Art Show in Schools a Girl With Brown Hair and Boy Eyes and

Japanese artist and author

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

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

Kusama was raised in Matsumoto, and trained at the Kyoto Urban center Academy of Arts in a traditional Japanese painting way called nihonga.^[2] Kusama was inspired, all the same, past American Abstract impressionism. She moved to New York City in 1958 and was a office of the New York avant-garde scene throughout the 1960s, especially in the pop-art movement.^[three] Embracing the rise of the hippie counterculture of the tardily 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots.^{[4] [5]} Since the 1970s, Kusama has continued to create art, most notably installations in various museums around the world.^[6]

Kusama has been open about her mental wellness. She says that art has get her manner to express her mental problems.^[seven] She reported in the interview she did with Infinity Net "I fight pain, feet, and fear every mean solar day, and the only method I accept found that relieved my affliction is to keep creating fine art. I followed the thread of fine art and somehow discovered a path that would allow me to live."^[viii]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was built-in on 22 March 1929 in Matsumoto, Nagano.^[nine] Born into a family unit of merchants who owned a plant nursery and seed farm,^[ten] Kusama began cartoon pictures of pumpkins in uncomplicated school and created artwork she saw from hallucinations, works of which would later ascertain her career.^[7] Her female parent was not supportive of her artistic endeavors; Kusama would rush to finish her art because her mother would take it away to discourage her.^[11] Her mother was also obviously physically abusive,^[12] and Kusama remembers her father as "the type who would play around, who would womanize a lot".^[10] The artist says that her mother would ofttimes ship her to spy on her male parent's extramarital affairs, which instilled within her a lifelong contempt for sexuality, specially the male's lower body and the phallus: "I don't similar sexual activity. I had an obsession with sex. When I was a child, my father 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 sex activity sit side by side in me."^[thirteen] Her traumatic childhood, including her fantastic visions, tin exist said to be the origin of her creative way.^[14]

When Kusama was ten years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dumbo fields of dots".^[15] These hallucinations too 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 process which she has carried into her artistic career and which she calls "self-obliteration".^[17] Kusama'due south art became her escape from her family and her own mind when she began to have hallucinations.^[xi] She was reportedly fascinated by the shine white stones roofing the bed of the river near her family home, which she cites as some other of the seminal influences backside her lasting fixation on dots.^[eighteen]

When Kusama was thirteen, she was sent to work in a war machine factory where she was tasked with sewing and fabricating parachutes for the Japanese regular army, then embroiled in World War II.^[1] Discussing her time in the manufactory, she says that she spent her adolescence "in closed darkness" although she could always hear the air-raid alerts going off and run into American B-29s flight overhead in broad daylight.^[1] Her childhood was greatly influenced by the events of the war, and she claims that it was during this catamenia that she began to value notions of personal and artistic freedom.^[eighteen]

She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948.^[nineteen] Frustrated with this distinctly Japanese style, 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 Japan: 1950–1956 [edit]

Past 1950, she was depicting abstruse natural forms in water colour, gouache, and oil paint, primarily on paper. She began covering surfaces—walls, floors, canvases, and after, household objects, and naked assistants—with the polka dots that would get a trademark of her piece of work.

The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the prototype of a Japanese woman in a kimono, presumed to exist the artist'southward female parent, is covered and obliterated by spots.^[21] Her beginning serial of large-scale, sometimes more 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 Blossom (D.S.P.S) Kusama has said:

I 24-hour interval I was looking at the cherry-red flower patterns of the tablecloth on a table, and when I looked upwards I saw the aforementioned pattern roofing 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 cocky-obliterate, to revolve in the infinity of countless time and the absoluteness of space, and exist reduced to pettiness. Equally I realised information technology was actually happening and not just 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 red flowers. I ran desperately upwards the stairs. The steps below me began to fall apart and I roughshod downwardly the stairs spraining my ankle.^[23]

New York City: 1957–1972 [edit]

An Infinity Room installation

After living in Tokyo and France, Kusama left Nihon at the age of 27 for the United States. She has stated that she began to consider Japanese society "too small, also servile, too feudalistic, and too scornful of women".^[xv] 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 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'south advice.^[26] During her time in the Us, she speedily 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 every bit Donald Judd and sculptor Eva Hesse; Hesse became a close friend.^[28] In the early 1960s Kusama began to create then-chosen soft sculptures by 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 still maintains. She established other habits too, like having herself routinely photographed with new work^[16] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.^[xiii]

A polka-dot has the form of the sun, which is a symbol of the energy of the whole globe and our living life, and also the grade of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement ... Polka dots are a style to infinity.

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

Since 1963, Kusama has continued her series of Mirror/Infinity rooms. In these circuitous infinity mirror installations, purpose-congenital rooms lined with mirrored glass incorporate scores of neon-colored assurance, hanging at various heights higher up the viewer. Standing inside on a modest platform, an observer sees lite repeatedly reflected off the mirrored surfaces to create the illusion of a never-catastrophe infinite.^[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 amongst her friends and supporters. However, she did not profit financially from her piece of work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to buy several works to help Kusama stave off financial hardship.^[19] She was not able to brand 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 like Central Park and the Brooklyn Span, often involving nudity and designed to protestation the Vietnam State of war. In one, she wrote an open letter to Richard Nixon offer to have sex with him if he would terminate the Vietnam state of 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, 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 event, viii performers nether Kusama's direction removed their clothing, 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 E in New York City.^[19] She opened naked painting studios and a gay social social club called the Kusama 'Omophile Kompany (kok).^[33] The nudity nowadays in Kusama's art and art protests was severely shameful for her family. This made her feel lonely, 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 carpet". Every bit soon as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a aureate kimono,^[22] began selling each private sphere for 1,200 lire (Us$2), until the Biennale organizers put an end to her enterprise. Narcissus Garden was equally much near the promotion of the artist through the media as information technology was an opportunity to offer a critique of the mechanization and commodification of the fine art market place.^[34]

During her time in New York, Kusama had a brief relationship with artist Donald Judd.^[35] She then began a passionate, just 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 ship 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, brusque stories, and poetry. In 1977, Kusama checked herself into a hospital for the mentally ill, where she somewhen took up permanent residence. She has been living at the hospital since, by option.^[36] Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.^[37] Kusama is frequently quoted every bit saying: "If it were not for art, I would have killed myself a long fourth dimension ago."^[38]

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

Revival: 1980s–present [edit]

Her organically abstract 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, Marker Rothko, and Barnett Newman. When she left New York she was practically forgotten equally an creative person until the late 1980s and 1990s, when a number of retrospectives revived international interest.^[39] Yayoi Kusama: A Retrospective was the first 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 pocket-sized 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 black spots. The pumpkin came to correspond for her a kind of alter-ego or self-portrait.^[42] Kusama'south later installation I'm Here, but Nothing (2000–2008) is a only furnished room consisting of tabular array and chairs, place settings and bottles, armchairs and rugs, all the same its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV light. The result is an endless infinite space 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 Infinite, a serial of rounded "humps" in burn down-engine red with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's most notorious works, diverse versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as office of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.^[44]

In her 9th decade, Kusama has connected to piece of work as an artist. She has harkened back to earlier work by returning to drawing and painting; her 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 propose a pattern of life and death.^[45]

In 2015-2016 the first retrospective exhibition in Scandinavia, curated past Marie Laurberg, travelled to four major museums in the region, opening at Louisiana Museum of Mod 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 large calibration mirror room installations. Information technology presented several early on works that had not been shown to the public since they were first created, including a presentation of Kusama's experimental manner design from the 1960s.

In 2017, a fifty-year retrospective of her piece of work opened at the Hirshhorn Museum in Washington, DC. The showroom featured six Infinity Mirror rooms, and was scheduled to travel to 5 museums in the Us and Canada.^{[46] [47]}

On 25 February 2017, Kusama's All the Eternal Love I Have for the Pumpkins exhibit, i of the vi components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for iii days post-obit damage to one of the exhibit'due south glowing pumpkin sculptures. The room, which measures xiii foursquare feet (1.two m²) and was filled with over 60 pumpkin sculptures, was ane of the museum's most pop 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 than 8,000 visitors betwixt its opening and the date of its temporary closing. While there were conflicting media reports about the price of the damaged sculpture and how exactly it was broken, 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 brand up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama.^[48] The Infinity Mirrors showroom became a sensation among art critics likewise every bit 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 past the Smithsonian the day after the exhibit'due south 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 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 artist. This exhibition also included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW UP 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 called One with Eternity: Yayoi Kusama in the Hirshhorn Drove.^[53] The name of the exhibit is derived from an open letter Kusama wrote to then-President Richard Nixon in 1968, writing: "let's forget ourselves, dearest Richard, and become one with the accented, all together in the altogether."^[54]

In November 2021,^[55] a monumental exhibition offering an overview of Kusama'due south primary 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 near 3,000 m² across the Museum's two buildings, in six galleries and includes ii 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'due south intrusive thoughts, but she now shares it with the globe.^[56] Claire Voon has described ane of Kusama'southward mirror exhibits every bit being able to "transport yous to quiet cosmos, to a alone labyrinth of pulsing calorie-free, 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 piece of work considering Kusama wanted others to sympathise with her in her troubled life.^[57] Bedatri D. Choudhury has described how Kusama'south lack of feeling in command throughout her life made her, either consciously or subconsciously, want to control how others perceive time and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works as well or peradventure not at all. Art had become a coping machinery 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 eighteen color slides, Kusama walked forth the streets of New York City in a traditional Japanese kimono while property a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, notwithstanding, was made to look inauthentic, as information technology was actually a black umbrella, painted white on the exterior and decorated with fake flowers. Kusama walked down unoccupied streets in an unknown quest. She then turned and cried without reason, and somewhen walked away and vanished from view.

This functioning, through the clan of the kimono, involved the stereotypes that Asian-American women continued to face. However, equally an advanced artist living in New York, her situation contradistinct the context of the clothes, creating a cross-cultural affiliation. Kusama was able to highlight the stereotype in which her white American audition categorized her, by showing the applesauce of culturally categorizing people in the world's largest melting pot.^[59]

Flick [edit]

In 1968, Kusama and Jud Yalkut's collaborative piece of work Kusama's Self-Obliteration won a prize at the Fourth International Experimental Picture show Contest in Kingdom of belgium^[threescore] and the Second Maryland Picture Festival and the second prize at the Ann Arbor Film 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 by Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.^{[19] [61]}

Style [edit]

In 1968, Kusama established Kusama Mode Visitor Ltd, and began selling avantgarde fashion in the "Kusama Corner" at Bloomingdales.^[62] In 2009, Kusama designed a handbag-shaped prison cell telephone entitled Pocketbook for Space Travel, My Doggie Band-Ring, a pink dotted telephone in accompanying dog-shaped holder, and a crimson and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile advice giant 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 twelvemonth, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products,^[65] including leather appurtenances, fix-to-clothing, accessories, shoes, watches, and jewelry.^[66] The products became available in 2012 at a SoHo pop-upwards shop, which was decorated with Kusama'south trademark tentacle-like protrusions and polka-dots. Eventually, 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 aforementioned equally her own.^[67]

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled 7. One twelvemonth 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'due south Church building (1985), Between Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Agonized Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several problems of the magazine Due south&M Sniper in collaboration with photographer Nobuyoshi Araki.^[19] Her almost recent writing endeavor includes her autobiography Infinity Cyberspace ^[68] published in 2003 that depicts her life from growing upwardly in Nippon, her departure to the Usa, and her return to her dwelling state, where she now resides. Infinity Cyberspace also includes some of the artist'south poesy and photos of her exhibitions.

Commissions [edit]

Ruddy 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 Metropolis 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; How-do-you-do, Anyang with Dearest (2007) for Pyeonghwa Park (now referred equally 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. Alongside these monumental works, she has produced smaller scale 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 omnibus, which she titled Mizutama Ranbu (Wild Polka Dot Dance) and whose route travels through her hometown of Matsumoto.^[19] In 2011, she was deputed to design the front cover of millions of pocket London Underground maps; the result is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the artist'due south work at the Whitney Museum of American Art in 2012, a 120-human foot (37 m) reproduction of Kusama's painting Yellow Trees (1994) covered a condominium building under construction in New York's Meatpacking Commune.^[71] That aforementioned year, Kusama conceived her floor installation Thousands of Eyes as a commission for the new Queen Elizabeth Two Courts of Police, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Sew together, Skin." Zegher, M. 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 Fine 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, eleven June – 7 Baronial 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Love 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 Art, 8 March – eight June 1998; iii 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-048-53741-4 OCLC 169879689
• Mori Art Museum, 7 February – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, five June – 22 August 2004.
• Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-iv-568-10353-three OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – xix December 2004; Kyōto Kokuritsu Kindai Bijutsukan, 6 January – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – three July 2005; at Matsumoto-shi Bijutsukan, xxx July – 10 Oct 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 Oct – 17 Nov 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-1-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, sixteen Apr – 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-i-854-37939-ix OCLC 781163109
• Reina Sofia, Madrid, x May – 12 September 2011; Centre Pompidou, Paris, 10 October 2011 – 9 January 2012; Whitney Museum of American Fine art, New York, 12 July – 30 September 2012; Tate Modern (London), nine February – 5 June 2012.
• Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Take Arrived in Heaven. New York: David Zwirner, 2014. ISBN 978-0-989-98093-vii OCLC 879584489
• David Zwirner Gallery, New York, 8 Nov – 21 December 2013.
• Laurberg, Marie: Yayoi Kusama – In Infinity, 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, 9 Nov – 14 December 2019.^[73]

Illustration work [edit]

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

Chapters [edit]

• Nakajima, Izumi. "Yayoi Kusama between brainchild 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-ix 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-six OCLC 640515432

Autobiography, writing [edit]

• Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Japan Edition Art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Image = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-four-891-94130-vii OCLC 54943729
• Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Listen Books, 1998. ISBN 978-0-965-33043-v 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 Internet: 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 Aficionado. Dijon: Presses du Réel, 2005. ISBN 978-2-840-66115-iii OCLC 420073474

Catalogue raisonné, etc. [edit]

• Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992. ISBN 978-iv-872-42023-iv 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 Mode No. 3. Tōkyō: Seigensha Fine 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-ix OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-3-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her start 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 past Donald Judd (both Judd and Frank Stella and then acquired paintings from the show).^[21] Kusama has since exhibited piece of work with Claes Oldenburg, Andy Warhol, and Jasper Johns, amidst others. Exhibiting alongside European artists including Lucio Fontana, Politician Bury, Otto Piene, and Gunther Uecker, in 1962 she was the only female person creative person to take role in the widely acclaimed Nul (Naught) international group exhibition at the Stedelijk Museum in Amsterdam.^[74]

Exhibition list [edit]

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

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

An exhibition for the HAM fine art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Center for International Contemporary Arts, New York
• 1993: Represented Nihon at the Venice Biennale
• 1996: Recent Works at Robert Miller Gallery
• 1998–1999: Retrospective exhibition of piece of work toured the The states and Japan
• 1998: "Dear Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Dearest Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Mod 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 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 Fine art, Tokyo (touring Nihon)
• 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 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 Fine art, Sydney, and Urban center Gallery, Wellington, New Zealand
• August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Middle, out of the center and Toyota auto polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli's Field. As of 13 September of that year 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 "akin to being suspended in a beautiful cosmos gazing at space worlds, or like a tiny dot of fluoresecent plankton in an body of water of glowing microscopic life",^[77] the exhibition features a retrospective spanning Kusama's unabridged career.
• 15 July 2013 – 3 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 Fine art, Humlebæk, Denmark^[78]
• 12 June – ix August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russia. This was the artist'due south outset solo exhibition in Russia.^[79]
• nineteen 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 – xviii September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• 1 May 2016 – thirty 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.
• seven Oct 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Fine art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Republic of finland.^[80]
• 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Fine art, Hobart, Australia.^[81]
• 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum bear witness originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[82] [47]}
• 30 June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
• 9 June 2017 – iii September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.^[83]
• Oct 2017 – Jan 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 – February 2018: Yayoi Kusama: Life is the Heart of a Rainbow and Obliteration Room, GOMA, Brisbane, Australia^[84]
• Dec 2017 – Apr 2018: Flower Obsession, Triennial, NGV, Melbourne, Commonwealth of australia
• March 2018 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Nihon
• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Fine art Gallery of Ontario, Toronto, Ontario, Canada
• March–July 2018: Yayoi Kusama: All About My Honey, Matsumoto Metropolis Museum of Art, Matsumoto, Nagano, Japan
• May–September 2018: Yayoi Kusama: Life is the Centre of a Rainbow, Museum of Modern and Gimmicky Art in Nusantara (Museum MACAN), Dki jakarta, 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
• ix November 2019 – 14 December 2019: Yayoi Kusama: Everyday I Pray For Love, David Zwirner Gallery, New York, NY^[73]
• 4 January – xviii March 2020: Brilliance of the Souls, Maraya, AlUla
• 4 April – 19 September 2020: Yayoi Kusama: "I with Eternity: Yayoi Kusama in the Hirshhorn Drove," Washington, DC^[53]
• 31 July 2020 – 3 January 2021: STARS: Vi Gimmicky Artists from Japan to the Earth, Tokyo, Nihon^[87]
• ten April 2020 – 31 October 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY^{[88] [89]}
• 15 Nov 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 (France)
• You lot Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Fine art Museum, Phoenix, Arizona^[92]
• Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Denmark^[93]
• The Souls of Millions of Light Years Abroad (2013), The Broad, Los Angeles, California^[47]
• The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Australia, Canberra^[94]
• Phalli'south Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
• Love is Calling (2013/2019), Institute of Contemporary Fine art, Boston, Boston, Massachusetts^[95]
• Light of Life (2018), North Carolina Museum of Fine art, Raleigh, North Carolina
• Luminescence of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Republic of 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 globe, including the Museum of Modern Art, New York; Los Angeles County Museum of Fine art, Los Angeles; Walker Art Center, Minneapolis; Phoenix Art Museum, Phoenix; Tate Modern, London; Stedelijk Museum, Amsterdam; Center Pompidou, Paris; Utah Museum of Fine Arts, Salt Lake Urban center, UT; and the National Museum of Modernistic Art, Tokyo.

Recognition [edit]

Yayoi Kusama's epitome 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 aforementioned year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her piece of work have been held at the Museum of Modern Art (1998), the Whitney Museum (2012), and the Tate Modern (2012).^{[99] [100] [101]} In 2015, the website Cocked named Kusama one of its acme x 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 Guild of the Ascension Sun (2006); and a Lifetime Achievement Award from the Women'due south Caucus for Art.^[103] In October 2006, Kusama became the offset Japanese adult female to receive the Praemium Imperiale, one of Nippon'due south 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 creative person of the twelvemonth after a record-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico Urban center received more than eight,500 visitors each solar day.^[106]

The octogenarian also gained media attending 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 amidst art museums, the venue mapped out the six individual rooms and provided handicapped individuals visiting the exhibition access to a consummate 360-degree virtual reality headset that allowed them to experience every aspect of the rooms,^[107] equally if they were actually walking through them.^[108]

Art marketplace [edit]

Kusama's work has performed strongly at auction: height prices for her work are for paintings from the late 1950s and early 1960s. As of 2012, her piece of work has the highest turnover of any living woman artist.^[109] In Nov 2008, Christie's New York sold a 1959 white Infinity Net painting formerly endemic past Donald Judd,^[xix] No. ii, for US$5.one million, then a tape for a living female person 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 Gilded Macaroni Jacket at Sotheby'south London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the tiptop price for one of her sculptures, also at Sotheby'southward in 2007^[111] Her Flame of Life – Defended to Tu-Fu (Du-Fu) sold for US$960,000 at Art Basel/Hong Kong in May 2013, the highest price paid at the bear witness. Kusama became the most expensive living female creative person at auction when White No. 28 (1960) from her signature Infinity Nets series sold for $7.i 1000000 at a 2014 Christie's auction.^[112]

In popular culture [edit]

Anti-graffiti art inspired by 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 (Vocal for Yayoi Kusama)" on its Hither'southward to Shutting Upwardly album.^[113]
• In 1967, Jud Yalkut made a film 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 Likely 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 1 rail, "Macroscopic (for Kusama-san)" of their 2014 album, Macroscope to Kusama.^[121]
• Magnolia Pictures released the biographical documentary Kusama: Infinity on 7 September 2018^[122] and a DVD version on viii January 2019.^[123]
• Veuve Clicquot and Kusama created a express-edition bottle and sculpture in September 2020.^[124]

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External links [edit]

• Official Site
• YAYOI KUSAMA MUSEUM (English)
• Beloved Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
• How to Pigment Like Yayoi Kusama
• Yayoi Kusama in the collection of The Museum of Modern Art
• [*Women Artists and Postwar Abstraction | HOW TO SEE the art movement with Corey D'Augustine, MoMA
• Phoenix Art Museum online Archived 28 January 2019 at the Wayback Machine
• 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 ever
• 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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