Find Artist K Raye 1983 Art Exhibit Los Angeles

Japanese creative person and writer

"Kusama" redirects here. For the film managing director, run into Karyn Kusama.

Yayoi Kusama 草間 彌生
Kusama in 2016
Born	Yayoi Kusama (草間 彌生) (1929-03-22) 22 March 1929 (age 93) Matsumoto, Nagano, Empire of Japan
Nationality	Japanese
Known for	Painting drawing sculpture installation fine art performance art film fiction manner writing
Movement	Pop 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 creative person who works primarily in sculpture and installation, but is also active in painting, operation, video 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, 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 Metropolis University of Arts in a traditional Japanese painting way called nihonga.^[2] Kusama was inspired, however, 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 pop-fine art movement.^[3] Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a serial of happenings in which naked participants were painted with brightly coloured polka dots.^{[4] [5]} Since the 1970s, Kusama has connected to create art, most notably installations in various museums around the world.^[6]

Kusama has been open about her mental wellness. She says that fine art has become her manner to express her mental problems.^[7] She reported in the interview she did with Infinity Net "I fight hurting, feet, and fright every day, and the only method I have institute that relieved my illness is to keep creating fine art. I followed the thread of art and somehow discovered a path that would let me to alive."^[eight]

Biography [edit]

Early on life: 1929–1949 [edit]

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano.^[9] Born into a family of merchants who owned a plant plant nursery and seed subcontract,^[10] Kusama began drawing pictures of pumpkins in elementary schoolhouse and created artwork she saw from hallucinations, works of which would later ascertain her career.^[7] Her mother was not supportive of her creative endeavors; Kusama would rush to cease her art because her mother would take it abroad to discourage her.^[11] Her mother was also apparently physically abusive,^[12] and Kusama remembers her father as "the type who would play effectually, who would womanize a lot".^[10] The artist says that her female parent would oftentimes transport her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male'southward lower trunk and the phallus: "I don't like sex. I had an obsession with sex activity. When I was a child, my father had lovers and I experienced seeing him. My mother sent me to spy on him. I didn't want to have sex with anyone for years [...] The sexual obsession and fear of sexual practice sit adjacent in me."^[xiii] Her traumatic childhood, including her fantastic visions, can exist said to be the origin of her artistic manner.^[14]

When Kusama was x years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dense fields of dots".^[xv] These hallucinations likewise included flowers that spoke to Kusama, and patterns in material that she stared at coming to life, multiplying, and engulfing or expunging her,^[xvi] a process which she has carried into her creative career and which she calls "self-obliteration".^[17] Kusama's art became her escape from her family and her own mind when she began to take hallucinations.^[11] She was reportedly fascinated by the shine white stones roofing the bed of the river near her family home, which she cites every bit some other of the seminal influences behind her lasting fixation on dots.^[18]

When Kusama was 13, she was sent to work in a military factory where she was tasked with sewing and fabricating parachutes for the Japanese army, then embroiled in World State of war II.^[1] Discussing her time in the factory, she says that she spent her adolescence "in closed darkness" although she could e'er hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight.^[1] Her childhood was greatly influenced by the events of the war, and she claims that it was during this period that she began to value notions of personal and creative freedom.^[xviii]

She went on to report 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 advanced, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.^[twenty]

Early success in Japan: 1950–1956 [edit]

By 1950, she was depicting abstract natural forms in water colour, gouache, and oil pigment, primarily on paper. She began covering 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", every bit she called them, were taken straight from her hallucinations. The earliest recorded work in which she incorporated these dots was a cartoon in 1939 at age 10, in which the prototype of a Japanese woman in a kimono, presumed to exist the artist's mother, is covered and obliterated by spots.^[21] Her first series of large-scale, sometimes more than than thirty 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 Blossom (D.S.P.S) Kusama has said:

One day I was looking at the blood-red flower patterns of the tablecloth on a tabular array, and when I looked up I saw the aforementioned pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of infinite, and be reduced to nothingness. As I realised it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should exist deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs spraining my talocrural joint.^[23]

New York City: 1957–1972 [edit]

An Infinity Room installation

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

In 1961 she moved her studio into the same building every bit Donald Judd and sculptor Eva Hesse; Hesse became a close friend.^[28] In the early 1960s Kusama began to create so-called soft sculptures by covering items such as ladders, shoes and chairs with white phallic protrusions.^[29] Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she still maintains. She established other habits as well, like having herself routinely photographed with new work^[xvi] and regularly appearing in public wearing her signature bob wigs and colorful, advanced fashions.^[13]

A polka-dot has the course of the lord's day, which is a symbol of the energy of the whole world and our living life, and as well the form of the moon, which is calm. Round, soft, colorful, senseless and unknowing. Polka-dots become movement ... Polka dots are a style to infinity.

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

Since 1963, Kusama has continued her serial of Mirror/Infinity rooms. In these circuitous infinity mirror installations, purpose-built rooms lined with mirrored drinking glass comprise scores of neon-colored balls, hanging at various heights higher up the viewer. Standing inside on a minor platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending space.^[31]

During the following years, Kusama was enormously productive, and by 1966 she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell among her friends and supporters. Yet, she did non profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off fiscal hardship.^[19] She was not able to make the money she believed she deserved, and her frustration became so farthermost 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 letter to Richard Nixon offering to take sexual activity with him if he would stop the Vietnam state of war.^[22] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, as in the K 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, eight performers under Kusama's management removed their clothing, stepped nude into a fountain, and causeless poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.^[32]

In 1968, Kusama presided over the happening Homosexual Wedding at the Church building of Self-obliteration at 33 Walker Street in New York and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore East in New York City.^[xix] She opened naked painting studios and a gay social gild chosen the Kusama 'Omophile Kompany (kok).^[33] The nudity nowadays in Kusama'south fine art and art protests was severely shameful for her family unit. This made her feel alone, and she attempted suicide again.^[xi]

In 1966, Kusama outset 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". Every bit soon as the piece was installed on a lawn outside the Italian pavilion, Kusama, dressed in a gold kimono,^[22] began selling each individual sphere for 1,200 lire (US$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 equally 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 brief relationship with artist Donald Judd.^[35] She then began a passionate, but platonic, relationship with the surrealist artist Joseph Cornell. She was 26 years his inferior – they would call each other daily, sketch each other, and he would ship personalized collages to her. Their lengthy association would last until his decease in 1972.^[35]

Render to Japan: 1973–1977 [edit]

In 1973, Kusama returned in ill health to Japan, where she began writing shockingly visceral and surrealistic novels, short stories, and poetry. In 1977, Kusama checked herself into a hospital for the mentally ill, where she somewhen took up permanent residence. She has been living at the hospital since, past selection.^[36] Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.^[37] Kusama is oftentimes quoted every bit saying: "If it were not for fine art, I would have killed myself a long fourth dimension ago."^[38]

From this base, she has connected to produce artworks in a multifariousness of media, as well as launching a literary career by publishing several novels, a poetry drove, and an autobiography.^[12] Her painting mode shifted to loftier-colored acrylics on canvas, on an amped-up scale.^[16]

Revival: 1980s–nowadays [edit]

Her organically abstruse 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 as an artist until the late 1980s and 1990s, when a number of retrospectives revived international interest.^[39] Yayoi Kusama: A Retrospective was the showtime critical survey of Yayoi Kusama presented at the Heart 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 small pumpkin sculptures in which she resided in color-coordinated wizard's attire, Kusama went on to produce a huge, xanthous pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to represent for her a kind of alter-ego or self-portrait.^[42] Kusama's later installation I'm Here, but Nothing (2000–2008) is a simply furnished room consisting of table and chairs, place settings and bottles, armchairs and rugs, notwithstanding its walls are tattooed with hundreds of fluorescent polka dots glowing in the UV light. The result is an endless space space where the cocky and everything in the room is obliterated.^[43]

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

The multi-role floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. Perhaps one of Kusama's most notorious works, various versions of Narcissus Garden have been presented worldwide venues including Le Consortium, Dijon, 2000; Kunstverein Braunschweig, 2003; every bit role of the Whitney Biennial in Primal Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.^[44]

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

In 2015-2016 the beginning 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 Art Museum in Finland. This major show independent more 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 way design from the 1960s.

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

On 25 February 2017, Kusama's All the Eternal Love I Have for the Pumpkins exhibit, i of the half dozen components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily airtight for iii days following damage to one of the exhibit's glowing pumpkin sculptures. The room, which measures xiii square feet (one.two m²) and was filled with over 60 pumpkin sculptures, was i 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 company demand", with the room averaging more than eight,000 visitors betwixt its opening and the date of its temporary endmost. While there were alien media reports most the toll of the damaged sculpture and how exactly it was broken, Allison Peck stated that "in that location is no intrinsic value to the individual piece. It is a manufactured component to a larger piece." The exhibit was reconfigured to make up for the missing sculpture, and a new one was to be produced for the showroom by Kusama.^[48] The Infinity Mirrors exhibit became a sensation among art critics every bit well as on social media. Museum visitors shared 34,000 images of the exhibition to their Instagram accounts, and social media posts using the hashtag #InfiniteKusama garnered 330 million impressions, as reported past the Smithsonian the 24-hour interval after the exhibit'south endmost.^[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 ix Nov 2019, Kusama's Everyday I Pray For Dearest exhibit was shown at David Zwirner Gallery until 14 Dec 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied by a catalogue published past David Zwirner books containing texts and poems from the artist. This exhibition too included the debut of her INFINITY MIRRORED ROOM - DANCING LIGHTS THAT FLEW UP TO THE UNIVERSE, 2019.^[52]

In January 2020, the Hirshhorn announced information technology would debut new Kusama acquisitions, including 2 Infinity Mirror Rooms, at a forthcoming exhibition called 1 with Eternity: Yayoi Kusama in the Hirshhorn Collection.^[53] The name of the exhibit is derived from an open alphabetic character Kusama wrote to then-President Richard Nixon in 1968, writing: "let'southward forget ourselves, dearest Richard, and go 1 with the accented, all together in the altogether."^[54]

In November 2021,^[55] a awe-inspiring exhibition offer an overview of Kusama'south master creative periods over the past seventy years, with some 200 works and iv Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost 3,000 mⁱⁱ across the Museum's two buildings, in six galleries and includes two new works: A Bouquet of Love I Saw in the Universe, 2022 and Low-cal of the Universe Illuminating the Quest for Truth, 2021.

Significant 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 it with the world.^[56] Claire Voon has described one of Kusama's mirror exhibits as being able to "transport you to quiet creation, to a lonely labyrinth of pulsing light, or to what could be the enveloping innards of a leviathan with the measles".^[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'due south lack of feeling in control throughout her life made her, either consciously or subconsciously, want to control how others perceive fourth dimension and space when inbound her exhibits. This argument seems to imply that without her trauma, Kusama would non have created these works also or perhaps not at all. Art had get a coping machinery for Kusama.^[58]

Works and publications [edit]

Performance [edit]

In Yayoi Kusama'south Walking Slice (1966), a performance that was documented in a series of eighteen color slides, Kusama walked forth the streets of New York City in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, yet, was made to look inauthentic, every bit it was really a black umbrella, painted white on the exterior and decorated 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 clan of the kimono, involved the stereotypes that Asian-American women continued to face. However, every bit an avant-garde artist living in New York, her situation altered the context of the dress, creating a cross-cultural amalgamation. Kusama was able to highlight the stereotype in which her white American audience categorized her, past showing the absurdity of culturally categorizing people in the world'south largest melting pot.^[59]

Motion-picture show [edit]

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

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

Fashion [edit]

In 1968, Kusama established Kusama Fashion Visitor Ltd, and began selling avantgarde fashion in the "Kusama Corner" at Bloomingdales.^[62] In 2009, Kusama designed a pocketbook-shaped prison cell phone entitled Handbag for Space Travel, My Doggie Ring-Ring, a pinkish dotted phone in accompanying dog-shaped holder, and a red and white dotted telephone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile advice giant 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 yr, she worked with Marc Jacobs (who visited her studio in Japan 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 bachelor in 2012 at a SoHo pop-upwardly shop, which was decorated with Kusama's trademark tentacle-like protrusions and polka-dots. Eventually, six other pop-upwards shops were opened effectually 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. 1 year afterward, her outset novel Manhattan Suicide Addict appeared. Between 1983 and 1990, she finished the novels The Hustler's Grotto of Christopher Street (1983), The Called-for of St Mark'southward Church (1985), Between Heaven and World (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Greatcoat Cod (1990), aslope several issues of the mag Due south&K Sniper in collaboration with photographer Nobuyoshi Araki.^[19] Her most recent writing attempt includes her autobiography Infinity Internet ^[68] published in 2003 that depicts her life from growing upwardly in Nippon, her divergence to the United States, and her return to her dwelling country, where she now resides. Infinity Net also includes some of the creative person'south poetry and photos of her exhibitions.

Commissions [edit]

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, mostly in the class 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 Metropolis Museum of Art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, France; Pumpkin (2006) at Bunka-mura on Benesse Island of Naoshima; Hello, Anyang with Love (2007) for Pyeonghwa Park (now referred equally World Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles.^[69] In 1998, she realized a mural for the hallway of the Gare do Oriente subway station in Lisbon. Alongside these monumental works, she has produced smaller scale outdoor pieces including Key-Chan and Ryu-Chan, a pair of dotted dogs. All the outdoor works are cast in highly durable fiberglass-reinforced plastic, so painted in urethane to glossy perfection.^[seventy]

In 2010, Kusama designed a Boondocks Sneaker styled bus, which she titled Mizutama Ranbu (Wild Polka Dot Dance) and whose road travels through her hometown of Matsumoto.^[19] In 2011, she was commissioned to blueprint the front embrace of millions of pocket London Underground maps; the result is entitled Polka Dots Festival in London (2011). Coinciding with an exhibition of the artist'southward work at the Whitney Museum of American Art in 2012, a 120-foot (37 m) reproduction of Kusama's painting Yellowish Trees (1994) covered a condominium building under construction in New York's Meatpacking District.^[71] That aforementioned yr, Kusama conceived her floor installation Thousands of Optics as a committee for the new Queen Elizabeth Ii Courts of Law, Brisbane.^[72]

Exhibition catalogs [edit]

• Rodenbeck, J.F. "Yayoi Kusama: Surface, Stitch, Skin." Zegher, M. Catherine de. Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine. Cambridge, Mass: The MIT Printing, 1996. ISBN 978-0-262-54081-0 OCLC 33863951
• Institute of Contemporary Fine art, Boston, 30 January – 12 May 1996.
• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, N.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-2 OCLC 42448762
• Robert Miller Gallery, New York, 11 June – 7 August 1998.
• Kusama, Yayoi, and Lynn Zelevansky. Love Forever: Yayoi Kusama, 1958–1968. Los Angeles: Los Angeles County Museum of Art, 1998. ISBN 978-0-875-87181-3 OCLC 39030076
• Los Angeles County Museum of Art, 8 March – 8 June 1998; three other locations through 4 July 1999.
• Kusama, Yayoi. Yayoi Kusama. Wien: Kunsthalle Wien, 2002. ISBN 978-3-852-47034-4 OCLC 602369060
• Kusama, Yayoi. Yayoi Kusama. Paris: Les Presses du Reel, 2002. ISBN 978-0-714-83920-two OCLC 50628150
• Seven European exhibitions in France, Germany, Denmark, etc.; 2001–2003.
• Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-4-048-53741-four OCLC 169879689
• Mori Art Museum, 7 February – nine 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-iii OCLC 63197423
• Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – 19 Dec 2004; Kyōto Kokuritsu Kindai Bijutsukan, vi Jan – 13 Feb 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 Apr – 3 July 2005; at Matsumoto-shi Bijutsukan, 30 July – 10 October 2005.
• Applin, Jo, and Yayoi Kusama. Yayoi Kusama. London: Victoria Miro Gallery, 2007. ISBN 978-0-955-45644-2 OCLC 501970783
• Victoria Miro Gallery, London, 10 Oct – 17 November 2007.
• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-ane-932-59894-0 OCLC 320277816
• Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.
• Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-ane-854-37939-9 OCLC 781163109
• Reina Sofia, Madrid, 10 May – 12 September 2011; Center Pompidou, Paris, 10 October 2011 – ix January 2012; Whitney Museum of American Fine art, New York, 12 July – 30 September 2012; Tate Modern (London), 9 February – 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-seven OCLC 879584489
• David Zwirner Gallery, New York, eight November – 21 December 2013.
• Laurberg, Marie: Yayoi Kusama – In Infinity, Denmark: Louisiana Museum of Modern Art, 2015, Heine Onstadt, Oslo, 2016, Moderna Museum, Stockholm, 2016, and Helsinki Art Museum, 2016
• David Zwirner Gallery, New York, nine November – 14 December 2019.^[73]

Illustration piece of work [edit]

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

Chapters [edit]

• Nakajima, Izumi. "Yayoi Kusama betwixt abstraction and pathology." Pollock, Griselda. Psychoanalysis and the Image: Transdisciplinary Perspectives. Malden, MA: Blackwell Pub, 2006. pp. 127–160. ISBN 978-i-405-13460-6 OCLC 62755557
• Klaus Podoll, "Die Künstlerin Yayoi Kusama als pathographischer Fall." Schulz R, Bonanni K, Bormuth Thou, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-3-835-30423-nine OCLC 429664716
• Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Art and Classical Myth. Farnham, Surrey: Ashgate, 2011. pp. 87–109. ISBN 978-0-754-66974-6 OCLC 640515432

Autobiography, writing [edit]

• Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Nippon Edition Art, 1977.
• Kusama, Yayoi. Kusama Yayoi: Driving Image = Yayoi Kusama. Tōkyō: PARCO shuppan, 1986. ISBN 978-4-891-94130-7 OCLC 54943729
• Kusama, Yayoi, Ralph F. McCarthy, Hisako Ifshin, and Yayoi Kusama. Violet Obsession: Poems. Berkeley: Wandering Mind Books, 1998. ISBN 978-0-965-33043-5 OCLC 82910478
• Kusama, Yayoi, Ralph F. McCarthy, Yayoi Kusama, and Yayoi Kusama. Hustlers Grotto: Iii Novellas. Berkeley, Calif: Wandering Listen 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 978-0-226-46498-5 OCLC 711050927
• Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-ii-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 Press, 2003. ISBN 978-0-714-83920-two OCLC 749417124
• Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Furniture by Graf: Decorative Mode No. three. 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-iv-872-42174-3 OCLC 173274568
• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Printing, 2017. ISBN 978-0-714-87345-9 OCLC 749417124
• Yoshitake, Mika, Chiu, Melissa, Dumbadze, Alexander Blair, Jones, Alex, Sutton, Gloria, Tezuka, Miwako. Yayoi Kusama : Infinity Mirrors. Washington, DC. ISBN 978-3-7913-5594-8. OCLC 954134388

Exhibitions [edit]

In 1959, Kusama had her first solo exhibition in New York at the Brata Gallery, an creative person's co-op. She showed a series of white cyberspace paintings which were enthusiastically reviewed by Donald Judd (both Judd and Frank Stella and then caused paintings from the show).^[21] Kusama has since exhibited piece of 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 only female artist to accept office in the widely acclaimed Nul (Nothing) international grouping exhibition at the Stedelijk Museum in Amsterdam.^[74]

Exhibition listing [edit]

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

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

An exhibition for the HAM art company (Oct 2016)

• 1976: Kitakyushu Municipal Museum of Art
• 1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan
• 1987: Fukuoka, Japan
• 1989: Center for International Contemporary Arts, New York
• 1993: Represented Nihon at the Venice Biennale
• 1996: Recent Works at Robert Miller Gallery
• 1998–1999: Retrospective exhibition of work toured the US and Nihon
• 1998: "Love Forever: Yayoi Kusama,1958–1969", LACMA
• 1998–99: "Dear Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Modernistic Art, New York, Walker Art Centre, Minneapolis and Museum of Contemporary Fine art, Tokyo)
• 2000: Le Consortium, Dijon
• 2001–2003: Le Consortium – exhibit traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul
• 2004: KUSAMATRIX, Mori Fine art Museum, Tokyo
• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity – Modernity, National Museum of Mod Fine 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 every bit floating "humps" on a lake.^[75]
• 2008: The Mirrored Years, Museum Boijmans Van Beuningen, Rotterdam, holland
• 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand
• Baronial 2010: Aichi Triennale 2010, Nagoya. Works were exhibited inside the Aichi Arts Center, out of the eye and Toyota car polka dot project.
• 2010: Museum Boijmans Van Beuningen purchased the work Infinity Mirror Room – Phalli's Field. As of 13 September of that year the mirror room is permanently exhibited in the entrance surface area of the museum.
• July 2011: Museo Reina Sofía, Madrid, Spain
• 2012: Tate Modern, London.^[76] Described as "akin to existence suspended in a beautiful creation gazing at space worlds, or like a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",^[77] the exhibition features a retrospective spanning Kusama'south entire career.
• 15 July 2013 – 3 November 2013: Daegu Art Museum, Daegu, Korea
• xxx June 2013 – sixteen September 2013: MALBA, the Latinamerican Fine art Museum of Buenos Aires, Buenos Aires, Argentine republic
• 22 May 2022 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil
• 17 September 2022 – 24 Jan 2016: In Infinity, Louisiana Museum of Modernistic Art, Humlebæk, Denmark^[78]
• 12 June – nine August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russian federation. This was the creative person'south first solo exhibition in Russian federation.^[79]
• 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway
• 20 September 2022 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California
• 12 June – 18 September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas
• one May 2022 – xxx Nov 2016: Yayoi Kusama: Narcissus Garden, The Glass Firm, New Canaan, Connecticut.
• 25 May 2022 – xxx July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.
• 7 October 2022 – 22 Jan 2017: Yayoi Kusama: In Infinity, organised past the Louisiana Museum of Modernistic Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Fine art Museum HAM in Helsinki, Finland.^[lxxx]
• five Nov 2022 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.^[81]
• 23 February 2022 – fourteen May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum prove originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC^{[82] [47]}
• 30 June 2022 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle Art Museum, Seattle, Washington
• ix June 2022 – 3 September 2017: Yayoi Kusama: Life is the Heart of a Rainbow, National Gallery Singapore.^[83]
• October 2022 – January 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to The Broad, Los Angeles, California
• October 2022 – February 2018: Yayoi Kusama: All the Eternal Love I Have for the Pumpkins, Dallas Museum of Fine art, Dallas, Texas
• Nov 2022 – February 2018: Yayoi Kusama: Life is the Eye of a Rainbow and Obliteration Room, GOMA, Brisbane, Commonwealth of australia^[84]
• December 2022 – April 2018: Bloom Obsession, Triennial, NGV, Melbourne, Commonwealth of australia
• March 2022 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Japan
• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Fine art Gallery of Ontario, Toronto, Ontario, Canada
• March–July 2018: Yayoi Kusama: All Well-nigh My Love, Matsumoto City Museum of Fine art, Matsumoto, Nagano, Japan
• 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 2022 - Leap 2019: Yayoi Kusama: With All My Dear for the Tulips, I Pray Forever ^[86] (2011)
• March–September 2019: Yayoi Kusama, Museum Voorlinden, Wassenaar, The Netherlands
• ix November 2022 – fourteen Dec 2019: Yayoi Kusama: Everyday I Pray For Beloved, David Zwirner Gallery, New York, NY^[73]
• 4 January – 18 March 2020: Brilliance of the Souls, Maraya, AlUla
• 4 April – 19 September 2020: Yayoi Kusama: "One with Eternity: Yayoi Kusama in the Hirshhorn Drove," Washington, DC^[53]
• 31 July 2022 – 3 January 2021: STARS: Six Contemporary Artists from Japan to the World, Tokyo, Japan^[87]
• 10 Apr 2022 – 31 October 21: Kusama: Catholic Nature, New York Botanical Garden, New York, NY^{[88] [89]}
• xv November 2022 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Fine art, Israel ^{[90] [91]}

Permanent Infinity Room installations [edit]

• Infinity Dots Mirrored Room (1996), Mattress Factory, Pittsburgh, Pennsylvania
• Infinity Mirror Room fireflies on Water (2000), Musée des Beaux-Arts de Nancy, Nancy (France)
• You Who Are Getting Obliterated in the Dancing Swarm of Fireflies (2005), Phoenix Art Museum, Phoenix, Arizona^[92]
• Gleaming Lights of the Souls (2008), Louisiana Museum of Modern Art, Humlebæk, Denmark^[93]
• The Souls of Millions of Light Years Abroad (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
• Love is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts^[95]
• Light of Life (2018), Due north Carolina Museum of Fine art, Raleigh, N Carolina
• Brilliance of the Souls (2019), Museum of Mod and Contemporary Fine art in Nusantara (Museum MACAN), Jakarta, Indonesia^[96]
• Infinity Mirror Room – Let'southward 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 world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Center, Minneapolis; Phoenix Art Museum, Phoenix; Tate Modern, London; Stedelijk Museum, Amsterdam; 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 prototype is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson.^[98]

In 2017, a l-year retrospective of Kusama's work opened at the Hirshhorn Museum in Washington, DC. That same year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her piece of work have been held at the Museum of Mod Art (1998), the Whitney Museum (2012), and the Tate Modern (2012).^{[99] [100] [101]} In 2015, the website Artsy named Kusama one of its superlative 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 Accomplishment Award from the Social club of the Ascension Lord's day (2006); and a Lifetime Achievement Award from the Women'south Conclave for Art.^[103] In October 2006, Kusama became the beginning Japanese woman to receive the Praemium Imperiale, one 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 pop artist of the year after a record-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Space Obsession. Venues from Buenos Aires to Mexico City received more than eight,500 visitors each day.^[106]

The octogenarian also gained media attention for partnering with the Hirshhorn Museum and Sculpture Garden to brand 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 vi individual rooms and provided disabled individuals visiting the exhibition access to a consummate 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]

Art market [edit]

Kusama's work has performed strongly at auction: tiptop prices for her work are for paintings from the belatedly 1950s and early 1960s. As of 2012, her work has the highest turnover of any living woman artist.^[109] In November 2008, Christie'south New York sold a 1959 white Infinity Internet painting formerly endemic by Donald Judd,^[nineteen] No. two, for United states$5.1 million, so a tape for a living female artist.^[110] In comparing, the highest price for a sculpture from her New York years is £72,500 (US$147,687), fetched by the 1965 wool, pasta, paint and hanger assemblage Gold Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the meridian price for i of her sculptures, also at Sotheby'due south in 2007^[111] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for U.s.$960,000 at Art Basel/Hong Kong in May 2013, the highest cost paid at the show. Kusama became the most expensive living female artist at auction when White No. 28 (1960) from her signature Infinity Nets series sold for $seven.one meg at a 2022 Christie's auction.^[112]

In pop culture [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 band, included a song chosen "Art Class (Song for Yayoi Kusama)" on its Here's to Shutting Upward album.^[113]
• In 1967, Jud Yalkut made a film of Kusama titled Kusama'due south Self-Obliteration. ^[114]
• Yoko Ono cites Kusama as an influence.^{[115] [116]}
• The 2004 Matsumoto Performing Fine 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 vocal "Hot Topic".^[118]
• In 2013, the British indie pop duo The Male child Least Probable To fabricated song tribute to Yayoi Kusama, writing a song peculiarly about 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 practice.^[120]
• The Nels Cline Singers dedicated one track, "Macroscopic (for Kusama-san)" of their 2022 anthology, Macroscope to Kusama.^[121]
• Magnolia Pictures released the biographical documentary Kusama: Infinity on seven September 2018^[122] and a DVD version on 8 January 2019.^[123]
• Veuve Clicquot and Kusama created a limited-edition canteen and sculpture in September 2020.^[124]

References [edit]

1. ^ ^{a b c} Yamamura, Midori (2015), Yayoi Kusama: Inventing the Atypical. MIT Printing. ISBN 9780262029476.
2. ^ "Yayoi Kusama". guggenheim.org . Retrieved 21 February 2018.
3. ^ Griselda, Pollock (2006). Psychoanalysis and the epitome : 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 Modernistic Art . Retrieved 21 Feb 2018.
5. ^ "Yayoi Kusama, Harry Shunk, János Kender. Mirror Performance, New York. 1968 | MoMA". The Museum of Modern Fine art . Retrieved 21 February 2018.
6. ^ Taylor, Kate (28 February 2018). "How Yayoi Kusama's Infinity Mirrors pushed pop fine art into the new historic period". Retrieved 4 March 2018.
7. ^ ^{a b} "Yayoi Kusama Biography, Life & Quotes". The Art Story . Retrieved 29 February 2020.
8. ^ Swanson, Carl (6 July 2012). "The Art of the Flame-Out". New York.
9. ^ "Yayoi Kusama | Biography, Art, & Facts". Encyclopædia Britannica . Retrieved 1 September 2019.
10. ^ ^{a b} Farah Nayeri (14 February 2012), Human being-Antisocial Artist Kusama Covers Tate Modern in Dots: Interview Bloomberg.
11. ^ ^{a b c d} Pound, Cath. "Yayoi Kusama'southward extraordinary survival story". BBC. Retrieved vii May 2019.
12. ^ ^{a b} Butler, Cornelia (2007). WACK! Art and the Feminist Revolution. MIT Press. p. 257.
13. ^ ^{a b} "The earth co-ordinate to Yayoi Kusama". Financial Times. 20 January 2012. Retrieved 11 March 2017.
14. ^ Dailey, Megan. "YAYOI KUSAMA: ART AS AN ESCAPE".
15. ^ ^{a b} Frank, Priscilla (nine February 2017). "Japanese Artist Yayoi Kusama Is Near To Make 2022 Infinitely Improve". HuffPost . Retrieved 11 March 2017.
16. ^ ^{a b c d} Holland Cotter (12 July 2012), Brilliant 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 (six February 2017). "Yayoi Kusama Made the Ultimate Instagram Exhibit". The Cut . Retrieved eleven March 2017.
19. ^ ^{a b c d e f 1000} Yayoi Kusama Timeline Queensland Art Gallery, Brisbane.
20. ^ Taylor, Rachel (six March 2012). "Yayoi Kusama'south early years". Tate Etc.
21. ^ ^{a b} Yayoi hi , 18 November 1998 – 8 Jan 1999 Victoria Miro Gallery, London.
22. ^ ^{a b c} David Pilling (20 Jan 2012), The world co-ordinate to Yayoi Kusama Fiscal Times Weekend Magazine.
23. ^ Bayly, Zac (2012), "Yayoi Kusama", Zac-Set on (interview), retrieved 21 September 2013
24. ^ "Yayoi Kusama | Biography, Art, & Facts". Encyclopedia Britannica . Retrieved 2 Oct 2020.
25. ^ Zoë Dusanne: An Art Dealer Who Made a Difference, p99, by Jo Ann Ridley; Fithian Press, 2011
26. ^ Liu, Belin (26 February 2009), "Yayoi Kusama", Bowwow magazine, archived from the original on 23 June 2011, retrieved 30 November 2010
27. ^ Midori Yoshimoto, Into Performance: Japanese Women Artists in New York (New Brunswick: Rutgers University Printing, 2005) p.68
28. ^ "Yayoi Kusama Art – 100+ Works, Bio, News | Artsy". world wide web.artsy.net . Retrieved 17 July 2016.
29. ^ ^{a b} Yayoi Kusama MoMA Collection, New York.
30. ^ Kusama, Yayoi (1978), Manhattan jisatsu misui joshuhan [Manhattan Suicide Addict], 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:10.1080/03087298.2015.1093775. S2CID 194226783.
35. ^ ^{a b} "Kusama'south relationship with Joseph Cornell". Tate Etc . Retrieved 23 May 2019.
36. ^ Chappo, Ashley (6 April 2015). "The Stunning Story of the Adult female Who Is the Earth'southward Nearly Popular Artist". Observer . Retrieved 6 March 2017.
37. ^ McDonald, John (12 February 2005), "Points of no return", The Sydney Morning time Herald , retrieved 30 November 2010
38. ^ Art Review (interview), 2007, archived from the original on 20 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, BY Edward M. (5 July 1998). "ART; A sixty's Free Spirit Whose Main Discipline 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 5 November 2011
43. ^ Yayoi Kusama, London: Victoria Miro Gallery, seven February – 20 March 2008, archived from the original on 19 Jan 2012
44. ^ Yayoi Kusama: Flowers That Bloom Tomorrow, vii Oct – 13 November 2010 Victoria Miro Gallery, London.
45. ^ Taylor, Rachel (2012). Yayoi Kusama: Recent Piece of work 2009–2012. London: Tate. ISBN9781-85437-939-nine.
46. ^ Dingfelder, Sadie (21 February 2017). "This showroom 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 Fall 2017" (PDF). The Broad: News. 16 Baronial 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. 15 May 2017. Retrieved 9 March 2020.
50. ^ "A Night With Yayoi Kusama's Die-hard, Selfie-taking Fans". Hyperallergic. 12 Nov 2019. Retrieved 29 February 2020.
51. ^ "Yayoi Kusama Museum opens, sells out". The Nippon News. Archived from the original on nineteen Oct 2017. Retrieved xviii Oct 2017.
52. ^ "EVERY Day I PRAY FOR Beloved press release". David Zwirner . Retrieved 18 December 2019.
53. ^ ^{a b} "Hirshhorn Acquires Three Major Works past Yayoi Kusama, Announces 2022 Legacy Exhibition". Smithsonian Institution. 6 January 2020. Retrieved ix March 2020.
54. ^ Daher, Nadine (xiv Jan 2020). "Celebrating the Eternal Legacy of Artist Yayoi Kusama". Smithsonian Magazine . Retrieved nine March 2020.
55. ^ https://www.tamuseum.org.il/en/exhibition/yayoi-kusama-a-retrospective/
56. ^ Fifield, Anna (xv February 2017). "How Yayoi Kusama, the "Infinity Mirrors" visionary, channels mental illness into fine art". The Washington Mail . Retrieved 7 May 2019.
57. ^ ^{a b} Voon, Claire (23 February 2017). "Immersed in Yayoi Kusama'southward Lonely Labyrinths and Infinite Worlds". Hyperallergic . Retrieved 7 May 2019.
58. ^ Choudhury, Bedatri D. (11 September 2018). "To Infinity and Across, Yayoi Kusama Grapples With Conventions". Hyperallergic . Retrieved 7 May 2019.
59. ^ Schultz, Stacy East. (2012). "Asian American Women Artists: Performative Strategies Redefined". Journal of Asian American Studies. 15 (1): 105–27. doi:ten.1353/jaas.2012.0000. S2CID 145241859.
60. ^ ^{a b} Foster, Gwendolyn Audrey (18 October 2013). "Yayoi Kusama: The Orgy of Self Obliteration". Movie International.
61. ^ Ridey, Roger (23 October 2011). "All well-nigh 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 Vogue . Retrieved 11 March 2017.
66. ^ Binlot, Ann (9 Jan 2012), Marc Jacobs Recruits Yayoi Kusama for Latest Louis Vuitton Collaboration BLOUINARTINFO.
67. ^ Swanson, Carl (9 July 2012). "Sectional: Yayoi Kusama Talks Louis Vuitton, Plus a First Look at the Collection". The Cut . Retrieved 11 March 2017.
68. ^ Kusama, Yayoi (2003). Infinity Internet. Tate.
69. ^ Kusama, 16 April – 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), 'Xanthous Trees' Growing The Wall Street Journal.
72. ^ Des Houghton (8 June 2012), Justice Government minister Jarrod Bleijie condemns Yayoi Kusama artwork at new Supreme Courtroom and District Court building in Brisbane The Courier-Mail.
73. ^ ^{a b} York, 537 West 20th Street New. "EVERY DAY I PRAY FOR Dearest". David Zwirner . Retrieved eighteen December 2019.
74. ^ Yayoi Kusama: Mirrored Years, 23 August – 19 October 2008 Archived 25 May 2012 at the Wayback Machine Museum Boijmans Van Beuningen, Rotterdam.
75. ^ "Yayoi Kusama at Fairchild", five December 2009 – 30 May 2010 Archived 17 December 2013 at the Wayback Automobile Fairchild Tropical Botanic Garden.
76. ^ "Yayoi Kusama". What'due south On. Tate Modern. Retrieved iii 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 take over the Louisiana Museum of Modern Fine art". Wallpaper . Retrieved 16 December 2015.
79. ^ "Yayoi Kusama: Infinity Theory [exhibition website]". Garage Museum of Contemporary Art. 2015. Retrieved 16 December 2015.
80. ^ "Yayoi Kusama: In Infinity". Retrieved 6 April 2017.
81. ^ "Yayoi Kusama'southward new installation comes to MONA Tasmania". 22 October 2016. Retrieved 17 June 2017.
82. ^ Finkel, Jori (xvi August 2016). "Yayoi Kusama to Exist the Focus of a Touring Museum Show". The New York Times. ISSN 0362-4331. Retrieved xi March 2017.
83. ^ "Yayoi Kusama heads to Singapore, while Southeast Asian fine art travels the globe". 2016.
84. ^ "Yayoi Kusama".
85. ^ "Yayoi Kusama'due south works finally arrive in Jakarta". The Jakarta Post . Retrieved ix May 2018.
86. ^ Stuart, Gwynedd (25 July 2018). "Another Yayoi Kusama Installation Has Arrived in L.A.—and You Tin can See Information technology For Free". Los Angeles Magazine . Retrieved v November 2021.
87. ^ "STARS: Six Gimmicky Artists from Nihon to the World". www.mori.art.museum . Retrieved xviii Baronial 2020.
88. ^ Heinrich, Will (9 Apr 2021). "Yayoi Kusama'due south '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-one.
90. ^ "Yayoi Kusama: A Retrospective \ Tel Aviv Museum of Art".
91. ^ "This Tel Aviv Museum Show Just Opened. It's Already Sold Out". Haaretz.
92. ^ "Yayoi Kusama Infinity Mirror Room, Phoenix Fine art Museum, Firefly Room". Retrieved 22 October 2017.
93. ^ "Kusama Installation". Louisiana Museum of Modern Art. Archived from the original on 19 Baronial 2018. Retrieved 9 Oct 2017.
94. ^ "Yayoi Kusama: The Spirits of the Pumpkins Descended into the Heavens". NGA . Retrieved six May 2019.
95. ^ Selvin, Claire (fifteen January 2019). "ICA Boston Acquires Yayoi Kusama 'Infinity Mirror Room' Work". ARTnews . Retrieved 23 May 2019.
96. ^ "Yayoi Kusama's 'Infinity Room' to return permanently to Museum MACAN". The Dki jakarta Post . Retrieved 30 August 2019.
97. ^ Mudhar, Raju (4 Apr 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/Final Supper". Smithsonian American Art Museum . Retrieved 21 Jan 2022.
99. ^ Love 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, 9 February – v June 2012, Tate Mod, London.
102. ^ "The Top 10 Living Artists of 2015". Artsy. 16 Dec 2015. Retrieved xvi December 2015.
103. ^ "WCA By Honorees".
104. ^ Blouinartinfo (23 January 2007). "Art News: Kusama Outset Japanese Woman to Win Coveted Art Laurels". BLOUINARTINFO. Retrieved 23 April 2008.
105. ^ "安吾賞-第9回 受賞者". Ango awards . Retrieved 8 March 2015.
106. ^ Pes, Javier; Emily Sharpe (2 April 2015). "Company Figures 2014: The Globe Goes Amorous Over Yayoi Kusama". The Fine art Newspaper. Archived from the original on 12 March 2017.
107. ^ Lesser, Casey (17 February 2017). "Yayoi Kusama'due south Infinity Rooms Made Accessible to People with Disabilities for Showtime Fourth dimension". Cocked . Retrieved eleven March 2017.
108. ^ Overly, Steven (ix March 2017). "People in wheelchairs couldn't see Yayoi Kusama's 'Infinity Mirrors'. The museum constitute an innovative prepare". The Washington Post . Retrieved xi March 2017.
109. ^ Sarah Thornton (20 May 2012), The toll of being female person The Economist.
110. ^ Cantankerous-Cultural Journeys: Yayoi Kusama and Kenzo Okada Christie'due south.
111. ^ Bridget Moriarity (5 March 2009), Artist Dossier: Yayoi Kusama Art+Auction.
112. ^ Kelly Crow (12 November 2014), Christie's Makes History With $853 1000000 Sale of Contemporary Art – Andy Warhol's 'Triple Elvis [Ferus Blazon]' Sells for $82 Million The Wall Street Journal.
113. ^ Superchunk - Art Class (Vocal For Yayoi Kusama) , retrieved 14 March 2022
114. ^ Zinman, Gregory (September 2013). "DREAM REELER: Jud Yalkut (1938–2013)". The Brooklyn Rail.
115. ^ Patel, Nisha (23 November 2016). "The Self-Obliteration Of Yayoi Kusama". Culture Trip . Retrieved thirteen September 2020.
116. ^ "Polka dots from another world". EL PAÍS. thirteen May 2011. Retrieved 13 September 2020.
117. ^ open buildings.com. Retrieved xxx Jan 2015.
118. ^ Oler, Tammy (31 Oct 2019). "57 Champions of Queer Feminism, All Proper name-Dropped in One Impossibly Catchy Song". Slate Magazine.
119. ^ "a world of polka dots, by the boy least probable to". the boy least probable to . Retrieved 23 May 2019.
120. ^ blog spirit.com Archived 23 August 2013 at the Wayback Machine
121. ^ "VIA CHICAGO: Q&A due west/ Wilco Guitarist Nels Cline". 30 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 Adorn Veuve Clicquot Champagne Collaboration". HYPEBEAST. nine 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 iv April 2018.

External links [edit]

• Official Site
• YAYOI KUSAMA MUSEUM (English)
• Love Forever: Yayoi Kusama, 1958–1968, Museum of Modern Art
• How to Paint Like Yayoi Kusama
• Yayoi Kusama in the drove of The Museum of Modern Fine art
• [*Women Artists and Postwar Abstraction | HOW TO Meet the art movement with Corey D'Augustine, MoMA
• Phoenix Art Museum online Archived 28 January 2022 at the Wayback Motorcar
• Earth is a polka dot. An interview with Yayoi Kusama Video by Louisiana Channel
• BBC NewsNight Yayoi Kusama
• Why Yayoi Kusama matters at present more than ever
• Yayoi Kusama art for the Instagram age
• Yayoi Kusama/artnet

smithforis1954.blogspot.com

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

Share this post