Painting Pumpkin Magazine Cover Family Circle October 2017

Japanese creative person and writer

"Kusama" redirects here. For the moving-picture show manager, run into Karyn Kusama.

Yayoi Kusama 草間 彌生
Kusama in 2016
Built-in	Yayoi Kusama (草間 彌生) (1929-03-22) 22 March 1929 (historic period 92) Matsumoto, Nagano, Empire of Japan
Nationality	Japanese
Known for	Painting drawing sculpture installation art performance art film fiction fashion writing
Movement	Pop art minimalism feminist art environmental fine art
Awards	Praemium Imperiale
Website	www.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, but is as well active in painting, performance, video art, way, poetry, fiction, and other arts. Her 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 equally one of the most important 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 mode chosen nihonga.^[2] Kusama was inspired, yet, past American Abstruse 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.^[iii] Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a serial of happenings in which naked participants were painted with brightly coloured polka dots.^{[4] [five]} Since the 1970s, Kusama has continued to create fine art, virtually notably installations in various museums effectually the world.^[half-dozen]

Kusama has been open up about her mental wellness. She says that art has become her manner to limited her mental problems.^[7] She reported in the interview she did with Infinity Net "I fight pain, anxiety, and fear every day, and the but method I accept constitute that relieved my illness is to continue creating fine art. I followed the thread of art and somehow discovered a path that would permit me to alive."^[8]

Biography [edit]

Early on life: 1929–1949 [edit]

Yayoi Kusama was built-in on 22 March 1929 in Matsumoto, Nagano.^[ix] Built-in into a family of merchants who endemic a institute nursery and seed subcontract,^[10] Kusama began drawing pictures of pumpkins in elementary schoolhouse and created artwork she saw from hallucinations, works of which would after define her career.^[seven] Her female parent was not supportive of her creative endeavors; Kusama would rush to terminate her art because her mother would have information technology away to discourage her.^[xi] Her female parent was also apparently physically abusive,^[12] and Kusama remembers her father equally "the type who would play around, who would womanize a lot".^[10] The artist says that her mother would often send her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, peculiarly the male's 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 with anyone for years [...] The sexual obsession and fearfulness of sexual practice sit next in me."^[xiii] Her traumatic childhood, including her fantastic visions, tin be said to be the origin of her creative fashion.^[14]

When she was ten years old, she began to experience brilliant hallucinations which she has described as "flashes of light, auras, or dense fields of dots".^[15] These hallucinations also included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,^[xvi] a process which she has carried into her artistic career and which she calls "cocky-obliteration".^[17] Kusama'southward art became her escape from her family and her own listen when she began to have hallucinations.^[eleven] She was reportedly fascinated past the smooth white stones roofing the bed of the river near her family unit home, which she cites equally another of the seminal influences behind her lasting fixation on dots.^[xviii]

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 army, then embroiled in World War II.^[one] Discussing her fourth dimension in the manufactory, she says that she spent her adolescence "in closed darkness" although she could ever hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight.^[1] Her childhood was profoundly influenced past the events of the war, and she claims that it was during this flow that she began to value notions of personal and creative liberty.^[18]

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

By 1950, Kusama 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 become a trademark of her work.

The vast fields of polka dots, or "infinity nets", equally she called them, were taken direct from her hallucinations. The primeval recorded piece of work in which she incorporated these dots was a cartoon in 1939 at age 10, in which the epitome of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated by spots.^[21] Her showtime series of large-scale, sometimes more than 30 ft-long canvas paintings,^[22] Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

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

One twenty-four hours I was looking at the crimson bloom patterns of the tablecloth on a table, 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 body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and exist reduced to nothingness. Every bit I realised it was really happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life past the spell of the reddish flowers. I ran desperately up the stairs. The steps below me began to fall autonomously and I roughshod down the stairs spraining my ankle.^[23]

New York Urban center: 1957–1972 [edit]

An Infinity Room installation

After living in Tokyo and French republic, Kusama left Japan at the age of 27 for the United states. She has stated that she began to consider Japanese society "too small, besides servile, as well feudalistic, and also scornful of women".^[15] Earlier 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^[16] 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'southward advice.^[26] During her time in the US, she quickly established her reputation as a leader in the avant-garde move and received praise for her work from the anarchist art critic Herbert Read.^[27]

In 1961 she moved her studio into the same edifice as Donald Judd and sculptor Eva Hesse; Hesse became a shut friend.^[28] In the early on 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 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.^[13]

A polka-dot has the grade of the sun, which is a symbol of the free energy of the whole world and our living life, and too the class of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement ... Polka dots are a way to infinity.

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

Since 1963, Kusama has continued her serial of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass incorporate scores of neon-colored balls, hanging at various heights above the viewer. Continuing inside on a small-scale platform, an observer sees low-cal repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending infinite.^[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. Even so, she did not profit financially from her work. Effectually 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 fiscal hardship.^[19] She was non able to make the money she believed she deserved, and her frustration became so farthermost that she attempted suicide.^[11]

In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Key Park and the Brooklyn Bridge, often involving nudity and designed to protestation the Vietnam War. In one, she wrote an open letter to Richard Nixon offering to have sex with him if he would stop 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 Expressionless at the MoMA (1969), which took place at the Sculpture Garden of the Museum of Modern Art.^[29] During the unannounced issue, eight performers nether Kusama's direction removed their wear, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures past Picasso, Giacometti, and Maillol.^[32]

In 1967, Jud Yalkut made a film of Kusama titled Kusama's Self-Obliteration. ^[33]

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 Eastward in New York Urban center.^[19] She opened naked painting studios and a gay social gild called the Kusama 'Omophile Kompany (kok).^[34] The nudity nowadays in Kusama'due south fine art and art protests was severely shameful for her family. This fabricated her feel lone, and she attempted suicide again.^[11]

In 1966, Kusama starting time participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she chosen a "kinetic carpet". As soon as the slice was installed on a lawn outside the Italian pavilion, Kusama, dressed in a golden kimono,^[22] began selling each private sphere for 1,200 lire (Usa$2), until the Biennale organizers put an end to her enterprise. Narcissus Garden was every bit much virtually the promotion of the artist through the media as it was an opportunity to offer a critique of the mechanization and commodification of the art market.^[35]

During her fourth dimension in New York, Kusama had a cursory relationship with artist Donald Judd.^[36] She and so began a passionate, only ideal, relationship with the surrealist artist Joseph Cornell. She was 26 years his inferior – they would phone call each other daily, sketch each other, and he would send personalized collages to her. Their lengthy clan would final until his death in 1972.^[36]

Return to Japan: 1973–1977 [edit]

In 1973, Kusama returned in ill wellness to Japan, where she began writing shockingly visceral and surrealistic novels, curt stories, and poetry. In 1977, Kusama checked herself into a hospital for the mentally sick, where she eventually took upward permanent residence. She has been living at the hospital since, past pick.^[37] Her studio, where she has continued to produce piece of work since the mid-1970s, is a short distance from the hospital in Tokyo.^[38] Kusama is often quoted equally saying: "If information technology were not for art, I would have killed myself a long time ago."^[39]

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

Revival: 1980s–present [edit]

Her organically abstract paintings of one or two colors (the Infinity Nets series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international interest.^[40] Yayoi Kusama: A Retrospective was the first critical survey of Yayoi Kusama presented at the Middle for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.^{[41] [42]}

Following the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with small pumpkin sculptures in which she resided in color-coordinated magician's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to stand for for her a kind of alter-ego or self-portrait.^[43] Kusama'due south later installation I'm Hither, but Nothing (2000–2008) is a but furnished room consisting of table and chairs, place settings and bottles, armchairs and rugs, however its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV lite. The result is an countless infinite space where the self and everything in the room is obliterated.^[44]

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

The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. Maybe 1 of Kusama's most notorious works, various versions of Narcissus Garden take been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.^[45]

In her ninth decade, Kusama has continued to work every bit an artist. She has harkened dorsum to earlier work by returning to drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-sail works. Likewise featured was an exploration of infinite 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 propose a pattern of life and death.^[46]

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

In 2017, a 50-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.^{[47] [48]}

On 25 February 2017, Kusama's All the Eternal Beloved I Have for the Pumpkins exhibit, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for three days post-obit harm to one of the showroom'southward glowing pumpkin sculptures. The room, which measures thirteen square feet (i.two mⁱⁱ) and was filled with over threescore pumpkin sculptures, was 1 of the museum'south about popular attractions always. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a show with that kind of visitor demand", with the room averaging more than 8,000 visitors between its opening and the appointment of its temporary endmost. While there were alien media reports about the cost of the damaged sculpture and how exactly information technology was cleaved, Allison Peck stated that "there is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." The exhibit was reconfigured to make up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama.^[49] The Infinity Mirrors showroom became a awareness among fine 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 by the Smithsonian the day later on the exhibit's endmost.^[50] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.^[51]

Besides in 2017, the Yayoi Kusama Museum opened in Tokyo, featuring her works.^[52]

On 9 November 2019, Kusama's Everyday I Pray For Honey 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 by David Zwirner books containing texts and poems from the artist. This exhibition too included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE, 2019.^[53]

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 Drove.^[54] The name of the exhibit is derived from an open alphabetic character Kusama wrote to and then-President Richard Nixon in 1968, writing: "let'due south forget ourselves, beloved Richard, and get one with the accented, all together in the altogether."^[55]

In November 2021,^[56] a monumental exhibition offering an overview of Kusama'southward main artistic periods over the past 70 years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost 3,000 m² across the Museum'due south two 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'southward 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, only she now shares it with the world.^[57] Claire Voon has described one of Kusama's mirror exhibits every bit being able to "send you to quiet creation, to a lonely labyrinth of pulsing light, or to what could be the enveloping innards of a leviathan with the measles".^[58]

Creating these feelings amongst audiences was intentional. These experiences seem to be unique to her work because Kusama wanted others to sympathize with her in her troubled life.^[58] Bedatri D. Choudhury has described how Kusama's lack of feeling in control throughout her life made her, either consciously or subconsciously, want to control how others perceive fourth dimension and infinite when inbound her exhibits. This statement seems to imply that without her trauma, Kusama would non have created these works as well or peradventure non at all. Fine art had become a coping mechanism for Kusama.^[59]

Works and publications [edit]

Performance [edit]

In Yayoi Kusama's Walking Piece (1966), a performance that was documented in a series 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, yet, was fabricated to look inauthentic, as it was really a black umbrella, painted white on the exterior and decorated with false flowers. Kusama walked down unoccupied streets in an unknown quest. She so turned and cried without reason, and eventually walked away and vanished from view.

This performance, through the association of the kimono, involved the stereotypes that Asian-American women continued to face. Yet, every bit an avant-garde artist living in New York, her situation contradistinct the context of the clothes, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audition categorized her, by showing the absurdity of culturally categorizing people in the globe's largest melting pot.^[sixty]

Film [edit]

In 1968, Kusama and Jud Yalkut'southward collaborative piece of work Kusama's Self-Obliteration won a prize at the Quaternary International Experimental Film Contest in Belgium^[61] and the Second Maryland Picture show Festival and the 2nd prize at the Ann Arbor Film Festival. The 1967 experimental film, which Kusama produced and starred in, depicted Kusama painting polka dots on everything around her including bodies.^[61]

In 1991, Kusama starred in the flick Tokyo Decadence, written and directed past Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.^{[19] [62]}

Fashion [edit]

In 1968, Kusama established Kusama Way Company Ltd, and began selling avantgarde mode in the "Kusama Corner" at Bloomingdales.^[63] In 2009, Kusama designed a handbag-shaped jail cell telephone entitled Handbag for Space Travel, My Doggie Band-Ring, a pink dotted phone in accompanying canis familiaris-shaped holder, and a red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile advice behemothic KDDI Corporation's "iida" make.^[64] Each phone was limited to i,000 pieces.

In 2011, Kusama created artwork for half-dozen limited-edition lipglosses from Lancôme.^[65] That same year, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products,^[66] including leather goods, ready-to-wear, accessories, shoes, watches, and jewelry.^[67] The products became available in 2012 at a SoHo pop-up shop, which was decorated with Kusama'due south trademark tentacle-like protrusions and polka-dots. Eventually, half-dozen other pop-up shops were opened around the world. When asked about her collaboration with Marc Jacobs, Kusama replied that "his sincere mental attitude toward fine art" is the same every bit her own.^[68]

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'southward Church (1985), Between Sky and World (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several issues of the magazine S&G Sniper in collaboration with lensman Nobuyoshi Araki.^[19] Her most recent writing endeavor includes her autobiography Infinity Cyberspace ^[69] published in 2003 that depicts her life from growing upwardly in Nihon, her departure to the Usa, and her return to her home country, where she now resides. Infinity Net as well includes some of the artist's poesy and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, by and large in the grade of brightly hued monstrous plants and flowers, for public and individual 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; Hello, Anyang with Love (2007) for Pyeonghwa Park (at present referred every bit World Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles.^[70] In 1998, she realized a landscape for the hallway of the Gare do Oriente subway station in Lisbon. Aslope these monumental works, she has produced smaller scale outdoor pieces including Cardinal-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, so painted in urethane to glossy perfection.^[71]

In 2010, Kusama designed a Town Sneaker styled bus, which she titled Mizutama Ranbu (Wild Polka Dot Trip the light fantastic toe) and whose route travels through her hometown of Matsumoto.^[19] In 2011, she was commissioned to design the front end comprehend of millions of pocket London Surreptitious maps; the outcome is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the creative person'south work at the Whitney Museum of American Fine art in 2012, a 120-foot (37 m) reproduction of Kusama's painting Yellow Trees (1994) covered a condominium building nether structure in New York'due south Meatpacking District.^[72] That same year, Kusama conceived her floor installation Thousands of Eyes as a commission for the new Queen Elizabeth II Courts of Law, Brisbane.^[73]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, Skin." Zegher, M. Catherine de. Inside the Visible: An Elliptical Traverse of 20th Century Fine art in, of, and from the Feminine. Cambridge, Mass: The MIT Press, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
• Plant of Contemporary Art, Boston, thirty Jan – 12 May 1996.
• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, Northward.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-2 OCLC 42448762
• Robert Miller Gallery, New York, 11 June – seven August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Love Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998. ISBN 978-0-875-87181-iii OCLC 39030076
• Los Angeles County Museum of Art, 8 March – 8 June 1998; three other locations through 4 July 1999.
• Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-3-852-47034-4 OCLC 602369060
• Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-2 OCLC 50628150
• Vii European exhibitions in France, Federal republic of germany, 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, v June – 22 August 2004.
• Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-4-568-10353-3 OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 Oct – 19 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 – 3 July 2005; at Matsumoto-shi Bijutsukan, xxx July – 10 October 2005.
• Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-2 OCLC 501970783
• Victoria Miro Gallery, London, ten October – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-one-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, thirty 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, ten May – 12 September 2011; Center Pompidou, Paris, ten October 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 Feb – 5 June 2012.
• Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Take Arrived in Heaven. New York: David Zwirner, 2014. ISBN 978-0-989-98093-7 OCLC 879584489
• David Zwirner Gallery, New York, 8 November – 21 December 2013.
• Laurberg, Marie: Yayoi Kusama – In Infinity, Denmark: Louisiana Museum of Modernistic Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Fine art Museum, 2016
• David Zwirner Gallery, New York, 9 Nov – 14 December 2019.^[74]

Analogy work [edit]

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

Capacity [edit]

• Nakajima, Izumi. "Yayoi Kusama between abstraction and pathology." Pollock, Griselda. Psychoanalysis and the Paradigm: Transdisciplinary Perspectives. Malden, MA: Blackwell Pub, 2006. pp. 127–160. ISBN 978-1-405-13460-half dozen OCLC 62755557
• Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Fall." Schulz R, Bonanni K, 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 Fine art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Epitome = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-four-891-94130-7 OCLC 54943729
• Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Mind Books, 1998. ISBN 978-0-965-33043-5 OCLC 82910478
• Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: Three Novellas. Berkeley, Calif: Wandering Heed 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 978-2-840-66115-3 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 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-four OCLC 71424904
• Kusama, Yayoi. Kusama Yayoi zen hangashū, 1979–2004 = All Prints of Kusama Yayoi, 1979–2004. Tōkyō: Abe Shuppan, 2006. ISBN 978-4-872-42174-3 OCLC 173274568
• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Printing, 2017. ISBN 978-0-714-87345-9 OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-3-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an creative person'southward co-op. She showed a series of white net paintings which were enthusiastically reviewed past 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, amidst others. Exhibiting alongside European artists including Lucio Fontana, Politician Bury, Otto Piene, and Gunther Uecker, in 1962 she was the simply female person creative person to take role in the widely acclaimed Nul (Nil) international group exhibition at the Stedelijk Museum in Amsterdam.^[75]

Exhibition list [edit]

Yayoi Kusama'south 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 (Performance) at Video Gallery Browse, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Eye 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 work toured the US and Nippon
• 1998: "Love Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Love Forever: Yayoi Kusama,1958–1969" – showroom traveled to Museum of Modern Art, New York, Walker Fine art Center, Minneapolis and Museum of Contemporary 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 Fine 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 fourth dimension displayed as floating "humps" on a lake.^[76]
• 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, the netherlands
• 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
• August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Heart, out of the center and Toyota motorcar polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'due south Field. As of thirteen September of that year the mirror room is permanently exhibited in the entrance area of the museum.
• July 2011: Museo Reina Sofía, Madrid, Spain
• 2012: Tate Modern, London.^[77] Described every bit "akin to being suspended in a beautiful cosmos gazing at infinite worlds, or like a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",^[78] the exhibition features a retrospective spanning Kusama's entire career.
• 15 July 2013 – 3 Nov 2013: Daegu Art Museum, Daegu, Korea
• 30 June 2013 – 16 September 2013: MALBA, the Latinamerican Art Museum of Buenos Aires, Buenos Aires, Argentine republic
• 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
• 17 September 2015 – 24 Jan 2016: In Infinity, Louisiana Museum of Modern Art, Humlebæk, Denmark^[79]
• 12 June – nine August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russia. This was the creative person's beginning solo exhibition in Russian federation.^[80]
• 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
• 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
• 12 June – xviii September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• 1 May 2016 – xxx Nov 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.
• 25 May 2016 – xxx July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United kingdom.
• 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.^[81]
• five November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.^[82]
• 23 February 2017 – fourteen May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum bear witness originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[83] [48]}
• thirty June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Fine art Museum, Seattle, Washington
• nine June 2017 – three September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.^[84]
• October 2017 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Wide, Los Angeles, California
• October 2017 – February 2018: Yayoi Kusama: All the Eternal Dear I Take for the Pumpkins, Dallas Museum of Art, Dallas, Texas
• November 2017 – Feb 2018: Yayoi Kusama: Life is the Heart of a Rainbow and Obliteration Room, GOMA, Brisbane, Commonwealth of australia^[85]
• December 2017 – April 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
• March 2018 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Nippon
• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada
• March–July 2018: Yayoi Kusama: All About My Dear, Matsumoto Urban center Museum of Art, Matsumoto, Nagano, Japan
• May–September 2018: Yayoi Kusama: Life is the Middle of a Rainbow, Museum of Modernistic and Contemporary Fine art in Nusantara (Museum MACAN), Djakarta, Republic of indonesia^[86]
• 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 Center 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 ^[87] (2011)
• March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, Kingdom of the netherlands
• 9 November 2019 – xiv December 2019: Yayoi Kusama: Everyday I Pray For Beloved, David Zwirner Gallery, New York, NY^[74]
• 4 January – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
• 4 Apr – 19 September 2020: Yayoi Kusama: "I with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC^[54]
• 31 July 2020 – 3 January 2021: STARS: Six Contemporary Artists from Japan to the World, Tokyo, Japan^[88]
• 10 April 2020 – 31 October 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY^{[89] [90]}
• 15 November 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Fine art, Israel ^{[91] [92]}

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)
• Yous Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona^[93]
• Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Kingdom of denmark^[94]
• The Souls of Millions of Light Years Abroad (2013), The Wide, Los Angeles, California^[48]
• The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Australia, Canberra^[95]
• Phalli's Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
• Love is Calling (2013/2019), Institute of Contemporary Fine art, Boston, Boston, Massachusetts^[96]
• Light of Life (2018), Due north Carolina Museum of Art, Raleigh, North Carolina
• Brilliance of the Souls (2019), Museum of Modernistic and Gimmicky Fine art in Nusantara (Museum MACAN), Djakarta, Republic of indonesia^[97]
• Infinity Mirror Room – Let's Survive Forever (2019), Art Gallery of Ontario, Toronto, Ontario^[98]

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 world, including the Museum of Modern Fine art, New York; Los Angeles Canton Museum of Fine art, Los Angeles; Walker Fine art Heart, Minneapolis; Phoenix 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 by Mary Beth Edelson.^[99]

In 2017, a l-year retrospective of Kusama's work opened at the Hirshhorn Museum in Washington, DC. That same twelvemonth, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at the Museum of Modernistic Art (1998), the Whitney Museum (2012), and the Tate Mod (2012).^{[100] [101] [102]} In 2015, the website Artsy named Kusama one of its superlative 10 living artists of the twelvemonth.^[103]

Kusama has received many awards, including the Asahi Prize (2001); Ordre des Arts et des Lettres (2003); the National Lifetime Accomplishment Award from the Order of the Ascension Sun (2006); and a Lifetime Achievement Award from the Women's Caucus for Art.^[104] In Oct 2006, Kusama became the showtime Japanese woman to receive the Praemium Imperiale, one of Nippon'southward highest honors for internationally recognized artists.^[105] She also received the Person of Cultural Merit (2009) and Ango awards (2014).^[106] In 2014, Kusama was ranked the almost popular artist of the year afterward a tape-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Space Obsession. Venues from Buenos Aires to Mexico Urban center received more than than viii,500 visitors each 24-hour interval.^[107]

The octogenarian likewise gained media attending for partnering with the Hirshhorn Museum and Sculpture Garden to brand her 2017 Infinity Mirror rooms accessible to visitors with disabilities or mobility issues; in a new initiative among art museums, the venue mapped out the six private rooms and provided handicapped individuals visiting the exhibition access to a complete 360-degree virtual reality headset that allowed them to experience every aspect of the rooms,^[108] as if they were really walking through them.^[109]

Art market [edit]

Kusama'south work has performed strongly at sale: top prices for her piece of work are for paintings from the late 1950s and early on 1960s. Every bit of 2012, her work has the highest turnover of whatsoever living adult female artist.^[110] In November 2008, Christie's New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd,^[nineteen] No. 2, for US$5.1 million, and so a tape for a living female person artist.^[111] In comparison, the highest toll for a sculpture from her New York years is £72,500 (US$147,687), fetched by the 1965 wool, pasta, paint and hanger assemblage Golden Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the top price for ane of her sculptures, also at Sotheby's in 2007^[112] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for US$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 auction when White No. 28 (1960) from her signature Infinity Nets series sold for $7.ane 1000000 at a 2014 Christie'south auction.^[113]

In popular culture [edit]

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

• Superchunk, an American indie band, included a song called "Art Grade (Vocal for Yayoi Kusama)" on its Here's to Shutting Upwards album.
• Yoko Ono cites Kusama as an influence.^{[114] [115]}
• The 2004 Matsumoto Performing Art Center in Kusama's hometown Matsumoto, designed past Toyo Ito, has an entirely dotted façade.^[116]
• She is mentioned in the lyrics of the Le Tigre song "Hot Topic".^[117]
• In 2013, the British indie pop duo The Boy To the lowest degree Likely To made song tribute to Yayoi Kusama, writing a vocal specially about her.^[118] They wrote on their web log that they admire Kusama's piece of work because she puts her fears into it, something that they themselves often practice.^[119]
• The Nels Cline Singers dedicated one runway, "Macroscopic (for Kusama-san)" of their 2014 album, Macroscope to Kusama.^[120]
• Magnolia Pictures released the biographical documentary Kusama: Infinity on seven September 2018^[121] and a DVD version on 8 January 2019.^[122]
• Veuve Clicquot and Kusama created a express-edition bottle and sculpture in September 2020.^[123]

References [edit]

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External links [edit]

• Official Site
• YAYOI KUSAMA MUSEUM (English)
• Beloved Forever: Yayoi Kusama, 1958–1968, Museum of Modernistic Fine art
• How to Paint Like Yayoi Kusama
• Yayoi Kusama in the collection of The Museum of Modern Art
• [*Women Artists and Postwar Brainchild | HOW TO Run across 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 now more than always
• Yayoi Kusama fine art for the Instagram age
• Yayoi Kusama/artnet

williamsthethe.blogspot.com

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

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