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Japanese artist and writer

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

Yayoi Kusama
草間 彌生
Yayoi Kusama cropped 1 Yayoi Kusama 201611.jpg

Kusama in 2016
Built-in

Yayoi Kusama (草間 彌生)


(1929-03-22) 22 March 1929 (age 93)

Matsumoto, Nagano, Empire of Japan
Nationality Japanese
Known for
  • Painting
  • cartoon
  • sculpture
  • installation art
  • operation fine art
  • film
  • fiction
  • manner
  • writing
Movement
  • Pop art
  • minimalism
  • feminist fine art
  • environmental fine art
Awards Praemium Imperiale
Website www.yayoi-kusama.jp

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

Kusama was raised in Matsumoto, and trained at the Kyoto Metropolis University of Arts in a traditional Japanese painting style chosen nihonga.[2] Kusama was inspired, nonetheless, by American Abstract impressionism. She moved to New York City in 1958 and was a function of the New York advanced scene throughout the 1960s, peculiarly in the pop-art movement.[three] Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots.[iv] [5] Since the 1970s, Kusama has continued to create art, most notably installations in diverse museums around the earth.[6]

Kusama has been open most her mental wellness. She says that art has become her style to express her mental problems.[7] She reported in the interview she did with Infinity Net "I fight pain, anxiety, and fear every mean solar day, and the only method I have found that relieved my illness is to continue creating art. I followed the thread of art and somehow discovered a path that would allow me to live."[viii]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano.[9] Built-in into a family unit 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 subsequently define her career.[7] Her mother was not supportive of her creative endeavors; Kusama would rush to finish her art because her mother would have information technology abroad to discourage her.[xi] Her mother was also apparently physically abusive,[12] and Kusama remembers her begetter as "the type who would play around, who would womanize a lot".[10] The creative person says that her mother would often transport her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male's lower body and the phallus: "I don't like sexual activity. I had an obsession with sexual practice. When I was a child, my father had lovers and I experienced seeing him. My mother sent me to spy on him. I didn't want to have sexual activity with anyone for years [...] The sexual obsession and fear of sex activity sit side by side in me."[xiii] Her traumatic childhood, including her fantastic visions, can be said to exist the origin of her creative style.[xiv]

When Kusama was x years old, she began to feel 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 material 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'due south art became her escape from her family and her own heed when she began to accept hallucinations.[11] She was reportedly fascinated by the smooth white stones covering the bed of the river most her family home, which she cites as some other of the seminal influences backside her lasting fixation on dots.[18]

When Kusama was 13, she was sent to work in a armed forces factory where she was tasked with sewing and fabricating parachutes for the Japanese army, and so embroiled in World State of war Two.[1] Discussing her time in the mill, 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 wide daylight.[ane] Her childhood was greatly influenced by the events of the 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 School 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.[20]

Early success in Japan: 1950–1956 [edit]

By 1950, she was depicting abstract natural forms in h2o colour, gouache, and oil paint, primarily on newspaper. She began covering surfaces—walls, floors, canvases, and later, household objects, and naked assistants—with the polka dots that would get a trademark of her work.

The vast fields of polka dots, or "infinity nets", equally she called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age x, in which the image of a Japanese woman in a kimono, presumed to exist the artist's mother, is covered and obliterated by spots.[21] Her first series of large-scale, sometimes more 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:

Ane day I was looking at the red bloom patterns of the tablecloth on a table, and when I looked up I saw the same blueprint roofing the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless fourth dimension and the absoluteness of space, and be reduced to nothingness. Equally I realised it was actually 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 by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to autumn autonomously and I barbarous downwardly the stairs spraining my talocrural joint.[23]

New York Urban center: 1957–1972 [edit]

An Infinity Room installation

Later living in Tokyo and France, Kusama left Japan at the age of 27 for the U.s.. She has stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women".[xv] Before leaving Nihon to the United States, she destroyed many of her early on works.[24] In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.[25] She stayed there for a year[16] before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an involvement in joining the limelight of the city, and sought O'Keeffe's communication.[26] During her time in the The states, she quickly established her reputation as a leader in the avant-garde move and received praise for her piece of work from the anarchist art critic Herbert Read.[27]

In 1961 she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend.[28] In the early 1960s Kusama began to create so-called soft sculptures by covering items such every bit 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 likewise, similar having herself routinely photographed with new piece of work[16] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.[13]

A polka-dot has the form of the dominicus, which is a symbol of the free energy of the whole globe and our living life, and likewise 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 series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored drinking glass comprise scores of neon-colored balls, hanging at various heights higher up the viewer. Standing inside on a minor 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 by 1966 she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell amidst her friends and supporters. However, she did not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off financial hardship.[19] She was not able to make the money she believed she deserved, and her frustration became so extreme that she attempted suicide.[xi]

In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Central Park and the Brooklyn Bridge, oft involving nudity and designed to protest the Vietnam War. In one, she wrote an open alphabetic character to Richard Nixon offering to accept sex with him if he would stop the Vietnam war.[22] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, as 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, viii performers under Kusama's direction removed their clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.[32]

In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Self-obliteration at 33 Walker Street in New York and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore 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 present in Kusama'south art and art protests was severely shameful for her family. This fabricated her feel alone, and she attempted suicide over again.[eleven]

In 1966, Kusama commencement participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpet". As before long as the piece 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 (US$ii), until the Biennale organizers put an finish to her enterprise. Narcissus Garden was as much about the promotion of the artist through the media as it was an opportunity to offer a critique of the mechanization and commodification of the art marketplace.[34]

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

Render to Japan: 1973–1977 [edit]

In 1973, Kusama returned in ill health to Nippon, where she began writing shockingly visceral and surrealistic novels, curt stories, and verse. 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, by choice.[36] Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the infirmary in Tokyo.[37] Kusama is oftentimes quoted as saying: "If it were not for art, I would have killed myself a long time ago."[38]

From this base, she has connected to produce artworks in a variety of media, likewise as launching a literary career by publishing several novels, a poetry drove, and an autobiography.[12] Her painting mode shifted to loftier-colored acrylics on canvass, on an amped-up scale.[sixteen]

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 tardily 1980s and 1990s, when a number of retrospectives revived international interest.[39] Yayoi Kusama: A Retrospective was the outset critical survey of Yayoi Kusama presented at the Centre for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.[xl] [41]

Post-obit the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with pocket-size pumpkin sculptures in which she resided in color-coordinated sorcerer's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to stand for for her a kind of alter-ego or cocky-portrait.[42] Kusama's after installation I'one thousand Here, merely Nothing (2000–2008) is a simply furnished room consisting of tabular array and chairs, identify settings and bottles, armchairs and rugs, still 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-role floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine carmine with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's most notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; every bit part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.[44]

In her 9th decade, Kusama has continued to work as an artist. She has harkened back to earlier work by returning to cartoon and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-canvas works. As well featured was an exploration of space infinite in her Infinity Mirror rooms. These typically involve a cube-shaped room lined in mirrors, with h2o on the flooring and flickering lights; these features suggest a design of life and decease.[45]

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 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 contained more 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 design from the 1960s.

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

On 25 February 2017, Kusama's All the Eternal Love I Have for the Pumpkins showroom, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for iii days following damage to one of the showroom's glowing pumpkin sculptures. The room, which measures 13 square anxiety (1.2 m2) and was filled with over 60 pumpkin sculptures, was 1 of the museum's most 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 than 8,000 visitors betwixt its opening and the date of its temporary endmost. While there were conflicting media reports near the price of the damaged sculpture and how exactly it was broken, Allison Peck stated that "there is no intrinsic value to the individual slice. Information technology is a manufactured component to a larger piece." The exhibit was reconfigured to brand up for the missing sculpture, and a new ane was to be produced for the exhibit by Kusama.[48] The Infinity Mirrors showroom became a sensation amid fine art critics as well as on social media. Museum visitors shared 34,000 images of the exhibition to their Instagram accounts, and social media posts using the hashtag #InfiniteKusama garnered 330 meg impressions, as reported by the Smithsonian the solar day after the exhibit's closing.[49] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.[l]

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

On 9 November 2019, Kusama's Everyday I Pray For Love showroom 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 as well included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW Upwards 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 up alphabetic character Kusama wrote to then-President Richard Nixon in 1968, writing: "let'south forget ourselves, dearest Richard, and become one with the accented, all together in the altogether."[54]

In November 2021,[55] a monumental exhibition offer an overview of Kusama's principal creative periods over the past 70 years, with some 200 works and iv Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost 3,000 mtwo across the Museum's two buildings, in six galleries and includes ii new works: A Bouquet of Love I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her piece of work [edit]

Curator Mika Yoshitake has stated that Kusama's works on display are meant to immerse the whole person into her accumulations, obsessions, and repetitions. These infinite, repetitive works were originally meant to eliminate Kusama's intrusive thoughts, but she now shares it with the earth.[56] Claire Voon has described one of Kusama's mirror exhibits as existence able to "ship 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 exist unique to her work because Kusama wanted others to sympathise with her in her troubled life.[57] Bedatri D. Choudhury has described how Kusama's lack of feeling in control throughout her life made her, either consciously or subconsciously, desire to control how others perceive time and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works also or possibly not at all. Art had go a coping mechanism for Kusama.[58]

Works and publications [edit]

Performance [edit]

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

This performance, through the clan of the kimono, involved the stereotypes that Asian-American women continued to face. However, as an avant-garde creative person living in New York, her situation altered the context of the dress, creating a cantankerous-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audience categorized her, past showing the absurdity of culturally categorizing people in the world's largest melting pot.[59]

Film [edit]

In 1968, Kusama and Jud Yalkut'southward collaborative work Kusama'south Self-Obliteration won a prize at the Fourth International Experimental Film Contest in Kingdom of belgium[sixty] and the Second Maryland Movie Festival and the 2nd prize at the Ann Arbor Picture show Festival. The 1967 experimental film, which Kusama produced and starred in, depicted Kusama painting polka dots on everything effectually her including bodies.[60]

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

Fashion [edit]

In 1968, Kusama established Kusama Fashion Visitor Ltd, and began selling avantgarde fashion in the "Kusama Corner" at Bloomingdales.[62] In 2009, Kusama designed a handbag-shaped prison cell phone entitled Handbag for Infinite Travel, My Doggie Ring-Ring, a pink dotted phone in accompanying 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'southward "iida" make.[63] Each phone was limited to 1,000 pieces.

In 2011, Kusama created artwork for six limited-edition lipglosses from Lancôme.[64] That aforementioned yr, 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-upwardly shop, which was decorated with Kusama's 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 attitude toward art" is the same every bit her own.[67]

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled 7. One yr later, her start novel Manhattan Suicide Aficionado appeared. Between 1983 and 1990, she finished the novels The Hustler'south Grotto of Christopher Street (1983), The Called-for of St Marking's Church building (1985), Between Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Agonized Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several issues of the mag Southward&M Sniper in collaboration with photographer Nobuyoshi Araki.[19] Her most recent writing endeavor includes her autobiography Infinity Net [68] published in 2003 that depicts her life from growing upwardly in Nippon, her departure to the U.s.a., and her return to her home country, where she at present resides. Infinity Internet besides includes some of the artist's poetry and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, 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 Flower (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 as World Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles.[69] In 1998, she realized a mural for the hallway of the Gare practice Oriente subway station in Lisbon. Alongside these monumental works, she has produced smaller calibration outdoor pieces including Primal-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.[70]

In 2010, Kusama designed a Town Sneaker styled jitney, which she titled Mizutama Ranbu (Wild Polka Dot Dance) and whose route travels through her hometown of Matsumoto.[19] In 2011, she was commissioned to design the front embrace of millions of pocket London Hole-and-corner maps; the upshot 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-human foot (37 m) reproduction of Kusama's painting Yellow Copse (1994) covered a condominium edifice nether construction in New York'due south Meatpacking District.[71] That same yr, Kusama conceived her floor installation Thousands of Eyes as a commission for the new Queen Elizabeth 2 Courts of Law, Brisbane.[72]

Exhibition catalogs [edit]

  • Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, Peel." Zegher, Thou. Catherine de. Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Printing, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
  • Institute of 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, 11 June – vii August 1998.
  • Kusama, Yayoi, and Lynn Zelevansky. Dear Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Fine art, 1998. ISBN 978-0-875-87181-3 OCLC 39030076
  • Los Angeles County Museum of Art, eight March – 8 June 1998; 3 other locations through 4 July 1999.
  • Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-three-852-47034-iv OCLC 602369060
  • Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-2 OCLC 50628150
  • Seven European exhibitions in French republic, Germany, Kingdom of denmark, etc.; 2001–2003.
  • Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-4-048-53741-4 OCLC 169879689
  • Mori Art Museum, 7 February – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, 5 June – 22 August 2004.
  • Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-4-568-10353-3 OCLC 63197423
  • Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – xix December 2004; Kyōto Kokuritsu Kindai Bijutsukan, 6 Jan – 13 Feb 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 Apr – 3 July 2005; at Matsumoto-shi Bijutsukan, 30 July – ten October 2005.
  • Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-ii 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, xvi 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, 10 May – 12 September 2011; Centre Pompidou, Paris, 10 Oct 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 February – 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-vii OCLC 879584489
  • David Zwirner Gallery, New York, 8 Nov – 21 Dec 2013.
  • Laurberg, Marie: Yayoi Kusama – In Infinity, Denmark: Louisiana Museum of Modern Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
  • David Zwirner Gallery, New York, 9 November – 14 Dec 2019.[73]

Analogy work [edit]

  • Carroll, Lewis and Yayoi Kusama. Lewis Carroll's 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-i-405-13460-half-dozen OCLC 62755557
  • Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Fall." Schulz R, Bonanni G, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-iii-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 978-0-754-66974-6 OCLC 640515432

Autobiography, writing [edit]

  • Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Japan Edition Fine art, 1977.
  • Kusama, Yayoi. Kusama Yayoi: Driving Prototype = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-4-891-94130-7 OCLC 54943729
  • Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Mind Books, 1998. ISBN 978-0-965-33043-5 OCLC 82910478
  • Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: 3 Novellas. Berkeley, Calif: Wandering Heed Books, 1998. ISBN 978-0-965-33042-viii OCLC 45665616
  • Kusama, Yayoi. Infinity Cyberspace: The Autobiography of Yayoi Kusama. Chicago: The University of Chicago Press, 2011. ISBN 978-0-226-46498-5 OCLC 711050927
  • Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-two-840-66115-iii OCLC 420073474

Catalogue raisonné, etc. [edit]

  • Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992. ISBN 978-4-872-42023-iv OCLC 45198668
  • Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon Press, 2003. ISBN 978-0-714-83920-2 OCLC 749417124
  • Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Furniture past Graf: Decorative Mode No. 3. Tōkyō: Seigensha Art Publishing, 2003. ISBN 978-four-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-three OCLC 173274568
  • Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Press, 2017. ISBN 978-0-714-87345-nine OCLC 749417124
  • Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-iii-7913-5594-eight. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an creative person's co-op. She showed a serial of white net paintings which were enthusiastically reviewed past Donald Judd (both Judd and Frank Stella then caused paintings from the evidence).[21] Kusama has since exhibited work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting aslope European artists including Lucio Fontana, Pol Bury, Otto Piene, and Gunther Uecker, in 1962 she was the simply female artist to take part in the widely acclaimed Nul (Zero) 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 earlier Infinity Mirror Room

An exhibition for the HAM art company (Oct 2016)

  • 1976: Kitakyushu Municipal Museum of Art
  • 1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Nihon
  • 1987: Fukuoka, Nippon
  • 1989: Centre for International Contemporary Arts, New York
  • 1993: Represented Nippon at the Venice Biennale
  • 1996: Contempo Works at Robert Miller Gallery
  • 1998–1999: Retrospective exhibition 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 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 Art Park Museum of Contemporary Fine art, Sapporo Fine art Park, Hokkaido); Eternity – Modernity, National Museum of Mod Art, Tokyo (touring Nihon)
  • 2007: FINA Festival 2007. Kusama created Guidepost to the New Space, a vibrant outdoor installation for Birrarung Marr beside the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this fourth dimension displayed as floating "humps" on a lake.[75]
  • 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, holland
  • 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and Urban center Gallery, Wellington, New Zealand
  • August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Heart, out of the center and Toyota car polka dot project.
  • 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'due south Field. As of 13 September of that twelvemonth the mirror room is permanently exhibited in the entrance area of the museum.
  • July 2011: Museo Reina Sofía, Madrid, Espana
  • 2012: Tate Modern, London.[76] Described as "alike to being suspended in a cute cosmos gazing at infinite worlds, or similar a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",[77] the exhibition features a retrospective spanning Kusama's entire career.
  • 15 July 2013 – 3 November 2013: Daegu Fine art Museum, Daegu, Korea
  • 30 June 2013 – 16 September 2013: MALBA, the Latinamerican Fine art Museum of Buenos Aires, Buenos Aires, Argentina
  • 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
  • 17 September 2015 – 24 Jan 2016: In Infinity, Louisiana Museum of Modern Art, Humlebæk, Denmark[78]
  • 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Fine art, Moscow, Russia. This was the creative person's outset solo exhibition in Russia.[79]
  • 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
  • 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
  • 12 June – xviii September 2016: Kusama: At the Cease of the Universe, Museum of Fine Arts, Houston, Houston, Texas
  • 1 May 2016 – 30 November 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.
  • 25 May 2016 – 30 July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.
  • 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised past the Louisiana Museum of Modern Fine art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.[80]
  • 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Commonwealth of australia.[81]
  • 23 Feb 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum prove originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC[82] [47]
  • 30 June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
  • ix June 2017 – iii September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.[83]
  • October 2017 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Broad, Los Angeles, California
  • October 2017 – February 2018: Yayoi Kusama: All the Eternal Dear I Have for the Pumpkins, Dallas Museum of Fine art, Dallas, Texas
  • November 2017 – Feb 2018: Yayoi Kusama: Life is the Heart of a Rainbow and Obliteration Room, GOMA, Brisbane, Australia[84]
  • December 2017 – April 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 Near My Love, Matsumoto City Museum of Fine art, Matsumoto, Nagano, Nihon
  • May–September 2018: Yayoi Kusama: Life is the Middle of a Rainbow, Museum of Modernistic and Contemporary Art in Nusantara (Museum MACAN), Dki jakarta, Republic of indonesia[85]
  • July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Fine art, exhibition travels to Cleveland, Ohio
  • July–November 2018: Yayoi Kusama: Where The Lights In My Heart Go, exhibition travels to deCordova Museum and Sculpture Park, Lincoln, MA
  • 26 July 2018 - Jump 2019: Yayoi Kusama: With All My Love for the Tulips, I Pray Forever [86] (2011)
  • March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, Kingdom of the netherlands
  • 9 November 2019 – fourteen Dec 2019: Yayoi Kusama: Everyday I Pray For Love, David Zwirner Gallery, New York, NY[73]
  • iv Jan – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
  • 4 Apr – 19 September 2020: Yayoi Kusama: "One with Eternity: Yayoi Kusama in the Hirshhorn Collection," Washington, DC[53]
  • 31 July 2020 – 3 January 2021: STARS: Six Contemporary Artists from Nippon to the World, Tokyo, Nippon[87]
  • x 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 [90] [91]

Permanent Infinity Room installations [edit]

  • Infinity Dots Mirrored Room (1996), Mattress Mill, Pittsburgh, Pennsylvania
  • Infinity Mirror Room fireflies on Water (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
  • Y'all Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona[92]
  • Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Denmark[93]
  • The Souls of Millions of Light Years Away (2013), The Broad, Los Angeles, California[47]
  • The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Australia, Canberra[94]
  • Phalli's Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
  • Dear is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts[95]
  • Light of Life (2018), N Carolina Museum of Fine art, Raleigh, Northward Carolina
  • Brilliance of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Republic of indonesia[96]
  • Infinity Mirror Room – Let'due south 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 Printing Limited, 2000.
  • Lenz, Heather, managing director. Infinity. Magnolia Pictures, 2018.

Collections [edit]

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

Recognition [edit]

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

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

Kusama has received many awards, including the Asahi Prize (2001); Ordre des Arts et des Lettres (2003); the National Lifetime Achievement Award from the Lodge of the Rising Sunday (2006); and a Lifetime Achievement Accolade from the Women'south Caucus for Fine art.[103] In October 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, one of Nippon's highest honors for internationally recognized artists.[104] She also received the Person of Cultural Merit (2009) and Ango awards (2014).[105] In 2014, Kusama was ranked the well-nigh popular artist of the year after a record-breaking number of visitors flooded her Latin American tour, 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 accessible to visitors with disabilities or mobility issues; in a new initiative among art museums, the venue mapped out the half-dozen individual rooms and provided disabled individuals visiting the exhibition access to a complete 360-degree virtual reality headset that immune them to experience every attribute of the rooms,[107] as if they were actually walking through them.[108]

Fine art market [edit]

Kusama's work has performed strongly at auction: superlative prices for her work are for paintings from the late 1950s and early 1960s. As of 2012, her work has the highest turnover of whatever living woman artist.[109] In November 2008, Christie's New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd,[19] No. 2, for US$5.i million, and so a record for a living female artist.[110] In comparing, the highest toll for a sculpture from her New York years is £72,500 (US$147,687), fetched past the 1965 wool, pasta, paint and hanger assemblage Golden Macaroni Jacket at Sotheby'southward London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the superlative price for one of her sculptures, likewise at Sotheby's in 2007[111] 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 prove. Kusama became the most expensive living female person artist at sale when White No. 28 (1960) from her signature Infinity Nets series sold for $7.i million at a 2014 Christie's sale.[112]

In popular culture [edit]

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

  • Superchunk, an American indie band, included a song called "Art Class (Vocal for Yayoi Kusama)" on its Here'south to Shutting Up album.[113]
  • In 1967, Jud Yalkut made a film of Kusama titled Kusama's Cocky-Obliteration. [114]
  • Yoko Ono cites Kusama as an influence.[115] [116]
  • The 2004 Matsumoto Performing Art Center in Kusama's hometown Matsumoto, designed by Toyo Ito, has an entirely dotted façade.[117]
  • She is mentioned in the lyrics of the Le Tigre song "Hot Topic".[118]
  • In 2013, the British indie pop duo The Male child To the lowest degree Likely To made song tribute to Yayoi Kusama, writing a song peculiarly about her.[119] They wrote on their weblog that they admire Kusama's piece of work because she puts her fears into information technology, something that they themselves ofttimes practise.[120]
  • The Nels Cline Singers dedicated ane rail, "Macroscopic (for Kusama-san)" of their 2014 album, Macroscope to Kusama.[121]
  • Magnolia Pictures released the biographical documentary Kusama: Infinity on vii September 2018[122] and a DVD version on 8 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)
  • Dearest Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
  • How to Pigment Like Yayoi Kusama
  • Yayoi Kusama in the collection of The Museum of Mod Fine art
  • [*Women Artists and Postwar Brainchild | HOW TO Meet the art movement with Corey D'Augustine, MoMA
  • Phoenix Fine art Museum online Archived 28 Jan 2019 at the Wayback Machine
  • Earth is a polka dot. An interview with Yayoi Kusama Video by Louisiana Aqueduct
  • BBC NewsNight Yayoi Kusama
  • Why Yayoi Kusama matters now more than always
  • Yayoi Kusama art for the Instagram historic period
  • Yayoi Kusama/artnet

rallstinur1984.blogspot.com

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

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