How Do You Sa Ylets Make Art in Japanese

Japanese artist and author

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

Yayoi Kusama 草間 彌生
Kusama in 2016
Born	Yayoi Kusama (草間 彌生) (1929-03-22) 22 March 1929 (age 93) Matsumoto, Nagano, Empire of Nihon
Nationality	Japanese
Known for	Painting drawing sculpture installation art operation art film fiction style writing
Motion	Pop fine art minimalism feminist fine art environmental fine art
Awards	Praemium Imperiale
Website	www.yayoi-kusama.jp

Yayoi Kusama ( 草間 彌生 , Kusama Yayoi , born 22 March 1929) is a Japanese contemporary creative person who works primarily in sculpture and installation, but is too active in painting, functioning, video fine art, fashion, poetry, fiction, and other arts. Her piece of work is based in conceptual fine art and shows some attributes of feminism, minimalism, surrealism, Fine art Brut, pop fine art, and abstruse expressionism, and is infused with autobiographical, psychological, and sexual content. She has been best-selling equally ane of the most important living artists to come out of Japan.^[ane]

Kusama was raised in Matsumoto, and trained at the Kyoto Urban center University of Arts in a traditional Japanese painting mode called nihonga.^[2] Kusama was inspired, however, by American Abstract impressionism. She moved to New York City in 1958 and was a function of the New York avant-garde scene throughout the 1960s, particularly in the pop-fine art movement.^[three] Embracing the ascent 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 globe.^[vi]

Kusama has been open about her mental health. She says that art has go her way to express her mental problems.^[vii] She reported in the interview she did with Infinity Cyberspace "I fight pain, anxiety, and fear every twenty-four hours, and the but method I have constitute that relieved my disease is to keep creating fine art. I followed the thread of art and somehow discovered a path that would let me to alive."^[8]

Biography [edit]

Early life: 1929–1949 [edit]

Yayoi Kusama was built-in on 22 March 1929 in Matsumoto, Nagano.^[nine] Born into a family of merchants who owned a plant plant nursery and seed subcontract,^[ten] Kusama began drawing pictures of pumpkins in uncomplicated schoolhouse and created artwork she saw from hallucinations, works of which would later define her career.^[7] Her mother was non supportive of her creative endeavors; Kusama would rush to finish her art considering her mother would take it away to discourage her.^[11] Her mother was also apparently physically calumniating,^[12] and Kusama remembers her father as "the type who would play around, who would womanize a lot".^[10] The creative person says that her mother would often send her to spy on her male parent's extramarital affairs, which instilled inside her a lifelong antipathy for sexuality, particularly the male person's lower body and the phallus: "I don't like sex. I had an obsession with sex. 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 activity with anyone for years [...] The sexual obsession and fear of sex sit next in me."^[xiii] Her traumatic childhood, including her fantastic visions, tin can be said to exist the origin of her creative way.^[fourteen]

When Kusama was ten years erstwhile, she began to experience bright hallucinations which she has described every bit "flashes of light, auras, or dense fields of dots".^[fifteen] These hallucinations also included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,^[16] a process which she has carried into her artistic career and which she calls "self-obliteration".^[17] Kusama's art became her escape from her family and her ain mind when she began to have hallucinations.^[11] She was reportedly fascinated by the smooth white stones covering the bed of the river near her family home, which she cites every bit another of the seminal influences backside her lasting fixation on dots.^[xviii]

When Kusama was 13, she was sent to piece of work in a military machine factory where she was tasked with sewing and fabricating parachutes for the Japanese army, then embroiled in World War Two.^[ane] Discussing her time in the factory, she says that she spent her boyhood "in closed darkness" although she could always hear the air-raid alerts going off and run into American B-29s flying overhead in wide daylight.^[ane] Her babyhood was greatly influenced past the events of the war, and she claims that information technology was during this catamenia that she began to value notions of personal and creative liberty.^[eighteen]

She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948.^[xix] Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.^[xx]

Early success in Nippon: 1950–1956 [edit]

By 1950, she was depicting abstract natural forms in water colour, gouache, and oil paint, primarily on paper. She began covering surfaces—walls, floors, canvases, and later, 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 chosen them, were taken straight from her hallucinations. The primeval recorded work in which she incorporated these dots was a cartoon in 1939 at age x, in which the prototype of a Japanese adult female in a kimono, presumed to be the creative person's female parent, 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 Bloom (D.South.P.S) Kusama has said:

One day I was looking at the ruby flower patterns of the tablecloth on a tabular array, and when I looked upwardly 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 cocky-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to pettiness. As I realised it was actually happening and not merely 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 upward the stairs. The steps below me began to fall apart and I fell down the stairs spraining my talocrural joint.^[23]

New York Urban center: 1957–1972 [edit]

An Infinity Room installation

Subsequently living in Tokyo and French republic, Kusama left Japan at the age of 27 for the United states. She has stated that she began to consider Japanese society "too small, likewise servile, besides feudalistic, and too scornful of women".^[15] Earlier leaving Japan to the Usa, 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 there for a yr^[sixteen] earlier moving on to New York Urban center, post-obit correspondence with Georgia O'Keeffe in which she professed an involvement in joining the limelight of the city, and sought O'Keeffe'due south advice.^[26] During her time in the US, she quickly established her reputation equally a leader in the avant-garde movement and received praise for her work from the anarchist art critic Herbert Read.^[27]

In 1961 she moved her studio into the same edifice 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 still maintains. She established other habits likewise, like having herself routinely photographed with new work^[xvi] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.^[13]

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

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

Since 1963, Kusama has connected her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-congenital rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing inside on a modest 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 among her friends and supporters. However, she did non profit financially from her work. Effectually this fourth dimension, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to buy several works to assistance Kusama stave off fiscal hardship.^[19] She was not able to make the coin she believed she deserved, and her frustration became and then extreme that she attempted suicide.^[xi]

In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Central Park and the Brooklyn Bridge, often involving nudity and designed to protest the Vietnam War. In one, she wrote an open alphabetic character to Richard Nixon offer to have sex activity with him if he would end the Vietnam war.^[22] Betwixt 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, every bit in the K Orgy to Awaken the Dead at the MoMA (1969), which took identify at the Sculpture Garden of the Museum of Modern Art.^[29] During the unannounced event, eight performers under Kusama'southward management removed their article of clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures past Picasso, Giacometti, and Maillol.^[32]

In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Cocky-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.^[xix] She opened naked painting studios and a gay society called the Kusama 'Omophile Kompany (kok).^[33] The nudity present in Kusama's fine art and art protests was severely shameful for her family unit. This made her feel alone, and she attempted suicide again.^[11]

In 1966, Kusama first participated in the Venice Biennale for its 33rd edition. Her Narcissus Garden comprised hundreds of mirrored spheres outdoors in what she called a "kinetic carpet". As soon as the piece was installed on a backyard outside the Italian pavilion, Kusama, dressed in a gilded kimono,^[22] began selling each individual sphere for 1,200 lire (US$two), until the Biennale organizers put an cease 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 market.^[34]

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

Render to Nihon: 1973–1977 [edit]

In 1973, Kusama returned in ill health to Japan, where she began writing shockingly visceral and surrealistic novels, short 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 option.^[36] Her studio, where she has connected to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.^[37] Kusama is often quoted as saying: "If information technology 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, also as launching a literary career by publishing several novels, a poesy collection, and an autobiography.^[12] Her painting style shifted to high-colored acrylics on canvas, on an amped-upwardly 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 piece of work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten every bit an creative person until the belatedly 1980s and 1990s, when a number of retrospectives revived international interest.^[39] Yayoi Kusama: A Retrospective was the starting time critical survey of Yayoi Kusama presented at the Center for International Contemporary Arts (CICA) in New York in 1989, and was organized by Alexandra Munroe.^{[40] [41]}

Following the success of the Japanese pavilion at the Venice Biennale in 1993, a dazzling mirrored room filled with minor pumpkin sculptures in which she resided in color-coordinated sorcerer'southward attire, Kusama went on to produce a huge, xanthous pumpkin sculpture covered with an optical pattern of blackness spots. The pumpkin came to represent for her a kind of alter-ego or self-portrait.^[42] Kusama's later installation I'm Here, but Nothing (2000–2008) is a simply furnished room consisting of table and chairs, place settings and bottles, armchairs and rugs, however its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV lite. The result is an endless infinite space where the self and everything in the room is obliterated.^[43]

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

The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine crimson with white polka dots, was displayed in Pandanus Lake. Maybe i of Kusama's most notorious works, diverse versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; as 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 drawing and painting; her work remained innovative and multi-disciplinary, and a 2012 exhibition displayed multiple acrylic-on-sheet works. Also featured was an exploration of infinite infinite 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 design of life and death.^[45]

In 2015-2016 the commencement retrospective exhibition in Scandinavia, curated by Marie Laurberg, travelled to four 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 Fine art Museum in Finland. This major bear witness contained more than 100 objects and large scale mirror room installations. It presented several early on works that had not been shown to the public since they were outset created, including a presentation of Kusama's experimental fashion design from the 1960s.

In 2017, a l-year retrospective of her work opened at the Hirshhorn Museum in Washington, DC. The showroom featured half-dozen 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 Accept for the Pumpkins exhibit, 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 exhibit'due south glowing pumpkin sculptures. The room, which measures 13 square feet (1.2 m^two) and was filled with over lx pumpkin sculptures, was one of the museum's most popular attractions ever. Allison Peck, a spokeswoman for the Hirshhorn, said in an interview that the museum "has never had a show with that kind of visitor demand", with the room averaging more than 8,000 visitors between its opening and the date of its temporary closing. While there were conflicting media reports about the cost of the damaged sculpture and how exactly it was broken, Allison Peck stated that "there is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." The exhibit was reconfigured to brand up for the missing sculpture, and a new 1 was to be produced for the exhibit past Kusama.^[48] The Infinity Mirrors showroom became a sensation amid art critics too 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 million impressions, as reported by the Smithsonian the 24-hour interval later the exhibit's endmost.^[49] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.^[50]

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

On nine November 2019, Kusama's Everyday I Pray For Love exhibit was shown at David Zwirner Gallery until 14 Dec 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied past a catalogue published by David Zwirner books containing texts and poems from the artist. This exhibition also included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE, 2019.^[52]

In January 2020, the Hirshhorn announced it would debut new Kusama acquisitions, including two Infinity Mirror Rooms, at a forthcoming exhibition chosen One with Eternity: Yayoi Kusama in the Hirshhorn Drove.^[53] The name of the exhibit is derived from an open letter Kusama wrote to and then-President Richard Nixon in 1968, writing: "let's forget ourselves, dearest Richard, and become one with the accented, all together in the birthday."^[54]

In November 2021,^[55] a monumental exhibition offering an overview of Kusama'south main creative periods over the past lxx years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost three,000 grand² beyond the Museum's ii buildings, in six galleries and includes two new works: A Bouquet of Honey I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her work [edit]

Curator Mika Yoshitake has stated that Kusama's works on display are meant to immerse the whole person into her accumulations, obsessions, and repetitions. These infinite, repetitive works were originally meant to eliminate Kusama's intrusive thoughts, but she now shares information technology with the world.^[56] Claire Voon has described one of Kusama's mirror exhibits as beingness able to "transport you to quiet cosmos, to a lonely labyrinth of pulsing lite, or to what could exist the enveloping innards of a leviathan with the measles".^[57]

Creating these feelings amongst audiences was intentional. These experiences seem to be unique to her work because Kusama wanted others to empathize with her in her troubled life.^[57] Bedatri D. Choudhury has described how Kusama'due south lack of feeling in control throughout her life fabricated her, either consciously or subconsciously, desire to control how others perceive fourth dimension and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works every bit well or maybe not at all. Fine art had become a coping machinery for Kusama.^[58]

Works and publications [edit]

Performance [edit]

In Yayoi Kusama'due south Walking Slice (1966), a performance that was documented in a serial of xviii color slides, Kusama walked along the streets of New York Metropolis 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, every bit information technology was actually a blackness umbrella, painted white on the exterior and busy with fake 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 association of the kimono, involved the stereotypes that Asian-American women connected to face. Notwithstanding, 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 audition categorized her, by showing the absurdity of culturally categorizing people in the world's largest melting pot.^[59]

Film [edit]

In 1968, Kusama and Jud Yalkut'southward collaborative work Kusama's Self-Obliteration won a prize at the Fourth International Experimental Movie Competition in Belgium^[sixty] and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. The 1967 experimental picture, which Kusama produced and starred in, depicted Kusama painting polka dots on everything around her including bodies.^[threescore]

In 1991, Kusama starred in the moving picture 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]}

Manner [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 cell phone entitled Handbag for Space Travel, My Doggie Ring-Ring, a pink dotted phone in accompanying canis familiaris-shaped holder, and a cherry and white dotted telephone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile communication behemothic KDDI Corporation's "iida" brand.^[63] Each telephone was limited to one,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 Nihon in 2006) on a line of Louis Vuitton products,^[65] including leather goods, ready-to-clothing, accessories, shoes, watches, and jewelry.^[66] The products became available in 2012 at a SoHo pop-upwardly shop, which was decorated with Kusama'due south trademark tentacle-similar protrusions and polka-dots. Somewhen, six other pop-upwardly shops were opened around the world. When asked about her collaboration with Marc Jacobs, Kusama replied that "his sincere attitude toward fine art" is the same as her own.^[67]

Writing [edit]

In 1977, Kusama published a book of poems and paintings entitled 7. One year later, her outset novel Manhattan Suicide Addict appeared. Betwixt 1983 and 1990, she finished the novels The Hustler'due south Grotto of Christopher Street (1983), The Burning of St Mark's Church (1985), Between Sky and Earth (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Greatcoat Cod (1990), alongside several bug of the magazine Southward&K Sniper in collaboration with lensman Nobuyoshi Araki.^[xix] Her most contempo writing effort includes her autobiography Infinity Net ^[68] published in 2003 that depicts her life from growing up in Japan, her departure to the The states, and her render to her dwelling house country, where she at present resides. Infinity Net also includes some of the artist's poetry and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To appointment, 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 Fine art; The Visionary Flowers (2002) for the Matsumoto City Museum of Fine art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, France; Pumpkin (2006) at Bunka-mura on Benesse Island of Naoshima; Hello, Anyang with Love (2007) for Pyeonghwa Park (at present referred as Earth 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 practise Oriente subway station in Lisbon. Alongside these awe-inspiring works, she has produced smaller calibration outdoor pieces including Key-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, and 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 Trip the light fantastic) and whose route travels through her hometown of Matsumoto.^[19] In 2011, she was deputed to pattern the forepart cover of millions of pocket London Underground maps; the upshot is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the artist'due south work at the Whitney Museum of American Art in 2012, a 120-foot (37 m) reproduction of Kusama's painting Yellow Copse (1994) covered a condominium building under construction in New York's Meatpacking Commune.^[71] That aforementioned year, Kusama conceived her flooring installation Thousands of Eyes as a commission for the new Queen Elizabeth Two Courts of Police, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, 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 Press, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
• Institute of Contemporary Fine art, Boston, thirty January – 12 May 1996.
• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama At present. New York, N.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-ii OCLC 42448762
• Robert Miller Gallery, New York, 11 June – seven August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Love Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Fine art, 1998. ISBN 978-0-875-87181-iii OCLC 39030076
• Los Angeles County Museum of Fine art, viii March – 8 June 1998; 3 other locations through four July 1999.
• Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-3-852-47034-4 OCLC 602369060
• Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-two OCLC 50628150
• Vii European exhibitions in France, Germany, 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 – nine May 2004; Mori Geijutsu Bijutsukan, Sapporo, five June – 22 August 2004.
• Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-four-568-10353-3 OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 Oct – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, six January – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 Apr 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – 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 978-0-955-45644-2 OCLC 501970783
• Victoria Miro Gallery, London, 10 Oct – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-one-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, sixteen April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.
• Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-one-854-37939-9 OCLC 781163109
• Reina Sofia, Madrid, 10 May – 12 September 2011; Centre Pompidou, Paris, ten October 2011 – ix Jan 2012; Whitney Museum of American Fine art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 Feb – 5 June 2012.
• Kusama, Yayoi, and Akira Tatehata. Yayoi Kusama: I Who Have Arrived in Heaven. New York: David Zwirner, 2014. ISBN 978-0-989-98093-7 OCLC 879584489
• David Zwirner Gallery, New York, 8 November – 21 December 2013.
• Laurberg, Marie: Yayoi Kusama – In Infinity, Kingdom of denmark: Louisiana Museum of Mod Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
• David Zwirner Gallery, New York, 9 November – 14 December 2019.^[73]

Illustration 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

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 978-1-405-13460-6 OCLC 62755557
• Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Fall." Schulz R, Bonanni K, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-3-835-30423-9 OCLC 429664716
• Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Fine 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 Paradigm = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-iv-891-94130-seven 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 Press, 2011. ISBN 978-0-226-46498-v OCLC 711050927
• Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-two-840-66115-3 OCLC 420073474

Catalogue raisonné, etc. [edit]

• Kusama, Yayoi. Yayoi Kusama: Print Works. Tokyo: Abe Corp, 1992. ISBN 978-4-872-42023-4 OCLC 45198668
• Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon Printing, 2003. ISBN 978-0-714-83920-2 OCLC 749417124
• Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Article of furniture by Graf: Decorative Mode No. 3. Tōkyō: Seigensha Fine art Publishing, 2003. ISBN 978-4-916-09470-4 OCLC 71424904
• Kusama, Yayoi. Kusama Yayoi zen hangashū, 1979–2004 = All Prints of Kusama Yayoi, 1979–2004. Tōkyō: Abe Shuppan, 2006. ISBN 978-four-872-42174-3 OCLC 173274568
• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Printing, 2017. ISBN 978-0-714-87345-9 OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-3-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her kickoff solo exhibition in New York at the Brata Gallery, an artist's co-op. She showed a series of white net paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella then acquired paintings from the bear witness).^[21] Kusama has since exhibited piece of work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting aslope European artists including Lucio Fontana, Pol Coffin, Otto Piene, and Gunther Uecker, in 1962 she was the only female artist to take function in the widely acclaimed Nul (Zero) international group exhibition at the Stedelijk Museum in Amsterdam.^[74]

Exhibition list [edit]

Yayoi Kusama'due south retrospective exhibition at Tate Modern, London, in early on 2012

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

An exhibition for the HAM art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan
• 1987: Fukuoka, Nippon
• 1989: Center for International Gimmicky Arts, New York
• 1993: Represented Japan 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: "Dear Forever: Yayoi Kusama,1958–1969" – showroom 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 Civilisation du Japon, Paris; Kunsthallen Brandts, Odense, Kingdom of denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul
• 2004: KUSAMATRIX, Mori Fine art Museum, Tokyo
• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity – Modernity, National Museum of Modern Art, Tokyo (touring Nippon)
• 2007: FINA Festival 2007. Kusama created Guidepost to the New Infinite, a vibrant outdoor installation for Birrarung Marr beside the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this time displayed as floating "humps" on a lake.^[75]
• 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands
• 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
• August 2010: Aichi Triennale 2010, Nagoya. Works were exhibited within the Aichi Arts Centre, out of the eye and Toyota car polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli'south Field. As of 13 September of that year the mirror room is permanently exhibited in the entrance expanse of the museum.
• July 2011: Museo Reina Sofía, Madrid, Spain
• 2012: Tate Modern, London.^[76] Described every bit "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 unabridged career.
• 15 July 2013 – three November 2013: Daegu Art Museum, Daegu, Korea
• xxx June 2013 – xvi 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 Jan 2016: In Infinity, Louisiana Museum of Mod Fine art, Humlebæk, Kingdom of denmark^[78]
• 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russian federation. This was the artist'southward offset solo exhibition in Russia.^[79]
• 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
• twenty September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
• 12 June – 18 September 2016: Kusama: At the Finish of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• one May 2016 – xxx Nov 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.
• 25 May 2016 – 30 July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.
• 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Fine art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Fine art Museum HAM in Helsinki, Finland.^[lxxx]
• 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.^[81]
• 23 February 2017 – fourteen May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum show originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[82] [47]}
• xxx June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Fine art Museum, Seattle, Washington
• 9 June 2017 – 3 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 – Feb 2018: Yayoi Kusama: All the Eternal Beloved I Take for the Pumpkins, Dallas Museum of Art, Dallas, Texas
• Nov 2017 – February 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, Nihon
• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada
• March–July 2018: Yayoi Kusama: All Nigh My Love, Matsumoto Urban center Museum of Art, Matsumoto, Nagano, Nippon
• May–September 2018: Yayoi Kusama: Life is the Heart of a Rainbow, Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia^[85]
• July–September 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Cleveland Museum of Art, exhibition travels to Cleveland, Ohio
• July–November 2018: Yayoi Kusama: Where The Lights In My Heart Go, exhibition travels to deCordova Museum and Sculpture Park, Lincoln, MA
• 26 July 2018 - Spring 2019: Yayoi Kusama: With All My Love for the Tulips, I Pray Forever ^[86] (2011)
• March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, The Netherlands
• ix November 2019 – 14 Dec 2019: Yayoi Kusama: Everyday I Pray For Love, David Zwirner Gallery, New York, NY^[73]
• 4 January – 18 March 2020: Luminescence of the Souls, Maraya, AlUla
• 4 April – 19 September 2020: Yayoi Kusama: "1 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 World, Tokyo, Nihon^[87]
• 10 April 2020 – 31 October 21: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY^{[88] [89]}
• 15 Nov 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Art, Israel ^{[90] [91]}

Permanent Infinity Room installations [edit]

• Infinity Dots Mirrored Room (1996), Mattress Factory, Pittsburgh, Pennsylvania
• Infinity Mirror Room fireflies on H2o (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
• You Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona^[92]
• Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Kingdom of 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
• Beloved is Calling (2013/2019), Found of Contemporary Art, Boston, Boston, Massachusetts^[95]
• Light of Life (2018), N Carolina Museum of Art, Raleigh, Northward Carolina
• Luminescence of the Souls (2019), Museum of Modern and Contemporary Fine art in Nusantara (Museum MACAN), Jakarta, Indonesia^[96]
• Infinity Mirror Room – Allow'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 Press Limited, 2000.
• Lenz, Heather, director. Infinity. Magnolia Pictures, 2018.

Collections [edit]

Kusama's work is in the collections of museums throughout the globe, including the Museum of Modern Art, New York; Los Angeles Canton Museum of Art, Los Angeles; Walker Fine art Center, Minneapolis; Phoenix Fine 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 Fine 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 50-twelvemonth retrospective of Kusama's work opened at the Hirshhorn Museum in Washington, DC. That aforementioned year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her piece of work have been held at the Museum of Modern Art (1998), the Whitney Museum (2012), and the Tate Modern (2012).^{[99] [100] [101]} In 2015, the website Artsy named Kusama one of its elevation 10 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 Rise Lord's day (2006); and a Lifetime Achievement Award from the Women'due south Caucus for Fine art.^[103] In October 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, ane of Japan'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 most popular artist of the year later 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 too 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 bug; in a new initiative amid 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 aspect of the rooms,^[107] equally if they were actually walking through them.^[108]

Fine art market [edit]

Kusama'south work has performed strongly at auction: top prices for her piece of work are for paintings from the tardily 1950s and early 1960s. As of 2012, her piece of work has the highest turnover of any living adult female artist.^[109] In November 2008, Christie'southward New York sold a 1959 white Infinity Net painting formerly endemic by Donald Judd,^[19] No. two, for United states of america$5.1 one thousand thousand, then a record for a living female artist.^[110] In comparison, the highest toll for a sculpture from her New York years is £72,500 (US$147,687), fetched by the 1965 wool, pasta, paint and hanger assemblage Gilded Macaroni Jacket at Sotheby's London in Oct 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the elevation toll 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 price paid at the show. Kusama became the about expensive living female person artist at auction when White No. 28 (1960) from her signature Infinity Nets serial sold for $7.1 million at a 2014 Christie'southward sale.^[112]

In popular civilization [edit]

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

• Superchunk, an American indie ring, included a vocal called "Art Grade (Song for Yayoi Kusama)" on its Hither's to Shutting Up anthology.^[113]
• In 1967, Jud Yalkut made a picture of Kusama titled Kusama's Self-Obliteration. ^[114]
• Yoko Ono cites Kusama as an influence.^{[115] [116]}
• The 2004 Matsumoto Performing Art Center in Kusama's hometown Matsumoto, designed by Toyo Ito, has an entirely dotted façade.^[117]
• She is mentioned in the lyrics of the Le Tigre song "Hot Topic".^[118]
• In 2013, the British indie popular duo The Male child Least Likely To made song tribute to Yayoi Kusama, writing a song specially nigh her.^[119] They wrote on their blog that they admire Kusama's work because she puts her fears into it, something that they themselves often do.^[120]
• The Nels Cline Singers dedicated i 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 January 2019.^[123]
• Veuve Clicquot and Kusama created a limited-edition bottle and sculpture in September 2020.^[124]

References [edit]

1. ^ ^{a b c} Yamamura, Midori (2015), Yayoi Kusama: Inventing the Atypical. MIT Press. ISBN 9780262029476.
2. ^ "Yayoi Kusama". guggenheim.org . Retrieved 21 February 2018.
3. ^ Griselda, Pollock (2006). Psychoanalysis and the image : transdisciplinary perspectives. Malden, MA: Blackwell Publishers. ISBN978-1405134613. OCLC 62755557.
4. ^ "Yayoi Kusama, Harry Shunk, János Kender. The Anatomic Explosion, New York. 1968 | MoMA". The Museum of Modern Art . Retrieved 21 February 2018.
5. ^ "Yayoi Kusama, Harry Shunk, János Kender. Mirror Performance, New York. 1968 | MoMA". The Museum of Modernistic Art . Retrieved 21 February 2018.
6. ^ Taylor, Kate (28 Feb 2018). "How Yayoi Kusama's Infinity Mirrors pushed pop fine art into the new age". Retrieved 4 March 2018.
7. ^ ^{a b} "Yayoi Kusama Biography, Life & Quotes". The Fine art Story . Retrieved 29 February 2020.
8. ^ Swanson, Carl (vi July 2012). "The Fine art of the Flame-Out". New York.
9. ^ "Yayoi Kusama | Biography, Fine art, & Facts". Encyclopædia Britannica . Retrieved 1 September 2019.
10. ^ ^{a b} Farah Nayeri (14 February 2012), Man-Antisocial Artist Kusama Covers Tate Modern in Dots: Interview Bloomberg.
11. ^ ^{a b c d} Pound, Cath. "Yayoi Kusama's extraordinary survival story". BBC. Retrieved seven May 2019.
12. ^ ^{a b} Butler, Cornelia (2007). WACK! Art and the Feminist Revolution. MIT Press. p. 257.
13. ^ ^{a b} "The world according to Yayoi Kusama". Financial Times. 20 Jan 2012. Retrieved 11 March 2017.
14. ^ Dailey, Megan. "YAYOI KUSAMA: Fine art Equally AN ESCAPE".
15. ^ ^{a b} Frank, Priscilla (ix February 2017). "Japanese Artist Yayoi Kusama Is Nigh To Brand 2017 Infinitely Improve". HuffPost . Retrieved eleven March 2017.
16. ^ ^{a b c d} Holland Cotter (12 July 2012), Vivid Hallucinations From a Fragile Life – Yayoi Kusama at Whitney Museum of American Art The New York Times.
17. ^ Ignoramous, Lamos (26 May 2014). "Yayoi Kusama Self-Obliteration Analysis | The Dissolve of Identity". Retrieved 11 March 2017.
18. ^ ^{a b} Furman, Anna (vi Feb 2017). "Yayoi Kusama Made the Ultimate Instagram Showroom". The Cut . Retrieved 11 March 2017.
19. ^ ^{a b c d e f thou} Yayoi Kusama Timeline Queensland Art Gallery, Brisbane.
20. ^ Taylor, Rachel (six March 2012). "Yayoi Kusama's early years". Tate Etc.
21. ^ ^{a b} Yayoi hi , xviii November 1998 – 8 January 1999 Victoria Miro Gallery, London.
22. ^ ^{a b c} David Pilling (twenty January 2012), The world according to Yayoi Kusama Financial Times Weekend Magazine.
23. ^ Bayly, Zac (2012), "Yayoi Kusama", Zac-Set on (interview), retrieved 21 September 2013
24. ^ "Yayoi Kusama | Biography, Fine art, & Facts". Encyclopedia Britannica . Retrieved 2 October 2020.
25. ^ Zoë Dusanne: An Art Dealer Who Fabricated a Divergence, p99, by Jo Ann Ridley; Fithian Press, 2011
26. ^ Liu, Belin (26 Feb 2009), "Yayoi Kusama", Bitch magazine, archived from the original on 23 June 2011, retrieved xxx November 2010
27. ^ Midori Yoshimoto, Into Performance: Japanese Women Artists in New York (New Brunswick: Rutgers University Press, 2005) p.68
28. ^ "Yayoi Kusama Art – 100+ Works, Bio, News | Artsy". www.artsy.net . Retrieved 17 July 2016.
29. ^ ^{a b} Yayoi Kusama MoMA Drove, New York.
30. ^ Kusama, Yayoi (1978), Manhattan jisatsu misui joshuhan [Manhattan Suicide Aficionado], Tokyo: Kosakusha , (extract) reproduced in Hoptman, Yayoi Kusama, et al., p. 124
31. ^ Yayoi Kusama: Soul under the moon (2002) Queensland Art Gallery, Queensland.
32. ^ Midori, Yoshimoto (2005). Into performance: Japanese women artists in New York. Rutgers University Press. pp. 75–76. ISBN978-0813541051. OCLC 133159483.
33. ^ Carl Swanson (8 July 2012), The Art of the Flame-Out New York.
34. ^ Sullivan, Marin R. (2015). "Reflective Acts and Mirrored Images: Yayoi Kusama's Narcissus Garden". History of Photography. 39 (4): 405–423. doi:x.1080/03087298.2015.1093775. S2CID 194226783.
35. ^ ^{a b} "Kusama's relationship with Joseph Cornell". Tate Etc . Retrieved 23 May 2019.
36. ^ Chappo, Ashley (6 Apr 2015). "The Stunning Story of the Woman Who Is the World's About Popular Artist". Observer . Retrieved half dozen March 2017.
37. ^ McDonald, John (12 February 2005), "Points of no return", The Sydney Morning Herald , retrieved 30 Nov 2010
38. ^ Art Review (interview), 2007, archived from the original on twenty September 2016, retrieved 18 February 2010
39. ^ Yayoi Kusama (collection), New York: MoMA
40. ^ Archive, Asia Art. "Yayoi Kusama: A Retrospective". aaa.org.hk . Retrieved 28 April 2020.
41. ^ Gomez, Past Edward M. (five July 1998). "ART; A 60's Gratis Spirit Whose Main Subject Was Herself". The New York Times. ISSN 0362-4331. Retrieved 28 April 2020.
42. ^ Yayoi Kusama, New York/Los Angeles: Gagosian Gallery, 16 April – 27 June 2009, archived from the original on v November 2011
43. ^ Yayoi Kusama, London: Victoria Miro Gallery, seven February – twenty March 2008, archived from the original on 19 January 2012
44. ^ Yayoi Kusama: Flowers That Bloom Tomorrow, 7 October – xiii November 2010 Victoria Miro Gallery, London.
45. ^ Taylor, Rachel (2012). Yayoi Kusama: Contempo Work 2009–2012. London: Tate. ISBN9781-85437-939-nine.
46. ^ Dingfelder, Sadie (21 February 2017). "This exhibit is going to blow up your Instagram feed – and rewrite art history".
47. ^ ^{a b c} "The Broad to Host Yayoi Kusama: Infinity Mirrors Exhibition in Autumn 2017" (PDF). The Broad: News. xvi August 2016. Retrieved 17 April 2017.
48. ^ Hauser, Christine (28 February 2017). "Kusama Infinity Room Reopens at Hirshhorn Exhibition After Sculpture Damage". The New York Times. ISSN 0362-4331. Retrieved eleven March 2017.
49. ^ "Hirshhorn's 'Yayoi Kusama: Infinity Mirrors' Breaks Records". Smithsonian Institution. xv May 2017. Retrieved 9 March 2020.
50. ^ "A Night With Yayoi Kusama'due south Dice-hard, Selfie-taking Fans". Hyperallergic. 12 November 2019. Retrieved 29 Feb 2020.
51. ^ "Yayoi Kusama Museum opens, sells out". The Japan News. Archived from the original on 19 October 2017. Retrieved 18 October 2017.
52. ^ "EVERY Day I PRAY FOR LOVE printing release". David Zwirner . Retrieved 18 December 2019.
53. ^ ^{a b} "Hirshhorn Acquires Three Major Works by Yayoi Kusama, Announces 2020 Legacy Exhibition". Smithsonian Institution. half-dozen January 2020. Retrieved nine March 2020.
54. ^ Daher, Nadine (14 Jan 2020). "Celebrating the Eternal Legacy of Artist Yayoi Kusama". Smithsonian Magazine . Retrieved 9 March 2020.
55. ^ https://www.tamuseum.org.il/en/exhibition/yayoi-kusama-a-retrospective/
56. ^ Fifield, Anna (fifteen Feb 2017). "How Yayoi Kusama, the "Infinity Mirrors" visionary, channels mental disease into art". The Washington Mail . Retrieved 7 May 2019.
57. ^ ^{a b} Voon, Claire (23 Feb 2017). "Immersed in Yayoi Kusama'south Lone Labyrinths and Infinite Worlds". Hyperallergic . Retrieved seven May 2019.
58. ^ Choudhury, Bedatri D. (xi September 2018). "To Infinity and Beyond, Yayoi Kusama Grapples With Conventions". Hyperallergic . Retrieved seven May 2019.
59. ^ Schultz, Stacy E. (2012). "Asian American Women Artists: Performative Strategies Redefined". Journal of Asian American Studies. 15 (1): 105–27. doi:10.1353/jaas.2012.0000. S2CID 145241859.
60. ^ ^{a b} Foster, Gwendolyn Audrey (xviii Oct 2013). "Yayoi Kusama: The Orgy of Cocky Obliteration". Film International.
61. ^ Ridey, Roger (23 October 2011). "All nearly Eve". The Independent.
62. ^ Midori Matsui, Interview: Yayoi Kusama, 1998 Index Magazine.
63. ^ Art Editions: Yayoi Kusama KDDI Corporation.
64. ^ Emili Vesilind (24 May 2011), Lancôme collaborates with Japanese artist Yayoi Kusama on new Juicy Tubes Los Angeles Times.
65. ^ "Vuitton And Kusama". British Faddy . Retrieved 11 March 2017.
66. ^ Binlot, Ann (nine January 2012), Marc Jacobs Recruits Yayoi Kusama for Latest Louis Vuitton Collaboration BLOUINARTINFO.
67. ^ Swanson, Carl (9 July 2012). "Exclusive: Yayoi Kusama Talks Louis Vuitton, Plus a First Look at the Collection". The Cut . Retrieved 11 March 2017.
68. ^ Kusama, Yayoi (2003). Infinity Net. Tate.
69. ^ Kusama, 16 Apr – 27 June 2009 ^{[ dead link ]} Gagosian Gallery, New York/Los Angeles.
70. ^ Yayoi Kusama: Outdoor Sculptures, 23 June – 25 July 2009 Victoria Miro Gallery, London.
71. ^ Laura Kusisto (2 August 2012), 'Yellow Trees' Growing The Wall Street Journal.
72. ^ Des Houghton (viii June 2012), Justice Government minister Jarrod Bleijie condemns Yayoi Kusama artwork at new Supreme Court and Commune Courtroom building in Brisbane The Courier-Post.
73. ^ ^{a b} York, 537 West 20th Street New. "EVERY DAY I PRAY FOR Love". David Zwirner . Retrieved 18 December 2019.
74. ^ Yayoi Kusama: Mirrored Years, 23 August – nineteen October 2008 Archived 25 May 2012 at the Wayback Car Museum Boijmans Van Beuningen, Rotterdam.
75. ^ "Yayoi Kusama at Fairchild", v December 2009 – 30 May 2010 Archived 17 Dec 2013 at the Wayback Motorcar Fairchild Tropical Botanic Garden.
76. ^ "Yayoi Kusama". What's On. Tate Modern. Retrieved 3 June 2012.
77. ^ Trebuchet Magazine http://world wide web.trebuchet-magazine.com/index.php/site/article/tate_modern_yayoi_kusama/
78. ^ Rogers, Sam (25 September 2015). "In infinity: Yayoi Kusama's dots have over the Louisiana Museum of Modern Art". Wallpaper . Retrieved 16 Dec 2015.
79. ^ "Yayoi Kusama: Infinity Theory [exhibition website]". Garage Museum of Contemporary Art. 2015. Retrieved xvi Dec 2015.
80. ^ "Yayoi Kusama: In Infinity". Retrieved six April 2017.
81. ^ "Yayoi Kusama's new installation comes to MONA Tasmania". 22 Oct 2016. Retrieved 17 June 2017.
82. ^ Finkel, Jori (16 August 2016). "Yayoi Kusama to Be the Focus of a Touring Museum Bear witness". The New York Times. ISSN 0362-4331. Retrieved 11 March 2017.
83. ^ "Yayoi Kusama heads to Singapore, while Southeast Asian art travels the globe". 2016.
84. ^ "Yayoi Kusama".
85. ^ "Yayoi Kusama's works finally arrive in Dki jakarta". The Jakarta Mail . Retrieved nine May 2018.
86. ^ Stuart, Gwynedd (25 July 2018). "Another Yayoi Kusama Installation Has Arrived in L.A.—and You Tin See Information technology For Free". Los Angeles Mag . Retrieved 5 November 2021.
87. ^ "STARS: Vi Gimmicky Artists from Japan to the Globe". www.mori.art.museum . Retrieved 18 August 2020.
88. ^ Heinrich, Will (nine April 2021). "Yayoi Kusama's 'Cosmic Nature' Dots a Bronx Garden". The New York Times.
89. ^ Yoshitake, Mika, ed. (2021). Yayoi Kusama: Cosmic Nature. New York: Rizzoli Electa. ISBN978-0-8478-6839-i.
90. ^ "Yayoi Kusama: A Retrospective \ Tel Aviv Museum of Fine art".
91. ^ "This Tel Aviv Museum Evidence Just Opened. Information technology's Already Sold Out". Haaretz.
92. ^ "Yayoi Kusama Infinity Mirror Room, Phoenix Art Museum, Firefly Room". Retrieved 22 October 2017.
93. ^ "Kusama Installation". Louisiana Museum of Modern Art. Archived from the original on 19 August 2018. Retrieved ix October 2017.
94. ^ "Yayoi Kusama: The Spirits of the Pumpkins Descended into the Heavens". NGA . Retrieved 6 May 2019.
95. ^ Selvin, Claire (15 Jan 2019). "ICA Boston Acquires Yayoi Kusama 'Infinity Mirror Room' Piece of work". ARTnews . Retrieved 23 May 2019.
96. ^ "Yayoi Kusama's 'Infinity Room' to return permanently to Museum MACAN". The Jakarta Post . Retrieved 30 Baronial 2019.
97. ^ Mudhar, Raju (4 April 2019). "Ready for your selfie ? AGO's permanent Kusama Infinity Mirrored Room now open". The Toronto Star. Torstar Corporation. Retrieved 9 May 2020.
98. ^ "Some Living American Women Artists/Concluding Supper". Smithsonian American Art Museum . Retrieved 21 January 2022.
99. ^ Beloved Forever : Yayoi Kusama, 1958–1968, 9 July – 22 September 1998, The Museum of Modern Art, New York.
100. ^ YAYOI KUSAMA, 12 July – Sept 30, 2012, Whitney Museum of American Art, New York.
101. ^ Yayoi Kusama, ix February – 5 June 2012, Tate Mod, London.
102. ^ "The Top 10 Living Artists of 2015". Artsy. 16 December 2015. Retrieved 16 December 2015.
103. ^ "WCA Past Honorees".
104. ^ Blouinartinfo (23 January 2007). "Art News: Kusama First Japanese Woman to Win Coveted Art Award". BLOUINARTINFO. Retrieved 23 April 2008.
105. ^ "安吾賞-第9回 受賞者". Ango awards . Retrieved 8 March 2015.
106. ^ Human foot, Javier; Emily Sharpe (2 April 2015). "Company Figures 2014: The World Goes Dotty Over Yayoi Kusama". The Art Newspaper. Archived from the original on 12 March 2017.
107. ^ Bottom, Casey (17 February 2017). "Yayoi Kusama's Infinity Rooms Made Accessible to People with Disabilities for First Time". Cocked . Retrieved 11 March 2017.
108. ^ Overly, Steven (nine March 2017). "People in wheelchairs couldn't see Yayoi Kusama'southward 'Infinity Mirrors'. The museum establish an innovative ready". The Washington Post . Retrieved eleven March 2017.
109. ^ Sarah Thornton (20 May 2012), The price of being female The Economist.
110. ^ Cross-Cultural Journeys: Yayoi Kusama and Kenzo Okada Christie's.
111. ^ Bridget Moriarity (five March 2009), Artist Dossier: Yayoi Kusama Fine art+Auction.
112. ^ Kelly Crow (12 November 2014), Christie's Makes History With $853 Million Sale of Contemporary Art – Andy Warhol's 'Triple Elvis [Ferus Type]' Sells for $82 One thousand thousand The Wall Street Periodical.
113. ^ Superchunk - Art Course (Song For Yayoi Kusama) , retrieved 14 March 2022
114. ^ Zinman, Gregory (September 2013). "DREAM REELER: Jud Yalkut (1938–2013)". The Brooklyn Runway.
115. ^ Patel, Nisha (23 Nov 2016). "The Cocky-Obliteration Of Yayoi Kusama". Civilization Trip . Retrieved 13 September 2020.
116. ^ "Polka dots from another globe". EL PAÍS. thirteen May 2011. Retrieved 13 September 2020.
117. ^ open buildings.com. Retrieved 30 Jan 2015.
118. ^ Oler, Tammy (31 October 2019). "57 Champions of Queer Feminism, All Name-Dropped in One Impossibly Catchy Vocal". Slate Magazine.
119. ^ "a world of polka dots, by the boy to the lowest degree likely to". the boy least likely to . Retrieved 23 May 2019.
120. ^ blog spirit.com Archived 23 Baronial 2013 at the Wayback Machine
121. ^ "VIA CHICAGO: Q&A w/ Wilco Guitarist Nels Cline". xxx April 2014. Retrieved 23 May 2019.
122. ^ "Kusama: Infinity". IMDb. 11 May 2018. Retrieved 23 May 2019.
123. ^ "Kusama: Infinity DVD". Retrieved 23 May 2019 – via blu-ray.com.
124. ^ "Yayoi Kusama's Famous Polka Dots Beautify Veuve Clicquot Champagne Collaboration". HYPEBEAST. 9 September 2020. Retrieved 27 November 2020.

• Smith, Roberta. "Yayoi Kusama and the Amazing Polka dotted selfie made journey to greatness". The New York Times . Retrieved 4 April 2018.

External links [edit]

• Official Site
• YAYOI KUSAMA MUSEUM (English)
• Honey Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
• How to Pigment Like Yayoi Kusama
• Yayoi Kusama in the collection of The Museum of Modern Art
• [*Women Artists and Postwar Abstraction | HOW TO SEE the art motility with Corey D'Augustine, MoMA
• Phoenix Art Museum online Archived 28 January 2019 at the Wayback Auto
• Earth is a polka dot. An interview with Yayoi Kusama Video past Louisiana Channel
• BBC NewsNight Yayoi Kusama
• Why Yayoi Kusama matters now more than ever
• Yayoi Kusama art for the Instagram age
• Yayoi Kusama/artnet

richmondthattery.blogspot.com

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

Share this post