, Kusama designed a Town Sneaker styled jitney, which she titled Mizutama Ranbu (Wild Polka Dot Trip the light fantastic) and whose route travels through her hometown of Matsumoto.^[nineteen] In 2011, she was deputed to design the front encompass of millions of pocket London Underground maps; the result 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 g) reproduction of Kusama's painting Xanthous Trees (1994) covered a condominium building nether construction in New York'south Meatpacking District.^[71] That same year, Kusama conceived her flooring installation Thousands of Eyes as a committee for the new Queen Elizabeth II Courts of Police, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Run up, Pare." Zegher, G. Catherine de. Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Press, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
• Institute of Contemporary Art, Boston, xxx Jan – 12 May 1996.
• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, Due north.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-ii OCLC 42448762
• Robert Miller Gallery, New York, eleven June – 7 August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Honey Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998. ISBN 978-0-875-87181-three OCLC 39030076
• Los Angeles County Museum of Fine art, viii March – 8 June 1998; three other locations through 4 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, Germany, Kingdom of denmark, etc.; 2001–2003.
• Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-four-048-53741-iv OCLC 169879689
• Mori Art Museum, 7 February – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, 5 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-iii OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 Oct – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, six January – thirteen February 2005; Hiroshima-shi Gendai Bijutsukan, 22 Feb – 17 Apr 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – 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, 10 October – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-i-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 978-1-854-37939-ix OCLC 781163109
• Reina Sofia, Madrid, ten May – 12 September 2011; Centre Pompidou, Paris, 10 Oct 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 February – 5 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-vii 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, nine November – 14 December 2019.^[73]

Analogy work [edit]

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

Chapters [edit]

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

Autobiography, writing [edit]

• Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Nihon Edition Art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Image = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-4-891-94130-7 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-five OCLC 82910478
• Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: Three 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 Printing, 2011. ISBN 978-0-226-46498-5 OCLC 711050927
• Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-ii-840-66115-3 OCLC 420073474

Catalogue raisonné, etc. [edit]

• Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992. ISBN 978-4-872-42023-4 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 Article of furniture by Graf: Decorative Mode No. 3. 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 978-4-872-42174-3 OCLC 173274568
• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Printing, 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 serial of white net paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella then acquired paintings from the bear witness).^[21] Kusama has since exhibited piece of work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting aslope European artists including Lucio Fontana, Pol Bury, Otto Piene, and Gunther Uecker, in 1962 she was the only female person artist to take part in the widely acclaimed Nul (Nil) international group exhibition at the Stedelijk Museum in Amsterdam.^[74]

Exhibition list [edit]

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

Yayoi Kusama'southward Obliteration Room (2015) was inspired by the earlier Infinity Mirror Room

An exhibition for the HAM art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Cocky-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Center for International Contemporary Arts, New York
• 1993: Represented Japan at the Venice Biennale
• 1996: Contempo Works at Robert Miller Gallery
• 1998–1999: Retrospective exhibition of piece of work toured the US and Nippon
• 1998: "Beloved Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Beloved Forever: Yayoi Kusama,1958–1969" – showroom traveled to Museum of Mod Fine art, New York, Walker Art Center, Minneapolis and Museum of Contemporary Fine art, Tokyo)
• 2000: Le Consortium, Dijon
• 2001–2003: Le Consortium – exhibit traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Eye, Seoul
• 2004: KUSAMATRIX, Mori Art Museum, Tokyo
• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary Fine 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 beside the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this time 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 Gimmicky Fine art, Sydney, and Urban center Gallery, Wellington, New Zealand
• Baronial 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Centre, out of the center and Toyota auto polka dot projection.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'south Field. As of xiii September of that year the mirror room is permanently exhibited in the entrance area of the museum.
• July 2011: Museo Reina Sofía, Madrid, Spain
• 2012: Tate Modern, London.^[76] Described as "akin to being suspended in a beautiful cosmos gazing at infinite worlds, or similar a tiny dot of fluoresecent plankton in an sea of glowing microscopic life",^[77] the exhibition features a retrospective spanning Kusama's unabridged career.
• 15 July 2013 – 3 Nov 2013: Daegu Art Museum, Daegu, Korea
• xxx June 2013 – 16 September 2013: MALBA, the Latinamerican Fine art Museum of Buenos Aires, Buenos Aires, Argentina
• 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
• 17 September 2015 – 24 Jan 2016: In Infinity, Louisiana Museum of Modern Fine art, Humlebæk, Kingdom of denmark^[78]
• 12 June – 9 Baronial 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russian federation. This was the creative person'south offset solo exhibition in Russian federation.^[79]
• nineteen Feb – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Kingdom of norway
• 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Wide, Los Angeles, California
• 12 June – 18 September 2016: Kusama: At the Cease of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• 1 May 2016 – thirty November 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, U.k..
• 7 Oct 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised past the Louisiana Museum of Modern Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Republic of finland.^[fourscore]
• five November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.^[81]
• 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum show originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[82] [47]}
• 30 June 2017 – ten September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
• 9 June 2017 – 3 September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.^[83]
• October 2017 – Jan 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Wide, Los Angeles, California
• October 2017 – February 2018: Yayoi Kusama: All the Eternal Dear I Accept 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, Commonwealth of australia^[84]
• Dec 2017 – April 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
• March 2018 – February 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 Dearest, Matsumoto Metropolis Museum of Art, Matsumoto, Nagano, Japan
• May–September 2018: Yayoi Kusama: Life is the Heart of a Rainbow, Museum of Mod and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia^[85]
• July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Fine 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 Beloved 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 Honey, David Zwirner Gallery, New York, NY^[73]
• 4 Jan – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
• 4 Apr – nineteen September 2020: Yayoi Kusama: "I with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC^[53]
• 31 July 2020 – 3 January 2021: STARS: Vi Gimmicky Artists from Japan to the World, Tokyo, Japan^[87]
• x April 2020 – 31 Oct 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY^{[88] [89]}
• 15 November 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of 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 (French republic)
• Y'all 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 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
• Dearest is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts^[95]
• Light of Life (2018), North Carolina Museum of Art, Raleigh, North Carolina
• Luminescence of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Dki jakarta, Indonesia^[96]
• Infinity Mirror Room – Let'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 world, including the Museum of Modern Art, New York; Los Angeles County Museum of Fine art, Los Angeles; Walker Art Center, Minneapolis; Phoenix Fine art Museum, Phoenix; Tate Mod, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; Utah Museum of Fine Arts, Salt Lake City, UT; and the National Museum of Mod Art, Tokyo.

Recognition [edit]

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

In 2017, a fifty-year retrospective of Kusama's 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 piece of work take been held at the Museum of Modern Fine art (1998), the Whitney Museum (2012), and the Tate Mod (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 Sun (2006); and a Lifetime Achievement Honour from the Women's Caucus for Fine art.^[103] In October 2006, Kusama became the get-go Japanese adult female to receive the Praemium Imperiale, one of Nihon's highest honors for internationally recognized artists.^[104] She also received the Person of Cultural Merit (2009) and Ango awards (2014).^[105] In 2014, Kusama was ranked the most popular artist of the yr subsequently a record-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to United mexican states Metropolis received more than 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 amongst art museums, the venue mapped out the six individual rooms and provided disabled individuals visiting the exhibition access to a complete 360-degree virtual reality headset that allowed them to feel every attribute of the rooms,^[107] as if they were actually walking through them.^[108]

Art marketplace [edit]

Kusama'south piece of work has performed strongly at auction: summit prices for her work are for paintings from the late 1950s and early 1960s. Equally of 2012, her work has the highest turnover of any living woman artist.^[109] In November 2008, Christie's New York sold a 1959 white Infinity Internet painting formerly endemic by Donald Judd,^[19] No. 2, for US$5.ane million, then a record for a living female artist.^[110] In comparison, the highest price for a sculpture from her New York years is £72,500 (Us$147,687), fetched by the 1965 wool, pasta, pigment and hanger assemblage Gold Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the meridian toll for i of her sculptures, also at Sotheby's in 2007^[111] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for Usa$960,000 at Fine art Basel/Hong Kong in May 2013, the highest cost paid at the show. Kusama became the well-nigh expensive living female person artist at auction when White No. 28 (1960) from her signature Infinity Nets serial sold for $7.1 one thousand thousand at a 2014 Christie's auction.^[112]

In popular culture [edit]

Anti-graffiti art inspired past Kusama's polka dot motif serves as (from a distance) camouflage in Idaho (2015)

• Superchunk, an American indie band, included a vocal called "Art Class (Song for Yayoi Kusama)" on its Here's to Shutting Upwards album.^[113]
• In 1967, Jud Yalkut made a motion picture of Kusama titled Kusama's Self-Obliteration. ^[114]
• Yoko Ono cites Kusama as an influence.^{[115] [116]}
• The 2004 Matsumoto Performing Art Center in Kusama's hometown Matsumoto, designed by 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 Probable To made song tribute to Yayoi Kusama, writing a song specially about her.^[119] They wrote on their blog that they admire Kusama's work because she puts her fears into it, something that they themselves often do.^[120]
• The Nels Cline Singers defended one rail, "Macroscopic (for Kusama-san)" of their 2014 album, Macroscope to Kusama.^[121]
• Magnolia Pictures released the biographical documentary Kusama: Infinity on seven September 2018^[122] and a DVD version on viii Jan 2019.^[123]
• Veuve Clicquot and Kusama created a limited-edition bottle and sculpture in September 2020.^[124]

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External links [edit]

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

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

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