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Japanese artist and writer

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

Yayoi Kusama 草間 彌生
Kusama in 2016
Born	Yayoi Kusama (草間 彌生) (1929-03-22) 22 March 1929 (age 93) Matsumoto, Nagano, Empire of Japan
Nationality	Japanese
Known for	Painting drawing sculpture installation art functioning fine art motion-picture show fiction manner writing
Motility	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 , born 22 March 1929) is a Japanese contemporary artist who works primarily in sculpture and installation, just is also active in painting, performance, video art, style, poesy, fiction, and other arts. Her work is based in conceptual fine 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 as one of the most of import living artists to come out of Japan.^[1]

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts in a traditional Japanese painting style chosen nihonga.^[2] Kusama was inspired, still, past 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, especially in the pop-art move.^[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.^{[four] [5]} Since the 1970s, Kusama has continued to create fine art, most notably installations in diverse museums around the world.^{[half dozen]}

Kusama has been open about her mental health. She says that art has become her way to express her mental problems.^[vii] She reported in the interview she did with Infinity Net "I fight pain, anxiety, and fearfulness every mean solar day, and the merely method I have found that relieved my disease is to keep creating art. I followed the thread of art and somehow discovered a path that would allow me to live."^[8]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano.^[9] Born into a family of merchants who owned a plant plant nursery and seed farm,^[x] Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career.^[7] Her mother was not supportive of her creative endeavors; Kusama would rush to finish her fine art because her mother would take it away to discourage her.^[xi] Her mother was also plainly 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 send her to spy on her father's extramarital affairs, which instilled inside her a lifelong contempt for sexuality, especially the male person'due south lower body and the phallus: "I don't like sex. I had an obsession with sexual activity. 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 activity with anyone for years [...] The sexual obsession and fright of sex sit side by side in me."^[thirteen] Her traumatic babyhood, including her fantastic visions, can exist said to be the origin of her artistic mode.^[14]

When Kusama was ten years quondam, she began to experience vivid hallucinations which she has described equally "flashes of lite, auras, or dense fields of dots".^[fifteen] These hallucinations too included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,^[16] a procedure which she has carried into her creative career and which she calls "self-obliteration".^[17] Kusama's art became her escape from her family unit and her own mind when she began to have hallucinations.^[xi] She was reportedly fascinated past the smooth white stones covering the bed of the river near her family home, which she cites every bit some other of the seminal influences behind her lasting fixation on dots.^[18]

When Kusama was thirteen, she was sent to work in a military machine mill where she was tasked with sewing and fabricating parachutes for the Japanese regular army, and so embroiled in Earth State of war Ii.^[i] Discussing her time in the factory, 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 flying overhead in broad daylight.^[1] Her childhood was greatly influenced by the events of the state of war, and she claims that it was during this period that she began to value notions of personal and creative freedom.^[18]

She went on to report Nihonga painting at the Kyoto Municipal Schoolhouse of Craft in 1948.^[xix] Frustrated with this distinctly Japanese fashion, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.^[twenty]

Early success in Japan: 1950–1956 [edit]

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

The vast fields of polka dots, or "infinity nets", as she called them, were taken direct from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the image of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated past spots.^[21] Her first series of big-calibration, sometimes more than 30 ft-long canvass paintings,^[22] Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

On her 1954 painting Flower (D.S.P.S) Kusama has said:

One twenty-four hours I was looking at the carmine flower patterns of the tablecloth on a tabular array, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my torso and the universe. I felt equally if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realised it was actually happening and not but 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 ruddy flowers. I ran badly up the stairs. The steps below me began to fall apart and I savage downwards the stairs spraining my ankle.^[23]

New York City: 1957–1972 [edit]

An Infinity Room installation

After living in Tokyo and French republic, Kusama left Japan at the age of 27 for the Usa. She has stated that she began to consider Japanese gild "too pocket-size, likewise servile, too feudalistic, and too scornful of women".^[15] Before leaving Nihon 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 in that location for a year^[xvi] before moving on to New York Metropolis, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the metropolis, and sought O'Keeffe'due south advice.^[26] During her fourth dimension in the United states, she apace established her reputation as a leader in the avant-garde movement and received praise for her work from the anarchist art critic Herbert Read.^[27]

In 1961 she moved her studio into the aforementioned building equally Donald Judd and sculptor Eva Hesse; Hesse became a close friend.^[28] In the early 1960s Kusama began to create so-called soft sculptures by covering items such 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 however maintains. She established other habits too, similar having herself routinely photographed with new work^[16] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.^[13]

A polka-dot has the form of the sun, which is a symbol of the energy of the whole earth and our living life, and also the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots go motility ... Polka dots are a manner to infinity.

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

Since 1963, Kusama has connected her serial 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 in a higher place the viewer. Standing within on a small platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending 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 among her friends and supporters. However, she did non turn a profit financially from her work. Effectually this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off financial hardship.^[xix] 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, frequently involving nudity and designed to protest the Vietnam War. In i, she wrote an open letter to Richard Nixon offering to take sex with him if he would finish the Vietnam war.^[22] Between 1967 and 1969 she full-bodied on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, every bit in the Thou 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 result, eight performers under Kusama's direction removed their wearable, stepped nude into a fountain, and causeless poses mimicking the nearby sculptures past 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 Due east in New York City.^[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 art protests was severely shameful for her family. This made her feel alone, and she attempted suicide again.^[11]

In 1966, Kusama first participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpeting". Every bit soon as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a gilt kimono,^[22] began selling each individual sphere for 1,200 lire (US$2), until the Biennale organizers put an terminate to her enterprise. Narcissus Garden was equally much most the promotion of the artist through the media equally information technology was an opportunity to offer a critique of the mechanization and commodification of the art market place.^[34]

During her fourth dimension in New York, Kusama had a brief relationship with artist Donald Judd.^[35] She and so began a passionate, but platonic, relationship with the surrealist artist Joseph Cornell. She was 26 years his inferior – they would call each other daily, sketch each other, and he would send personalized collages to her. Their lengthy clan would terminal until his death in 1972.^[35]

Return to Nippon: 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 up permanent residence. She has been living at the hospital since, past choice.^[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 often quoted as saying: "If it were not for art, I would have killed myself a long time agone."^[38]

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

Revival: 1980s–nowadays [edit]

Her organically abstract paintings of one or two colors (the Infinity Nets serial), 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 equally an artist 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 past Alexandra Munroe.^{[twoscore] [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 colour-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 represent for her a kind of alter-ego or self-portrait.^[42] Kusama's later installation I'chiliad Here, but Nothing (2000–2008) is a simply furnished room consisting of table 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 calorie-free. 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 series of rounded "humps" in fire-engine scarlet with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's nigh notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as part of the Whitney Biennial in Fundamental Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.^[44]

In her 9th decade, Kusama has continued to work as an creative person. She has harkened back to before work by returning to drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-sheet works. Also featured was an exploration of space space in her Infinity Mirror rooms. These typically involve a cube-shaped room lined in mirrors, with water on the floor and flickering lights; these features suggest a pattern of life and decease.^[45]

In 2015-2016 the kickoff retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to iv major museums in the region, opening at Louisiana Museum of Modernistic Art in Denmark and continuing to Henie Onstad Kunstsenter Museum, Norway, Moderna Museet in Sweden, and Helsinki Art Museum in Finland. This major prove independent more than 100 objects and large scale mirror room installations. It 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 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 Feb 2017, Kusama'southward All the Eternal Love I Have for the Pumpkins showroom, 1 of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for iii days post-obit damage to one of the exhibit's glowing pumpkin sculptures. The room, which measures 13 square anxiety (1.2 yard²) and was filled with over 60 pumpkin sculptures, was one of the museum'southward most 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 company need", with the room averaging more than than viii,000 visitors betwixt its opening and the date of its temporary closing. While there were conflicting media reports most the cost of the damaged sculpture and how exactly it was broken, Allison Peck stated that "at that place is no intrinsic value to the individual slice. Information technology is a manufactured component to a larger slice." The showroom was reconfigured to make up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama.^[48] The Infinity Mirrors exhibit became a awareness amid art critics also 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 1000000 impressions, as reported by the Smithsonian the twenty-four hours after the exhibit'southward 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 Nov 2019, Kusama's Everyday I Pray For Dear exhibit was shown at David Zwirner Gallery until 14 December 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied past a catalogue published by David Zwirner books containing texts and poems from the artist. This exhibition as well 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 One with Eternity: Yayoi Kusama in the Hirshhorn Collection.^[53] The proper name of the exhibit is derived from an open alphabetic character Kusama wrote to and so-President Richard Nixon in 1968, writing: "let's forget ourselves, love Richard, and become i with the absolute, all together in the altogether."^[54]

In November 2021,^[55] a monumental exhibition offer an overview of Kusama'southward main 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 thou² across the Museum'southward ii buildings, in 6 galleries and includes 2 new works: A Bouquet of Love I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her piece of work [edit]

Curator Mika Yoshitake has stated that Kusama'due south works on brandish 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, merely she at present shares information technology with the world.^[56] Claire Voon has described one of Kusama'south mirror exhibits as being able to "transport you to quiet cosmos, to a lone 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'southward lack of feeling in command throughout her life made her, either consciously or subconsciously, want to control how others perceive fourth dimension and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works likewise or perhaps not at all. Art had get a coping machinery for Kusama.^[58]

Works and publications [edit]

Functioning [edit]

In Yayoi Kusama'southward Walking Piece (1966), a operation that was documented in a serial of eighteen colour slides, Kusama walked along the streets of New York City in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, still, was fabricated to expect inauthentic, as it was actually a black umbrella, painted white on the exterior and decorated with imitation flowers. Kusama walked down unoccupied streets in an unknown quest. She and so turned and cried without reason, and somewhen walked away and vanished from view.

This performance, through the clan of the kimono, involved the stereotypes that Asian-American women connected to face up. All the same, every bit an avant-garde artist living in New York, her situation altered the context of the wearing apparel, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audience categorized her, by showing the absurdity of culturally categorizing people in the world's largest melting pot.^[59]

Film [edit]

In 1968, Kusama and Jud Yalkut's collaborative work Kusama'due south Self-Obliteration won a prize at the Fourth International Experimental Film Competition in Belgium^[lx] and the 2d Maryland Film Festival and the 2nd prize at the Ann Arbor Film Festival. The 1967 experimental flick, which Kusama produced and starred in, depicted Kusama painting polka dots on everything around 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]}

Fashion [edit]

In 1968, Kusama established Kusama Way Company Ltd, and began selling avantgarde fashion in the "Kusama Corner" at Bloomingdales.^[62] In 2009, Kusama designed a handbag-shaped cell telephone entitled Handbag for Space Travel, My Doggie Ring-Ring, a pink dotted phone in accompanying domestic dog-shaped holder, and a red and white dotted telephone within a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile communication giant KDDI Corporation's "iida" make.^[63] Each phone was express to one,000 pieces.

In 2011, Kusama created artwork for six limited-edition lipglosses from Lancôme.^[64] That same year, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products,^[65] including leather appurtenances, gear up-to-wear, accessories, shoes, watches, and jewelry.^[66] The products became available in 2012 at a SoHo pop-upward 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 same as her ain.^[67]

Writing [edit]

In 1977, Kusama published a volume of poems and paintings entitled vii. One year later, her commencement 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 (1985), Between Sky and Globe (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), aslope several issues of the mag S&1000 Sniper in collaboration with photographer Nobuyoshi Araki.^[19] Her well-nigh recent writing endeavor includes her autobiography Infinity Net ^[68] published in 2003 that depicts her life from growing up in Japan, her deviation to the United States, and her return to her abode country, where she at present resides. Infinity Internet also includes some of the creative person'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 course of brightly hued monstrous plants and flowers, for public and private institutions including Pumpkin (1994) for the Fukuoka Municipal Museum of Fine art; The Visionary Flowers (2002) for the Matsumoto Metropolis Museum of Fine 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; Howdy, Anyang with Love (2007) for Pyeonghwa Park (now referred every bit World Loving 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 exercise Oriente subway station in Lisbon. Aslope 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 autobus, which she titled Mizutama Ranbu (Wild Polka Dot Trip the light fantastic) and whose route travels through her hometown of Matsumoto.^[19] In 2011, she was deputed to design the forepart embrace 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-pes (37 m) reproduction of Kusama's painting Yellowish Trees (1994) covered a condominium edifice under construction in New York's Meatpacking Commune.^[71] That same year, Kusama conceived her floor installation Thousands of Eyes as a commission for the new Queen Elizabeth II Courts of Police, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Sew, Skin." Zegher, Thousand. 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, 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, xi June – 7 August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Dear Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998. ISBN 978-0-875-87181-3 OCLC 39030076
• Los Angeles County Museum of Art, viii March – viii June 1998; three other locations through 4 July 1999.
• Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-three-852-47034-4 OCLC 602369060
• Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-two OCLC 50628150
• 7 European exhibitions in France, Deutschland, Denmark, etc.; 2001–2003.
• Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-4-048-53741-4 OCLC 169879689
• Mori Fine 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-iv-568-10353-3 OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, vi Jan – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – 3 July 2005; at Matsumoto-shi Bijutsukan, 30 July – ten Oct 2005.
• Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-two OCLC 501970783
• Victoria Miro Gallery, London, 10 October – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-1-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.
• Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-1-854-37939-9 OCLC 781163109
• Reina Sofia, Madrid, 10 May – 12 September 2011; Centre Pompidou, Paris, 10 Oct 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – xxx September 2012; Tate Mod (London), 9 February – five June 2012.
• Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Take Arrived in Heaven. New York: David Zwirner, 2014. ISBN 978-0-989-98093-7 OCLC 879584489
• David Zwirner Gallery, New York, 8 Nov – 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, 9 Nov – 14 December 2019.^[73]

Illustration 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-six OCLC 62755557
• Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Autumn." Schulz R, Bonanni G, Bormuth Grand, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-three-835-30423-9 OCLC 429664716
• Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Art and Classical Myth. Farnham, Surrey: Ashgate, 2011. pp. 87–109. ISBN 978-0-754-66974-vi OCLC 640515432

Autobiography, writing [edit]

• Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Nihon Edition Fine art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Image = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-iv-891-94130-7 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 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 978-2-840-66115-iii OCLC 420073474

Catalogue raisonné, etc. [edit]

• Kusama, Yayoi. Yayoi Kusama: Impress Works. Tokyo: Abe Corp, 1992. ISBN 978-4-872-42023-4 OCLC 45198668
• Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon Printing, 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 Art Publishing, 2003. ISBN 978-four-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 Press, 2017. ISBN 978-0-714-87345-9 OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-three-7913-5594-eight. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an artist's co-op. She showed a series of white net paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella then acquired paintings from the show).^[21] Kusama has since exhibited work with Claes Oldenburg, Andy Warhol, and Jasper Johns, amongst others. Exhibiting aslope European artists including Lucio Fontana, Politico Coffin, Otto Piene, and Gunther Uecker, in 1962 she was the only female person artist to accept role in the widely acclaimed Nul (Zippo) 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 art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Cocky-Obliteration (Functioning) at Video Gallery Browse, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Heart for International Contemporary Arts, New York
• 1993: Represented Japan at the Venice Biennale
• 1996: Recent Works at Robert Miller Gallery
• 1998–1999: Retrospective exhibition of piece of work toured the US and Japan
• 1998: "Love Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Love Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Modern Art, New York, Walker Art Heart, Minneapolis and Museum of Gimmicky Art, Tokyo)
• 2000: Le Consortium, Dijon
• 2001–2003: Le Consortium – showroom traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Middle, Seoul
• 2004: KUSAMATRIX, Mori Art Museum, Tokyo
• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary 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 City Gallery, Wellington, New Zealand
• August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited within the Aichi Arts Center, out of the centre and Toyota car polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli's Field. Equally of 13 September of that yr 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 every bit "akin to being suspended in a beautiful creation gazing at infinite worlds, or similar a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",^[77] the exhibition features a retrospective spanning Kusama's unabridged career.
• 15 July 2013 – 3 November 2013: Daegu Fine art Museum, Daegu, Korea
• 30 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 Modernistic Art, Humlebæk, Denmark^[78]
• 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Gimmicky Art, Moscow, Russia. This was the artist'due south commencement solo exhibition in Russia.^[79]
• xix February – xv May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
• twenty 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
• ane May 2016 – 30 November 2016: Yayoi Kusama: Narcissus Garden, The Glass Firm, New Canaan, Connecticut.
• 25 May 2016 – xxx July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, U.k..
• seven October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Fine art Museum HAM in Helsinki, Republic of finland.^[eighty]
• 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Former and New Art, Hobart, Commonwealth of 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]}
• xxx June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
• ix June 2017 – three September 2017: Yayoi Kusama: Life is the Middle of a Rainbow, National Gallery Singapore.^[83]
• October 2017 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Wide, Los Angeles, California
• Oct 2017 – February 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 Eye of a Rainbow and Obliteration Room, GOMA, Brisbane, Australia^[84]
• December 2017 – Apr 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
• March 2018 – Feb 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Japan
• 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 Love, Matsumoto City Museum of Art, Matsumoto, Nagano, Japan
• May–September 2018: Yayoi Kusama: Life is the Heart of a Rainbow, Museum of Modern and Contemporary Fine art in Nusantara (Museum MACAN), Jakarta, Republic of indonesia^[85]
• July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Art, exhibition travels to Cleveland, Ohio
• July–Nov 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 – fourteen Dec 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
• four April – nineteen September 2020: Yayoi Kusama: "I with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC^[53]
• 31 July 2020 – 3 January 2021: STARS: Half dozen Gimmicky Artists from Japan to the Globe, Tokyo, Japan^[87]
• 10 April 2020 – 31 October 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 ^{[xc] [91]}

Permanent Infinity Room installations [edit]

• Infinity Dots Mirrored Room (1996), Mattress Mill, Pittsburgh, Pennsylvania
• Infinity Mirror Room fireflies on H2o (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
• You 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 Light Years Away (2013), The Broad, Los Angeles, California^[47]
• The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Commonwealth of australia, Canberra^[94]
• Phalli'south Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
• Love is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts^[95]
• Calorie-free of Life (2018), North Carolina Museum of Fine art, Raleigh, Northward Carolina
• Brilliance of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Dki jakarta, Republic of indonesia^[96]
• Infinity Mirror Room – Permit'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 work is in the collections of museums throughout the globe, including the Museum of Modern Fine art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Heart, Minneapolis; Phoenix Fine art Museum, Phoenix; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; Utah Museum of Fine Arts, Salt Lake City, UT; and the National Museum of Modern Art, Tokyo.

Recognition [edit]

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

In 2017, a fifty-yr retrospective of Kusama's piece of work opened at the Hirshhorn Museum in Washington, DC. That aforementioned yr, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at the Museum of Modern Art (1998), the Whitney Museum (2012), and the Tate Modernistic (2012).^{[99] [100] [101]} In 2015, the website Artsy named Kusama one of its top ten 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 Accomplishment Honor from the Order of the Rising Lord's day (2006); and a Lifetime Accomplishment Laurels from the Women'southward Conclave for Art.^[103] In Oct 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, 1 of Japan'southward highest honors for internationally recognized artists.^[104] She besides received the Person of Cultural Merit (2009) and Ango awards (2014).^[105] In 2014, Kusama was ranked the most popular artist of the year after a record-breaking number of visitors flooded her Latin American bout, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico City received more than 8,500 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 attainable to visitors with disabilities or mobility problems; in a new initiative amid art museums, the venue mapped out the six individual rooms and provided handicapped individuals visiting the exhibition admission to a complete 360-degree virtual reality headset that immune them to experience every aspect of the rooms,^[107] as if they were actually walking through them.^[108]

Art market [edit]

Kusama's piece of work has performed strongly at sale: meridian prices for her work are for paintings from the tardily 1950s and early 1960s. As of 2012, her work has the highest turnover of any living adult female creative person.^[109] In November 2008, Christie'south New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd,^[nineteen] No. 2, for U.s.$5.i meg, then a record for a living female person artist.^[110] In comparing, the highest toll for a sculpture from her New York years is £72,500 (U.s.a.$147,687), fetched by the 1965 wool, pasta, paint and hanger aggregation Golden Macaroni Jacket at Sotheby'southward London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the top price for one of her sculptures, too at Sotheby's in 2007^[111] Her Flame of Life – Defended to Tu-Fu (Du-Fu) sold for Usa$960,000 at Art Basel/Hong Kong in May 2013, the highest price paid at the testify. Kusama became the most expensive living female creative person at sale when White No. 28 (1960) from her signature Infinity Nets series sold for $7.1 million at a 2014 Christie's auction.^[112]

In popular culture [edit]

Anti-graffiti art inspired past Kusama'due south polka dot motif serves as (from a distance) cover-up in Idaho (2015)

• Superchunk, an American indie band, included a song called "Art Class (Song for Yayoi Kusama)" on its Here's to Shutting Upward album.^[113]
• In 1967, Jud Yalkut made a flick of Kusama titled Kusama's Self-Obliteration. ^[114]
• Yoko Ono cites Kusama as an influence.^{[115] [116]}
• The 2004 Matsumoto Performing Art Centre 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 Male child Least Likely To made vocal tribute to Yayoi Kusama, writing a vocal especially well-nigh her.^[119] They wrote on their blog that they adore Kusama'southward work because she puts her fears into information technology, something that they themselves often do.^[120]
• The Nels Cline Singers defended one track, "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 eight 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 language)
• Love Forever: Yayoi Kusama, 1958–1968, Museum of Modern Fine art
• How to Paint Like Yayoi Kusama
• Yayoi Kusama in the collection of The Museum of Modern Fine 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 fine art for the Instagram historic period
• Yayoi Kusama/artnet

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

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