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Japanese creative person and writer

"Kusama" redirects here. For the flick managing director, see Karyn Kusama.

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

Kusama in 2016
Born

Yayoi Kusama (草間 彌生)


(1929-03-22) 22 March 1929 (historic period 93)

Matsumoto, Nagano, Empire of Nihon
Nationality Japanese
Known for
  • Painting
  • drawing
  • sculpture
  • installation art
  • performance art
  • film
  • fiction
  • fashion
  • writing
Movement
  • Popular art
  • minimalism
  • feminist art
  • environmental 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 besides active in painting, operation, video art, fashion, poesy, fiction, and other arts. Her work is based in conceptual 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 acknowledged as one of the most of import living artists to come out of Japan.[1]

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts in a traditional Japanese painting style chosen nihonga.[2] Kusama was inspired, nevertheless, by American Abstract impressionism. She moved to New York City in 1958 and was a role of the New York avant-garde scene throughout the 1960s, especially in the popular-art movement.[3] 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.[4] [5] Since the 1970s, Kusama has continued to create art, most notably installations in various museums around the world.[half dozen]

Kusama has been open almost her mental health. She says that art has go her manner to limited her mental problems.[7] She reported in the interview she did with Infinity Net "I fight pain, anxiety, and fright every solar day, and the but method I have found that relieved my disease is to keep creating art. I followed the thread of art and somehow discovered a path that would let me to live."[eight]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano.[9] Built-in into a family of merchants who owned a plant plant nursery and seed farm,[10] Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career.[7] Her mother was not supportive of her creative endeavors; Kusama would blitz to finish her art because her mother would take information technology abroad to discourage her.[11] Her mother was as well apparently physically abusive,[12] and Kusama remembers her begetter as "the blazon who would play around, who would womanize a lot".[10] The artist says that her female parent would often send her to spy on her father's extramarital diplomacy, which instilled inside her a lifelong antipathy for sexuality, peculiarly the male person'south lower body and the phallus: "I don't like sex. I had an obsession with sexual practice. When I was a child, my father had lovers and I experienced seeing him. My female parent sent me to spy on him. I didn't want to have sex with anyone for years [...] The sexual obsession and fearfulness of sex sit side past side in me."[thirteen] Her traumatic babyhood, including her fantastic visions, tin be said to be the origin of her artistic style.[14]

When Kusama was x years old, she began to experience bright hallucinations which she has described as "flashes of low-cal, auras, or dumbo fields of dots".[15] These hallucinations besides included flowers that spoke to Kusama, and patterns in textile that she stared at coming to life, multiplying, and engulfing or expunging her,[16] a procedure which she has carried into her artistic career and which she calls "self-obliteration".[17] Kusama's art became her escape from her family unit and her own mind when she began to have hallucinations.[11] She was reportedly fascinated by the shine white stones roofing the bed of the river near her family unit home, which she cites as another of the seminal influences behind her lasting fixation on dots.[18]

When Kusama was thirteen, she was sent to work in a military manufactory where she was tasked with sewing and fabricating parachutes for the Japanese ground forces, so embroiled in Globe War 2.[i] Discussing her fourth dimension in the factory, she says that she spent her adolescence "in closed darkness" although she could always hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight.[i] Her childhood was profoundly 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 artistic freedom.[xviii]

She went on to study Nihonga painting at the Kyoto Municipal School of Craft in 1948.[xix] 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 success in Japan: 1950–1956 [edit]

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

The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded piece of work in which she incorporated these dots was a drawing in 1939 at historic period x, in which the epitome of a Japanese adult female in a kimono, presumed to exist the artist'south mother, is covered and obliterated by spots.[21] Her first 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 Flower (D.Southward.P.S) Kusama has said:

I day I was looking at the red flower patterns of the tablecloth on a tabular array, and when I looked upwards 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 every bit if I had begun to self-obliterate, to circumduct in the infinity of endless fourth dimension and the absoluteness of infinite, and exist reduced to nothingness. As 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 red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I savage down the stairs spraining my ankle.[23]

New York Urban center: 1957–1972 [edit]

An Infinity Room installation

After living in Tokyo and France, Kusama left Japan at the age of 27 for the The states. She has stated that she began to consider Japanese society "too minor, too servile, too feudalistic, and also scornful of women".[15] Before leaving Japan to the United States, she destroyed many of her early works.[24] In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.[25] She stayed at that place for a twelvemonth[sixteen] earlier moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the urban center, and sought O'Keeffe's advice.[26] During her fourth dimension in the U.s., she quickly established her reputation as a leader in the avant-garde movement and received praise for her work from the agitator art critic Herbert Read.[27]

In 1961 she moved her studio into the same edifice equally Donald Judd and sculptor Eva Hesse; Hesse became a shut friend.[28] In the early 1960s Kusama began to create and then-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 also, like 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.[xiii]

A polka-dot has the form of the sun, which is a symbol of the free energy of the whole world and our living life, and also the course 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 glass contain scores of neon-colored assurance, hanging at various heights above the viewer. Standing inside on a pocket-size 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. Nevertheless, she did not turn a profit financially from her piece of work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off fiscal hardship.[19] She was non able to make the coin 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 Span, often involving nudity and designed to protest the Vietnam State of war. In one, she wrote an open letter to Richard Nixon offering to have sex with him if he would stop the Vietnam war.[22] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, normally involving Kusama painting polka dots on her naked performers, as in the Yard Orgy to Awaken the Dead at the MoMA (1969), which took place at the Sculpture Garden of the Museum of Modern Art.[29] During the unannounced event, viii performers under Kusama's management 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 State 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'southward art and fine art protests was severely shameful for her family. This made her experience lonely, and she attempted suicide again.[11]

In 1966, Kusama first participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpet". Equally presently as the piece was installed on a backyard outside the Italian pavilion, Kusama, dressed in a golden kimono,[22] began selling each private sphere for one,200 lire (United states of america$2), until the Biennale organizers put an end 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 fine art marketplace.[34]

During her time in New York, Kusama had a cursory relationship with artist Donald Judd.[35] She and 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 send personalized collages to her. Their lengthy clan would concluding until his expiry in 1972.[35]

Return to Nippon: 1973–1977 [edit]

In 1973, Kusama returned in ill wellness to Japan, where she began writing shockingly visceral and surrealistic novels, brusque stories, and verse. In 1977, Kusama checked herself into a hospital for the mentally ill, where she eventually took up permanent residence. She has been living at the hospital since, by choice.[36] Her studio, where she has continued to produce work since the mid-1970s, is a curt distance from the infirmary in Tokyo.[37] Kusama is often quoted as saying: "If it were not for art, I would have killed myself a long fourth dimension agone."[38]

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

Revival: 1980s–present [edit]

Her organically abstruse paintings of 1 or 2 colors (the Infinity Nets serial), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Marker Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international involvement.[39] Yayoi Kusama: A Retrospective was the get-go critical survey of Yayoi Kusama presented at the Center for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.[40] [41]

Post-obit 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 wizard's attire, Kusama went on to produce a huge, yellowish pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to correspond for her a kind of alter-ego or self-portrait.[42] Kusama's later installation I'm Hither, but Cipher (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 light. The result is an endless infinite space where the cocky and everything in the room is obliterated.[43]

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

The multi-function 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. Perhaps 1 of Kusama'due south 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.[44]

In her ninth decade, Kusama has continued to work every bit an artist. She has harkened dorsum to before work by returning to drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-canvas works. Besides featured was an exploration of infinite space in her Infinity Mirror rooms. These typically involve a cube-shaped room lined in mirrors, with h2o on the floor and flickering lights; these features suggest a pattern of life and death.[45]

In 2015-2016 the first retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to 4 major museums in the region, opening at Louisiana Museum of Modern Art in Kingdom of denmark and standing to Henie Onstad Kunstsenter Museum, Norway, Moderna Museet in Sweden, and Helsinki Art Museum in Republic of finland. This major testify 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'due south experimental fashion design from the 1960s.

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

On 25 February 2017, Kusama's All the Eternal Love I Take for the Pumpkins showroom, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for 3 days following impairment to i of the exhibit's glowing pumpkin sculptures. The room, which measures 13 square feet (i.2 grand2) and was filled with over 60 pumpkin sculptures, was one 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 viii,000 visitors between its opening and the date of its temporary closing. While there were conflicting media reports about the toll of the damaged sculpture and how exactly information technology was broken, Allison Peck stated that "there is no intrinsic value to the individual slice. It is a manufactured component to a larger piece." The exhibit was reconfigured to brand upwards for the missing sculpture, and a new i was to be produced for the exhibit by Kusama.[48] The Infinity Mirrors showroom became a sensation among fine art critics as well equally 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 past the Smithsonian the 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.[50]

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 December 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied by a catalogue published past David Zwirner books containing texts and poems from the artist. This exhibition also included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE, 2019.[52]

In Jan 2020, the Hirshhorn announced information technology would debut new Kusama acquisitions, including two Infinity Mirror Rooms, at a forthcoming exhibition called One with Eternity: Yayoi Kusama in the Hirshhorn Drove.[53] The name of the showroom is derived from an open up letter Kusama wrote to then-President Richard Nixon in 1968, writing: "let'south forget ourselves, dear Richard, and become one with the accented, all together in the altogether."[54]

In November 2021,[55] a awe-inspiring exhibition offer an overview of Kusama'southward master 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 six galleries and includes 2 new works: A Bouquet of Dear I Saw in the Universe, 2021 and Calorie-free of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her work [edit]

Curator Mika Yoshitake has stated that Kusama's works on display are meant to immerse the whole person into her accumulations, obsessions, and repetitions. These infinite, repetitive works were originally meant to eliminate Kusama's intrusive thoughts, simply she now shares it with the globe.[56] Claire Voon has described ane of Kusama'due south mirror exhibits as beingness able to "transport you to serenity cosmos, to a solitary labyrinth of pulsing lite, or to what could be the enveloping innards of a leviathan with the measles".[57]

Creating these feelings amongst audiences was intentional. These experiences seem to be unique to her work considering 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, want to command how others perceive time and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works as well or perhaps not at all. Art had get a coping mechanism for Kusama.[58]

Works and publications [edit]

Operation [edit]

In Yayoi Kusama'southward Walking Piece (1966), a functioning that was documented in a series of eighteen color slides, Kusama walked along the streets of New York Urban center in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, however, was made to await inauthentic, as it was really a black umbrella, painted white on the exterior and decorated with imitation 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 functioning, through the clan of the kimono, involved the stereotypes that Asian-American women continued to face. All the same, as an avant-garde artist living in New York, her state of affairs 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, by showing the applesauce of culturally categorizing people in the world's largest melting pot.[59]

Film [edit]

In 1968, Kusama and Jud Yalkut's collaborative work Kusama's Self-Obliteration won a prize at the 4th International Experimental Motion picture Competition in Belgium[lx] and the Second Maryland Film 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.[60]

In 1991, Kusama starred in the film Tokyo Decadence, written and directed by Ryu Murakami, and in 1993, she collaborated with British musician Peter Gabriel on an installation in Yokohama.[19] [61]

Fashion [edit]

In 1968, Kusama established Kusama Mode Company 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 Space Travel, My Doggie Ring-Ring, a pink dotted telephone in accompanying dog-shaped holder, and a red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile communication giant KDDI Corporation's "iida" make.[63] Each phone was limited to 1,000 pieces.

In 2011, Kusama created artwork for six express-edition lipglosses from Lancôme.[64] That same year, she worked with Marc Jacobs (who visited her studio in Nippon in 2006) on a line of Louis Vuitton products,[65] including leather goods, ready-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'southward trademark tentacle-like protrusions and polka-dots. Eventually, six other pop-upwards shops were opened around the world. When asked well-nigh her collaboration with Marc Jacobs, Kusama replied that "his sincere mental attitude toward fine art" is the same as her own.[67]

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled vii. Ane year later on, 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 Marking'due south Church (1985), Between Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several problems of the magazine Due south&One thousand Sniper in collaboration with photographer Nobuyoshi Araki.[xix] Her near recent writing endeavor includes her autobiography Infinity Net [68] published in 2003 that depicts her life from growing upward in Japan, her departure to the United States, and her return to her dwelling house country, where she now resides. Infinity Net also includes some of the creative person's poetry and photos of her exhibitions.

Commissions [edit]

Ruddy Pumpkin (2006), Naoshima

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

In 2010, Kusama designed a Town Sneaker styled bus, 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 blueprint the front cover of millions of pocket London Undercover maps; the issue is entitled Polka Dots Festival in London (2011). Congruent with an exhibition of the artist'south work at the Whitney Museum of American Art in 2012, a 120-pes (37 m) reproduction of Kusama's painting Yellow Trees (1994) covered a condominium building under construction in New York's Meatpacking District.[71] That same twelvemonth, Kusama conceived her floor installation Thousands of Optics as a commission for the new Queen Elizabeth II Courts of Law, Brisbane.[72]

Exhibition catalogs [edit]

  • Rodenbeck, J.F. "Yayoi Kusama: Surface, Sew, Skin." Zegher, Chiliad. Catherine de. Within the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Printing, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
  • Plant of Contemporary Art, Boston, 30 January – 12 May 1996.
  • Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, Due north.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-two OCLC 42448762
  • Robert Miller Gallery, New York, 11 June – 7 August 1998.
  • Kusama, Yayoi, and Lynn Zelevansky. Dear Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles Canton Museum of Art, 1998. ISBN 978-0-875-87181-three OCLC 39030076
  • Los Angeles County Museum of Art, viii March – viii June 1998; three other locations through 4 July 1999.
  • Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-iii-852-47034-4 OCLC 602369060
  • Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-2 OCLC 50628150
  • 7 European exhibitions in French republic, Federal republic of germany, Denmark, etc.; 2001–2003.
  • Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-iv-048-53741-iv OCLC 169879689
  • Mori Art Museum, seven 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 – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, 6 Jan – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – iii July 2005; at Matsumoto-shi Bijutsukan, 30 July – 10 October 2005.
  • Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-ii OCLC 501970783
  • Victoria Miro Gallery, London, ten October – 17 November 2007.
  • Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-1-932-59894-0 OCLC 320277816
  • Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, xxx May – 17 July 2009.
  • Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-one-854-37939-9 OCLC 781163109
  • Reina Sofia, Madrid, ten May – 12 September 2011; Centre Pompidou, Paris, x Oct 2011 – 9 January 2012; Whitney Museum of American Art, New York, 12 July – 30 September 2012; Tate Modern (London), ix February – v June 2012.
  • Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Have Arrived in Heaven. New York: David Zwirner, 2014. ISBN 978-0-989-98093-vii OCLC 879584489
  • David Zwirner Gallery, New York, 8 November – 21 December 2013.
  • Laurberg, Marie: Yayoi Kusama – In Infinity, Denmark: Louisiana Museum of Modern Fine art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
  • David Zwirner Gallery, New York, nine November – 14 Dec 2019.[73]

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 Image: 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 G, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-3-835-30423-9 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 Volume of Poems and Paintings. Tokyo: Japan Edition Art, 1977.
  • Kusama, Yayoi. Kusama Yayoi: Driving Prototype = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-four-891-94130-vii OCLC 54943729
  • Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering 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 Mind Books, 1998. ISBN 978-0-965-33042-8 OCLC 45665616
  • Kusama, Yayoi. Infinity Net: The Autobiography of Yayoi Kusama. Chicago: The University of Chicago Printing, 2011. ISBN 978-0-226-46498-5 OCLC 711050927
  • Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-2-840-66115-3 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 Art Publishing, 2003. ISBN 978-four-916-09470-4 OCLC 71424904
  • Kusama, Yayoi. Kusama Yayoi zen hangashū, 1979–2004 = All Prints of Kusama Yayoi, 1979–2004. Tōkyō: Abe Shuppan, 2006. ISBN 978-4-872-42174-3 OCLC 173274568
  • Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Press, 2017. ISBN 978-0-714-87345-ix OCLC 749417124
  • Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-three-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her beginning solo exhibition in New York at the Brata Gallery, an artist'southward co-op. She showed a serial 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, among others. Exhibiting alongside European artists including Lucio Fontana, Pol Bury, Otto Piene, and Gunther Uecker, in 1962 she was the merely female person creative person to accept part in the widely acclaimed Nul (Zero) international grouping exhibition at the Stedelijk Museum in Amsterdam.[74]

Exhibition list [edit]

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

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

An exhibition for the HAM art company (October 2016)

  • 1976: Kitakyushu Municipal Museum of Art
  • 1983: Yayoi Kusama's Self-Obliteration (Operation) at Video Gallery Browse, Tokyo, Japan
  • 1987: Fukuoka, Nihon
  • 1989: Center for International Gimmicky Arts, New York
  • 1993: Represented Japan at the Venice Biennale
  • 1996: Recent Works at Robert Miller Gallery
  • 1998–1999: Retrospective exhibition of work toured the The states 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 Fine art, Tokyo)
  • 2000: Le Consortium, Dijon
  • 2001–2003: Le Consortium – exhibit traveled to Maison de la Civilization 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 Fine art Park, Hokkaido); Eternity – Modernity, National Museum of Mod Art, Tokyo (touring Japan)
  • 2007: FINA Festival 2007. Kusama created Guidepost to the New Space, a vibrant outdoor installation for Birrarung Marr abreast the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this time displayed as floating "humps" on a lake.[75]
  • 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands
  • 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
  • August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Centre, out of the center and Toyota machine polka dot project.
  • 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'due south Field. As of thirteen 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 "akin to existence suspended in a cute creation gazing at infinite worlds, or like 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 – three November 2013: Daegu Art Museum, Daegu, Korea
  • 30 June 2013 – 16 September 2013: MALBA, the Latinamerican Art Museum of Buenos Aires, Buenos Aires, Argentina
  • 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
  • 17 September 2015 – 24 January 2016: In Infinity, Louisiana Museum of Modernistic Art, Humlebæk, Kingdom of denmark[78]
  • 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russia. This was the artist's first solo exhibition in Russian federation.[79]
  • 19 Feb – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
  • twenty September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Wide, Los Angeles, California
  • 12 June – 18 September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas
  • 1 May 2016 – xxx 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 by the Louisiana Museum of Modernistic Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.[80]
  • v November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Quondam and New Art, Hobart, Australia.[81]
  • 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum show originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC[82] [47]
  • 30 June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Fine art Museum, Seattle, Washington
  • ix June 2017 – 3 September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.[83]
  • Oct 2017 – Jan 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Broad, Los Angeles, California
  • October 2017 – February 2018: Yayoi Kusama: All the Eternal Love I Have 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, Australia[84]
  • December 2017 – April 2018: Flower Obsession, Triennial, NGV, Melbourne, Australia
  • March 2018 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Japan
  • March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada
  • March–July 2018: Yayoi Kusama: All About My Love, Matsumoto Urban center Museum of Fine art, Matsumoto, Nagano, Japan
  • May–September 2018: Yayoi Kusama: Life is the Middle of a Rainbow, Museum of Mod and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia[85]
  • July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Fine art, exhibition travels to Cleveland, Ohio
  • July–November 2018: Yayoi Kusama: Where The Lights In My Heart Go, exhibition travels to deCordova Museum and Sculpture Park, Lincoln, MA
  • 26 July 2018 - Bound 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
  • ix November 2019 – 14 Dec 2019: Yayoi Kusama: Everyday I Pray For Honey, David Zwirner Gallery, New York, NY[73]
  • 4 Jan – xviii March 2020: Brilliance of the Souls, Maraya, AlUla
  • iv April – 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 Japan to the Globe, Tokyo, Japan[87]
  • x April 2020 – 31 October 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY[88] [89]
  • xv November 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Art, State of israel [90] [91]

Permanent Infinity Room installations [edit]

  • Infinity Dots Mirrored Room (1996), Mattress Manufacturing plant, Pittsburgh, Pennsylvania
  • Infinity Mirror Room fireflies on H2o (2000), Musée des Beaux-Arts de Nancy, Nancy (French republic)
  • You Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona[92]
  • Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Fine art, Humlebæk, Denmark[93]
  • The Souls of Millions of Calorie-free Years Away (2013), The Broad, Los Angeles, California[47]
  • The Spirits of the Pumpkins Descended into the Heavens (2015), National Gallery of Commonwealth of australia, Canberra[94]
  • Phalli's Field (1965/2016), Museum Boijmans Van Beuningen, Rotterdam, Netherlands
  • Love is Calling (2013/2019), Institute of Contemporary Fine art, Boston, Boston, Massachusetts[95]
  • Lite of Life (2018), North Carolina Museum of Fine art, Raleigh, North Carolina
  • Brilliance of the Souls (2019), Museum of Modernistic and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia[96]
  • Infinity Mirror Room – Permit'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 Press Express, 2000.
  • Lenz, Heather, director. Infinity. Magnolia Pictures, 2018.

Collections [edit]

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

Recognition [edit]

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

In 2017, a fifty-year retrospective of Kusama'south piece of 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 work have been held at the Museum of Modernistic Art (1998), the Whitney Museum (2012), and the Tate Mod (2012).[99] [100] [101] In 2015, the website Cocked 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 Accolade from the Social club of the Rising Sun (2006); and a Lifetime Achievement Award from the Women's Conclave for Art.[103] In October 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, 1 of Japan'south highest honors for internationally recognized artists.[104] She also received the Person of Cultural Merit (2009) and Ango awards (2014).[105] In 2014, Kusama was ranked the most popular artist of the year subsequently a record-breaking number of visitors flooded her Latin American bout, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico Urban center received more than 8,500 visitors each day.[106]

The octogenarian likewise gained media attention for partnering with the Hirshhorn Museum and Sculpture Garden to make her 2017 Infinity Mirror rooms attainable to visitors with disabilities or mobility issues; in a new initiative amid fine art museums, the venue mapped out the six private rooms and provided disabled individuals visiting the exhibition access to a complete 360-degree virtual reality headset that allowed them to experience every aspect 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: top prices for her work are for paintings from the late 1950s and early 1960s. As of 2012, her work has the highest turnover of whatsoever living woman creative person.[109] In November 2008, Christie's New York sold a 1959 white Infinity Net painting formerly owned past Donald Judd,[19] No. ii, for US$5.1 meg, then a record for a living female creative person.[110] In comparing, 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 aggregation 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 one of her sculptures, also at Sotheby'south in 2007[111] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for US$960,000 at Fine art Basel/Hong Kong in May 2013, the highest cost paid at the bear witness. Kusama became the almost expensive living female artist at sale when White No. 28 (1960) from her signature Infinity Nets series sold for $7.1 million at a 2014 Christie'south auction.[112]

In pop civilisation [edit]

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

  • Superchunk, an American indie ring, included a vocal chosen "Fine art Class (Vocal for Yayoi Kusama)" on its Here's to Shutting Up anthology.[113]
  • In 1967, Jud Yalkut made a picture show of Kusama titled Kusama'southward Self-Obliteration. [114]
  • Yoko Ono cites Kusama every bit an influence.[115] [116]
  • The 2004 Matsumoto Performing Art Centre in Kusama'due south hometown Matsumoto, designed by Toyo Ito, has an entirely dotted façade.[117]
  • She is mentioned in the lyrics of the Le Tigre vocal "Hot Topic".[118]
  • In 2013, the British indie pop duo The Male child To the lowest degree Likely To made vocal tribute to Yayoi Kusama, writing a vocal peculiarly virtually her.[119] They wrote on their web log that they admire Kusama's work because she puts her fears into information technology, something that they themselves often do.[120]
  • The Nels Cline Singers dedicated one track, "Macroscopic (for Kusama-san)" of their 2014 album, Macroscope to Kusama.[121]
  • Magnolia Pictures released the biographical documentary Kusama: Infinity on 7 September 2018[122] and a DVD version on 8 Jan 2019.[123]
  • Veuve Clicquot and Kusama created a limited-edition canteen and sculpture in September 2020.[124]

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External links [edit]

  • Official Site
  • YAYOI KUSAMA MUSEUM (English)
  • Love Forever: Yayoi Kusama, 1958–1968, Museum of Mod Art
  • How to Paint Like Yayoi Kusama
  • Yayoi Kusama in the drove of The Museum of Modern Art
  • [*Women Artists and Postwar Abstraction | HOW TO Come across the art movement with Corey D'Augustine, MoMA
  • Phoenix Fine 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 ever
  • Yayoi Kusama fine art for the Instagram age
  • Yayoi Kusama/artnet

macdougallnoth1952.blogspot.com

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