eBay

WE SHIP INTERNATIONALLY

Louis Vuitton Yayoi Kusama Pre-Release Showing Book Exhibition Promo Given Out to Limited Louis Vuitton Premier Club Members and Executives! To highlight the Waves Flower glasses, Dots Infinity collar, leather Monogram Vernis pumps, silk pyjama bottoms from the Dots Infinity collection Louis Vuitton Yayoi Kusama Collection Neverfull Bag Louis Vuitton Yayoi Kusama Collection Speedy 30 Bag Louis Vuitton Yayoi Kusama Collection Vernis Lockit Bag Louis Vuitton Yayoi Kusama Collection Monogram Louis Vuitton Yayoi Kusama Collection Pochette Louis Vuitton Yayoi Kusama Collection Infinity Louis Vuitton Yayoi Kusama Collection Wallet Louis Vuitton Yayoi Kusama Collection Agenda Louis Vuitton Yayoi Kusama Collection Zippy Louis Vuitton Yayoi Kusama Collection Portocre Louis Vuitton Yayoi Kusama Collection Kusamaya Louis Vuitton Yayoi Kusama Collection Collar And more from the collection x1 is included in this listing please see all photos before bidding additional photos can be sent if necessary you will receive the item(s) pictured please ask any and all questions before buying. All items are subject to be shipped in multiple packages and can be canceled at any time, we reserve the rights for the shipping carrier to be chosen at our discretion, no items will be shipped until payment is completed. Payment is due within 3 business days of sale date. We reserve the right to cancel a auction after bidding ends at our discretion of lack of payment, rude buyers, or low feedback or any other reason. We also may not cancel a order if it has already been packed. International buyers and subject to higher shipping fees. []Any buyer with under fifteen positive feedback may NOT be permitted to make purchases over 20$ (including shipping) if they do not message me before confirming the purchase[]. Buyer assumes responsibility for the proper use of all items. Yes we can ship to your Hotel Room if that is the address on file. Items will ship to the address of file. Returns are not accepted, A fifty percent restocking fee will be charged for all returned items. Items will be returned at buyers expense ALL items are sold as is All items are from a smoke and cat free home. Make sure to check out our other listings!!

Information about Yayoi Kusama:

Yayoi Kusama (草間彌生, Kusama Yayoi, born 22 March 1929) is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan.[1]

Yayoi Kusama

草間彌生

Wax model (2012)

Born

Yayoi Kusama (草間彌生)

22 March 1929 (age 93)

Matsumoto, Nagano, Empire of Japan

Nationality

Japanese

Known for

• Painting drawing sculpture installation art performance art film fiction fashion writing

Movement

• Pop art minimalism feminist art environmental art

Awards

Praemium Imperiale

Website

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts in a traditional Japanese painting style called nihonga.[2] Kusama was inspired, however, by American Abstract impressionism. She moved to New York City in 1958 and was a part of the New York avant-garde scene throughout the 1960s, especially in the pop-art movement.[3] Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly coloured polka dots.[4][5] Since the 1970s, Kusama has continued to create art, most notably installations in various museums around the world.[6]

Kusama has been open about her mental health. She says that art has become her way to express her mental problems.[7] She reported in an interview upon the release of her biographyInfinity Net that "I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art. I followed the thread of art and somehow discovered a path that would allow me to live."[8]

Biography

Edit

Early 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 nursery and seed farm,[10] Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career.[7] Her mother was not supportive of her creative endeavors; Kusama would rush to finish her art because her mother would take it away to discourage her.[11] Her mother was also apparently physically abusive,[12] and Kusama remembers her father as "the type who would play around, who would womanize a lot".[10] The artist says that her mother would often send her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male'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 mother sent me to spy on him. I didn't want to have sex with anyone for years [...] The sexual obsession and fear of sex sit side by side in me."[13] Her traumatic childhood, including her fantastic visions, can be said to be the origin of her artistic style.[14]

When Kusama was ten years old, she began to experience vivid hallucinations which she has described as "flashes of light, auras, or dense fields of dots".[15] These hallucinations also included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her,[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 own 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 as another 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 War II.[1] Discussing her time in the factory, she says that she spent her adolescence "in closed darkness" although she could always hear the air-raid alerts going off and see American B-29s flying overhead in broad daylight.[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.[18]

She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948.[19] 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.[20]

Early success in Japan: 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 called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the image of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated by spots.[21] Her first series of large-scale, sometimes more than 30 ft-long canvas paintings,[22] Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

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

One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and 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 be 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 ankle.[23]

New York City: 1957–1972

An Infinity Room installation

After living in Tokyo and France, Kusama left Japan at the age of 27 for the United States. She has stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women".[15] Before leaving Japan to the United States, she destroyed many of her early works.[24] In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.[25] She stayed there for a year[16] before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice.[26] During her time in the US, she quickly established her reputation as 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 building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend.[28] In the early 1960s Kusama began to create so-called soft sculptures by covering items such as ladders, shoes and chairs with white phallic protrusions.[29] Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she still maintains. She established other habits too, like having herself routinely photographed with new work[16] and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.[13]

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

—Yayoi Kusama, in Manhattan Suicide Addict [30]

Since 1963, Kusama has continued her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing inside on a small 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 not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off financial hardship.[19] She was not able to make the money she believed she deserved, and her frustration became so extreme that she attempted suicide.[11]

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 have sex with him if he would stop the Vietnam war.[22] Between 1967 and 1969 she concentrated on performances held with the maximum publicity, usually involving Kusama painting polka dots on her naked performers, as in the Grand 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 direction removed their clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.[32]

In 1968, Kusama presided over the happening Homosexual Wedding at the Church of Self-obliteration at 33 Walker Street in New York and performed alongside Fleetwood Mac and Country Joe and the Fish at the Fillmore East in New York City.[19] She opened naked painting studios and a gay social club called the Kusama 'Omophile Kompany (kok).[33] The nudity present in Kusama's art and art protests was severely shameful for her family. 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 lawn outside the Italian pavilion, Kusama, dressed in a golden 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 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 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 junior – they would call each other daily, sketch each other, and he would send personalized collages to her. Their lengthy association would last until his death in 1972.[35]

Return to Japan: 1973–1977

Yayoi Kusama's Ascension of Polka Dots on the Trees at the Singapore Biennale 2006 on Orchard Road, Singapore

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 eventually took up permanent residence. She has been living at the hospital since, by choice.[36] Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.[37] Kusama is often quoted as saying: "If it were not for art, I would have killed myself a long time ago."[38]

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

Revival: 1980s–present

Edit

Her organically abstract paintings of one or two colors (the Infinity Nets series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman. When she left New York she was practically forgotten as an artist until the late 1980s and 1990s, when a number of retrospectives revived international interest.[39] Yayoi Kusama: A Retrospective was the first 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 small pumpkin sculptures in which she resided in color-coordinated magician's attire, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The pumpkin came to 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 light. The result is an endless infinite space where the self and everything in the room is obliterated.

The Spirits of the Pumpkins Descended into the Heavens (2017), National Gallery of Australia, Canberra, Australia

The multi-part floating work Guidepost to the New Space, a series of rounded "humps" in fire-engine red with white polka dots, was displayed in Pandanus Lake. 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; as part of the Whitney Biennial in Central Park, New York in 2004; and at the Jardin de Tuileries in Paris, 2010.[44]

In her ninth decade, Kusama has continued to work 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-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 floor and flickering lights; these features suggest a pattern of life and death.[45]

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

In 2017, a 50-year retrospective of her work opened at the Hirshhorn Museum in Washington, DC. The exhibit featured six Infinity Mirror rooms, and was scheduled to travel to five museums in the US and Canada.[46][47]

On 25 February 2017, Kusama's All the Eternal Love I Have for the Pumpkins exhibit, one of the six components to her Infinity Mirror rooms at the Hirshhorn Museum, was temporarily closed for three days following damage to one of the exhibit's glowing pumpkin sculptures. The room, which measures 13 square feet (1.2 m2) and was filled with over 60 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 make up for the missing sculpture, and a new one was to be produced for the exhibit by Kusama.[48] The Infinity Mirrors exhibit became a sensation among art critics as well as on social media. Museum visitors shared 34,000 images of the exhibition to their Instagram accounts, and social media posts using the hashtag #InfiniteKusama garnered 330 million impressions, as reported by the Smithsonian the day after the exhibit's closing.[49] The works provided the perfect setting for Instagram-able selfies which inadvertently added to the performative nature of the works.[50]

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

On 9 November 2019, Kusama's Everyday I Pray For Love exhibit was shown at David Zwirner Gallery until 14 December 2019. This exhibition incorporated sculptures and paintings. The exhibition was accompanied by a catalogue published by David Zwirner books containing texts and poems from the artist. This exhibition 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 called One with Eternity: Yayoi Kusama in the Hirshhorn Collection.[53] The name of the exhibit is derived from an open letter Kusama wrote to then-President Richard Nixon in 1968, writing: "let’s forget ourselves, dearest Richard, and become one with the absolute, all together in the altogether."[54]

In November 2021,[55] a monumental exhibition offering an overview of Kusama's main creative periods over the past 70 years, with some 200 works and four Infinity Rooms (unique mirror installations) debuted in the Tel Aviv Museum of Art. The retrospective spans almost 3,000 m2 across the Museum's two buildings, in six galleries and includes 2 new works: A Bouquet of Love I Saw in the Universe, 2021 and Light of the Universe Illuminating the Quest for Truth, 2021.

Meaning and origins of her 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 cosmos, 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 because Kusama wanted others to sympathise with her in her troubled life.[57] Bedatri D. Choudhury has described how Kusama's lack of feeling in control throughout her life made her, either consciously or subconsciously, want to control how others perceive time and space when entering her exhibits. This statement seems to imply that without her trauma, Kusama would not have created these works as well or perhaps not at all. Art had become a coping mechanism for Kusama.[58]

Works and publications

Installation at Matsumoto City Museum of Art

In Yayoi Kusama's Walking Piece (1966), a performance that was documented in a series of eighteen color slides, Kusama walked along the streets of New York City in a traditional Japanese kimono while holding a parasol. The kimono suggested traditional roles for women in Japanese custom. The parasol, however, was made to look inauthentic, as it was actually 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 association of the kimono, involved the stereotypes that Asian-American women continued to face. However, as 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, by showing the absurdity of culturally categorizing people in the world's largest melting pot.[59]

Film

Edit

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

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

Fashion

Edit

In 1968, Kusama established Kusama Fashion Company 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 dog-shaped holder, and a red and white dotted phone inside a mirrored, dotted box dubbed Dots Obsession, Full Happiness With Dots, for Japanese mobile communication giant KDDI Corporation's "iida" brand.[63] Each phone was limited to 1,000 pieces.

In 2011, Kusama created artwork for six limited-edition lipglosses from Lancôme.[64] That same year, 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 available in 2012 at a SoHo pop-up shop, which was decorated with Kusama's trademark tentacle-like protrusions and polka-dots. Eventually, six other pop-up shops were opened around the world. When asked about her collaboration with Marc Jacobs, Kusama replied that "his sincere attitude toward art" is the same as her own.[67]

Writing

Edit

In 1977, Kusama published a book of poems and paintings entitled 7. One year later, her first novel Manhattan Suicide Addict appeared. Between 1983 and 1990, she finished the novels The Hustler's Grotto of Christopher Street (1983), The Burning of St Mark's Church (1985), Between Heaven and Earth (1988), Woodstock Phallus Cutter (1988), Aching Chandelier (1989), Double Suicide at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several issues of the magazine S&M Sniper in collaboration with photographer Nobuyoshi Araki.[19] Her most recent writing endeavor includes her autobiography Infinity Net[68] published in 2003 that depicts her life from growing up in Japan, her departure to the United States, and her return to her home country, where she now resides. Infinity Net also includes some of the artist's poetry and photos of her exhibitions.

Commissions

Red Pumpkin (2006), Naoshima

To date, Kusama has completed several major outdoor sculptural commissions, mostly in the form of brightly hued monstrous plants and flowers, for public and private institutions including Pumpkin (1994) for the Fukuoka Municipal Museum of Art; The Visionary Flowers (2002) for the Matsumoto City Museum of Art; Tsumari in Bloom (2003) for Matsudai Station, Niigata; Tulipes de Shangri-La (2003) for Euralille in Lille, France; Pumpkin (2006) at Bunka-mura on Benesse Island of Naoshima; Hello, Anyang with Love (2007) for Pyeonghwa Park (now referred as World Cup Park), Anyang; and The Hymn of Life: Tulips (2007) for the Beverly Gardens Park in Los Angeles.[69] In 1998, she realized a 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, then painted in urethane to glossy perfection.[70]

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

Select exhibitions

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 Press, 1996. ISBN 978-0-262-54081-0 OCLC 33863951

• Institute of Contemporary Art, Boston, 30 January – 12 May 1996.

• Kusama, Yayoi, and Damien Hirst. Yayoi Kusama Now. New York, N.Y.: Robert Miller Gallery, 1998. ISBN 978-0-944-68058-2 OCLC 42448762

• Robert Miller Gallery, New York, 11 June – 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 978-0-714-83920-2 OCLC 50628150

• Seven European exhibitions in France, Germany, Denmark, etc.; 2001–2003.

• Kusama, Yayoi. Kusamatorikkusu = Kusamatrix. Tōkyō: Kadokawa Shoten, 2004. ISBN 978-4-048-53741-4 OCLC 169879689

• Mori Art Museum, 7 February – 9 May 2004; Mori Geijutsu Bijutsukan, Sapporo, 5 June – 22 August 2004.

• Kusama, Yayoi, and Tōru Matsumoto. Kusama Yayoi eien no genzai = Yayoi Kusama: eternity-modernity. Tōkyō: Bijutsu Shuppansha, 2005. ISBN 978-4-568-10353-3 OCLC 63197423

• Tōkyō Kokuritsu Kindai Bijutsukan, 26 October – 19 December 2004; Kyōto Kokuritsu Kindai Bijutsukan, 6 January – 13 February 2005; Hiroshima-shi Gendai Bijutsukan, 22 February – 17 April 2005; Kumamoto-shi Gendai Bijutsukan, 29 April – 3 July 2005; at Matsumoto-shi Bijutsukan, 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 October – 17 November 2007.

• Kusama, Yayoi. Yayoi Kusama. New York: Gagosian Gallery, 2009. ISBN 978-1-932-59894-0 OCLC 320277816

• Gagosian Gallery, New York, 16 April – 27 June 2009; Gagosian Gallery, Beverly Hills, 30 May – 17 July 2009.

• Morris, Frances, and Jo Applin. Yayoi Kusama. London: Tate Publishing, 2012. ISBN 978-1-854-37939-9 OCLC 781163109

• Reina Sofia, Madrid, 10 May – 12 September 2011; Centre Pompidou, Paris, 10 October 2011 – 9 January 2012; Whitney Museum of American 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 978-0-989-98093-7 OCLC 879584489

• David Zwirner Gallery, New York, 8 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, 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, ed. 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 G, Bormuth M, eds. Wahrheit ist, was uns verbindet: Karl Jaspers' Kunst zu philosophieren. Göttingen, Wallstein, 2009. p. 119. ISBN 978-3-835-30423-9 OCLC 429664716

• Cutler, Jody B. "Narcissus, Narcosis, Neurosis: The Visions of Yayoi Kusama." Wallace, Isabelle Loring, and Jennie Hirsh. Contemporary Art and Classical Myth. Farnham, Surrey: Ashgate, 2011. pp. 87–109. ISBN 978-0-754-66974-6 OCLC 640515432

Autobiography, writing

Edit

• Kusama, Yayoi. A Book of Poems and Paintings. Tokyo: Japan 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: 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 978-0-226-46498-5 OCLC 711050927

• Kusama, Yayoï, and Isabelle Charrier. Manhattan Suicide Addict. Dijon: Presses du Réel, 2005. ISBN 978-2-840-66115-3 OCLC 420073474

Catalogue raisonné, etc.

Edit

• Kusama, Yayoi. Yayoi Kusama: 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 978-0-714-83920-2 OCLC 749417124

• Kusama, Yayoi, and Hideki Yasuda. Yayoi Kusama Furniture by Graf: Decorative Mode No. 3. Tōkyō: Seigensha 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 978-4-872-42174-3 OCLC 173274568

• Kusama, Yayoi, Laura Hoptman, Akira Tatehata, Udo Kultermann, Catherine Taft. Yayoi Kusama. London: Phaidon Press, 2017. ISBN 978-0-714-87345-9 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 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 show).[21] Kusama has since exhibited work with Claes Oldenburg, Andy Warhol, and Jasper Johns, among others. Exhibiting alongside European artists including Lucio Fontana, Pol Bury, Otto Piene, and Gunther Uecker, in 1962 she was the only female artist to take part in the widely acclaimed Nul (Zero) international group exhibition at the Stedelijk Museum in Amsterdam.[74]

Exhibition list

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

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

An exhibition for the HAM art company (October 2016)

• 1976: Kitakyushu Municipal Museum of Art

• 1983: Yayoi Kusama's Self-Obliteration (Performance) at Video Gallery SCAN, Tokyo, Japan

• 1993: Represented Japan at the Venice Biennale

• 1998: "Love Forever: Yayoi Kusama,1958–1969", LACMA

• 1998–99: "Love Forever: Yayoi Kusama,1958–1969" – exhibit traveled to Museum of Modern Art, New York, Walker Art Center, Minneapolis and Museum of Contemporary Art, Tokyo)

• 2001–2003: Le Consortium – exhibit traveled to Maison de la Culture du Japon, Paris; Kunsthallen Brandts, Odense, Denmark; Les Abattoirs, Toulouse; Kunsthalle Wien, Vienna; and Artsonje Center, Seoul

• 2004: KUSAMATRIX, Mori Art Museum, Tokyo

• 2004–2005: KUSAMATRIX traveled to Art Park Museum of Contemporary Art, Sapporo Art Park, Hokkaido); Eternity – Modernity, National Museum of Modern Art, Tokyo (touring Japan)

• 2007: FINA Festival 2007. Kusama created Guidepost to the New Space, a vibrant outdoor installation for Birrarung Marr beside the Yarra River in Melbourne. In 2009, the Guideposts were re-installed at Fairchild Tropical Botanic Garden, this time displayed as floating "humps" on a lake.[75]

• 2009: The Mirrored Years traveled to Museum of Contemporary Art, Sydney, and City Gallery, Wellington, New Zealand

• 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 area of the museum.

• July 2011: Museo Reina Sofía, Madrid, Spain

• 2012: Tate Modern, London.[76] Described as "akin to being suspended in a beautiful cosmos gazing at infinite worlds, or like a tiny dot of fluoresecent plankton in an ocean of glowing microscopic life",[77] the exhibition features a retrospective spanning Kusama's entire career.

• 30 June 2013 – 16 September 2013: MALBA, the Latinamerican Art Museum of Buenos Aires, Buenos Aires, Argentina

• 22 May 2014 – 27 June 2014: Instituto Tomie Ohtake, São Paulo, Brazil

• 17 September 2015 – 24 January 2016: In Infinity, Louisiana Museum of Modern Art, Humlebæk, Denmark[78]

• 12 June – 9 August 2015: Yayoi Kusama: Infinity Theory, The Garage Museum of Contemporary Art, Moscow, Russia. This was the artist's first solo exhibition in Russia.[79]

• 19 February – 15 May 2016: Yayoi Kusama – I uendeligheten, Henie Onstad Kunstsenter, Oslo, Norway

• 20 September 2015 – September 2016: Yayoi Kusama: Infinity Mirrored Room, The Broad, Los Angeles, California

• 12 June – 18 September 2016: Kusama: At the End of the Universe, Museum of Fine Arts, Houston, Houston, Texas

• 1 May 2016 – 30 November 2016: Yayoi Kusama: Narcissus Garden, The Glass House, New Canaan, Connecticut.

• 25 May 2016 – 30 July 2016: Yayoi Kusama: sculptures, paintings & mirror rooms, Victoria Miro Gallery, London, United Kingdom.

• 7 October 2016 – 22 January 2017: Yayoi Kusama: In Infinity, organised by the Louisiana Museum of Modern Art in cooperation with Henie Onstad Kunstsenter, Moderna Museet/ArkDes and Helsinki Art Museum HAM in Helsinki, Finland.[80]

• 5 November 2016 – 17 April 2017: "Dot Obsessions – Tasmania", MONA: Museum of Old and New Art, Hobart, Australia.[81]

• 23 February 2017 – 14 May 2017: Yayoi Kusama: Infinity Mirrors, a traveling museum show originating at the Hirshhorn Museum and Sculpture Garden, Washington, DC[82][47]

• 30 June 2017 – 10 September 2017: Yayoi Kusama: Infinity Mirrors, exhibition travels to Seattle 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 – February 2018: Yayoi Kusama: All the Eternal Love I Have for the Pumpkins, Dallas Museum of Art, Dallas, Texas

• November 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 – February 2019"Pumpkin Forever'(Forever Museum of ContemporaryArt), Gion-Kyoto, Japan

• March–May 2018: Yayoi Kusama: Infinity Mirrors, exhibition travels to Art Gallery of Ontario, Toronto, Ontario, Canada

• 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

• 9 November 2019 – 14 December 2019: Yayoi Kusama: Everyday I Pray For Love, 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 Collection," Washington, DC[53]

• 31 July 2020 – 3 January 2021: STARS: Six Contemporary Artists from Japan to the World, Tokyo, Japan[87]

• 10 April – 31 October 2021: Kusama: Cosmic Nature, New York Botanical Garden, New York, NY[88][89]

• 15 November 2021 - 23 April 2022: "Yayoi Kusama : A Retrospective", Tel Aviv Museum of Art, Israel [90][91]

Permanent Infinity Room installations

Edit

• Infinity Dots Mirrored Room (1996), Mattress 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 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

• Love is Calling (2013/2019), Institute of Contemporary Art, Boston, Boston, Massachusetts[95]

• Light of Life (2018), North Carolina Museum of Art, Raleigh, North Carolina

• Brilliance of the Souls (2019), Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia[96]

• Infinity Mirror Room – Let's 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

Entrance to Yayoi Kusama Museum in Tokyo

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

In 2017, a fifty-year retrospective of Kusama's work opened at the Hirshhorn Museum in Washington, DC. That same year, the Yayoi Kusama Museum was inaugurated in Tokyo. Other major retrospectives of her work have been held at the Museum of Modern Art (1998), the Whitney Museum (2012), and the Tate Modern (2012).[99][100][101] In 2015, the website Artsy named Kusama one of its top 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 Order of the Rising Sun (2006); and a Lifetime Achievement Award from the Women's Caucus for Art.[103] In October 2006, Kusama became the first 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 popular artist of the year after a record-breaking number of visitors flooded her Latin American tour, Yayoi Kusama: Infinite Obsession. Venues from Buenos Aires to Mexico City received more than 8,500 visitors each day.[106]

The octogenarian also gained media attention for partnering with the Hirshhorn Museum and Sculpture Garden to make her 2017 Infinity Mirror rooms accessible to visitors with disabilities or mobility issues; in a new initiative among art museums, the venue mapped out the six individual rooms and provided disabled individuals visiting the exhibition access to a complete 360-degree virtual reality headset that allowed them to experience every aspect of the rooms,[107] as if they were actually walking through them.[108]

Art market

Edit

Kusama's work has performed strongly at auction: top prices for her work are for paintings from the late 1950s and early 1960s. As of 2012, her work has the highest turnover of any living woman artist.[109] In November 2008, Christie's New York sold a 1959 white Infinity Net painting formerly owned by Donald Judd,[19] No. 2, for US$5.1 million, then a record for a living female artist.[110] In comparison, 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 Golden Macaroni Jacket at Sotheby's London in October 2007. A 2006 acrylic on fiberglass-reinforced plastic pumpkin earned $264,000, the top price for one of her sculptures, also at Sotheby's in 2007[111] Her Flame of Life – Dedicated to Tu-Fu (Du-Fu) sold for US$960,000 at Art Basel/Hong Kong in May 2013, the highest price paid at the show. Kusama became the most expensive living female artist at auction when White No. 28 (1960) from her signature Infinity Nets series sold for $7.1 million at a 2014 Christie's auction.[112]

In popular culture

Edit

• Superchunk, an American indie band, included a song called "Art Class (Song for Yayoi Kusama)" on its Here's to Shutting Up album.[113]

• In 1967, Jud Yalkut made a film of Kusama titled Kusama’s Self-Obliteration.[114]

• Yoko Ono cites Kusama as an influence.[115][116]

• In 2013, the British indie pop duo The Boy Least Likely To made song tribute to Yayoi Kusama, writing a song specially about her.[117] They wrote on their blog that they admire Kusama's work because she puts her fears into it, something that they themselves often do.[118]

• Magnolia Pictures released the biographical documentary Kusama: Infinity on 7 September 2018[119] and a DVD version on 8 January 2019.[120]

• Veuve Clicquot and Kusama created a limited-edition bottle and sculpture in September 2020.[121]

References

Edit

1 ^ a b c Yamamura, Midori (2015), Yayoi Kusama: Inventing the Singular. MIT Press. ISBN 9780262029476.

2 ^ "Yayoi Kusama". guggenheim.org. Archived from the original on 21 February 2018. Retrieved 21 February 2018.

3 ^ Griselda, Pollock (2006). Psychoanalysis and the image : transdisciplinary perspectives. Malden, MA: Blackwell Publishers. ISBN 978-1405134613. OCLC 62755557.

4 ^ "Yayoi Kusama, Harry Shunk, János Kender. The Anatomic Explosion, New York. 1968 | MoMA". The Museum of Modern Art. Archived from the original on 22 February 2018. Retrieved 21 February 2018.

5 ^ "Yayoi Kusama, Harry Shunk, János Kender. Mirror Performance, New York. 1968 | MoMA". The Museum of Modern Art. Archived from the original on 15 July 2022. Retrieved 21 February 2018.

6 ^ Taylor, Kate (28 February 2018). "How Yayoi Kusama's Infinity Mirrors pushed pop art into the new age". Archived from the original on 15 July 2022. Retrieved 4 March 2018.

7 ^ a b "Yayoi Kusama Biography, Life & Quotes". The Art Story. Archived from the original on 29 February 2020. Retrieved 29 February 2020.

8 ^ Swanson, Carl (6 July 2012). "The Art of the Flame-Out". New York. Archived from the original on 26 June 2022. Retrieved 20 February 2020.

9 ^ "Yayoi Kusama | Biography, Art, & Facts". Encyclopædia Britannica. Archived from the original on 25 June 2022. Retrieved 1 September 2019.

10 ^ a b Farah Nayeri (14 February 2012), Man-Hating Artist Kusama Covers Tate Modern in Dots: Interview Bloomberg.

11 ^ a b c d Pound, Cath. "Yayoi Kusama's extraordinary survival story". BBC. Archived from the original on 7 May 2019. Retrieved 7 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 January 2012. Archived from the original on 15 July 2022. Retrieved 11 March 2017.

14 ^ Dailey, Megan. "YAYOI KUSAMA: ART AS AN ESCAPE". Archived from the original on 15 July 2022. Retrieved 8 May 2019.

15 ^ a b Frank, Priscilla (9 February 2017). "Japanese Artist Yayoi Kusama Is About To Make 2017 Infinitely Better". HuffPost. Archived from the original on 7 March 2017. Retrieved 11 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 Archived 15 July 2022 at the Wayback Machine The New York Times.

17 ^ Ignoramous, Lamos (26 May 2014). "Yayoi Kusama Self-Obliteration Analysis | The Dissolve of Identity". Archived from the original on 12 March 2017. Retrieved 11 March 2017.

18 ^ a b Furman, Anna (6 February 2017). "Yayoi Kusama Made the Ultimate Instagram Exhibit". The Cut. Archived from the original on 9 February 2017. Retrieved 11 March 2017.

19 ^ a b c d e f g Yayoi Kusama Timeline Archived 20 November 2016 at the Wayback Machine Queensland Art Gallery, Brisbane.

20 ^ Taylor, Rachel (6 March 2012). "Yayoi Kusama's early years". Tate Etc. Archived from the original on 20 January 2018. Retrieved 19 January 2018.

21 ^ a b Yayoi hi , 18 November 1998 – 8 January 1999 Victoria Miro Gallery, London.

22 ^ a b c David Pilling (20 January 2012), The world according to Yayoi Kusama Archived 2 August 2016 at the Wayback Machine Financial Times Weekend Magazine.

23 ^ Bayly, Zac (2012), "Yayoi Kusama", Zac-Attack (interview), archived from the original on 25 September 2013, retrieved 21 September 2013

24 ^ "Yayoi Kusama | Biography, Art, & Facts". Encyclopedia Britannica. Archived from the original on 25 June 2022. Retrieved 2 October 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", Bitch 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 Press, 2005) p.68

28 ^ "Yayoi Kusama Art – 100+ Works, Bio, News | Artsy". www.artsy.net. Archived from the original on 12 June 2017. Retrieved 17 July 2016.

29 ^ a b Yayoi Kusama Archived 9 May 2015 at the Wayback Machine 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. ISBN 978-0813541051. OCLC 133159483. Archived from the original on 12 March 2017. Retrieved 12 March 2017.

33 ^ Carl Swanson (8 July 2012), The Art of the Flame-Out Archived 26 June 2022 at the Wayback Machine 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's relationship with Joseph Cornell". Tate Etc. Archived from the original on 23 May 2019. Retrieved 23 May 2019.

36 ^ Chappo, Ashley (6 April 2015). "The Stunning Story of the Woman Who Is the World's Most Popular Artist". Observer. Archived from the original on 16 May 2017. Retrieved 6 March 2017.

37 ^ McDonald, John (12 February 2005), "Points of no return", The Sydney Morning Herald, archived from the original on 16 April 2009, 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, archived from the original on 9 May 2015, retrieved 6 November 2011

40 ^ Archive, Asia Art. "Yayoi Kusama: A Retrospective". aaa.org.hk. Archived from the original on 15 August 2022. Retrieved 28 April 2020.

41 ^ Gomez, BY Edward M. (5 July 1998). "ART; A 60's Free Spirit Whose Main Subject Was Herself". The New York Times. ISSN 0362-4331. Archived from the original on 23 May 2021. 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, 7 February – 20 March 2008, archived from the original on 19 January 2012

44 ^ Yayoi Kusama: Flowers That Bloom Tomorrow, 7 October – 13 November 2010 Victoria Miro Gallery, London.

45 ^ Taylor, Rachel (2012). Yayoi Kusama: Recent Work 2009–2012. London: Tate. ISBN 9781-85437-939-9.

46 ^ Dingfelder, Sadie (21 February 2017). "This exhibit is going to blow up your Instagram feed – and rewrite art history". Archived from the original on 23 February 2017. Retrieved 23 February 2017.

47 ^ a b c "The Broad to Host Yayoi Kusama: Infinity Mirrors Exhibition in Fall 2017" (PDF). The Broad: News. 16 August 2016. Archived (PDF) from the original on 10 February 2017. 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. Archived from the original on 26 June 2022. Retrieved 11 March 2017.

49 ^ "Hirshhorn's 'Yayoi Kusama: Infinity Mirrors' Breaks Records". Smithsonian Institution. 15 May 2017. Archived from the original on 15 July 2022. Retrieved 9 March 2020.

50 ^ "A Night With Yayoi Kusama's Die-hard, Selfie-taking Fans". Hyperallergic. 12 November 2019. Archived from the original on 5 December 2021. Retrieved 29 February 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 press release". David Zwirner. Archived from the original on 18 December 2019. Retrieved 18 December 2019.

53 ^ a b "Hirshhorn Acquires Three Major Works by Yayoi Kusama, Announces 2020 Legacy Exhibition". Smithsonian Institution. 6 January 2020. Archived from the original on 15 July 2022. Retrieved 9 March 2020.

54 ^ Daher, Nadine (14 January 2020). "Celebrating the Eternal Legacy of Artist Yayoi Kusama". Smithsonian Magazine. Archived from the original on 15 July 2022. Retrieved 9 March 2020.

55 ^ "Yayoi Kusama: A Retrospective \ Tel Aviv Museum of Art". Archived from the original on 15 August 2022. Retrieved 19 December 2021.

56 ^ Fifield, Anna (15 February 2017). "How Yayoi Kusama, the "Infinity Mirrors" visionary, channels mental illness into art". The Washington Post. Archived from the original on 7 May 2019. Retrieved 7 May 2019.

57 ^ a b Voon, Claire (23 February 2017). "Immersed in Yayoi Kusama's Lonely Labyrinths and Infinite Worlds". Hyperallergic. Archived from the original on 7 May 2019. Retrieved 7 May 2019.

58 ^ Choudhury, Bedatri D. (11 September 2018). "To Infinity and Beyond, Yayoi Kusama Grapples With Conventions". Hyperallergic. Archived from the original on 7 May 2019. Retrieved 7 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 (18 October 2013). "Yayoi Kusama: The Orgy of Self Obliteration". Film International. Archived from the original on 15 July 2022. Retrieved 3 March 2021.

61 ^ Ridey, Roger (23 October 2011). "All about Eve". The Independent. Archived from the original on 7 May 2022.

62 ^ Midori Matsui, Interview: Yayoi Kusama, 1998 Archived 12 May 2022 at the Wayback Machine 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 Archived 20 June 2022 at the Wayback Machine Los Angeles Times.

65 ^ "Vuitton And Kusama". British Vogue. Archived from the original on 15 July 2022. Retrieved 11 March 2017.

66 ^ Binlot, Ann (9 January 2012), Marc Jacobs Recruits Yayoi Kusama for Latest Louis Vuitton Collaboration Archived 31 October 2013 at the Wayback Machine BLOUINARTINFO.

67 ^ Swanson, Carl (9 July 2012). "Exclusive: Yayoi Kusama Talks Louis Vuitton, Plus a First Look at the Collection". The Cut. Archived from the original on 18 February 2017. Retrieved 11 March 2017.

68 ^ Kusama, Yayoi (2003). Infinity Net. 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), 'Yellow Trees' Growing Archived 15 July 2022 at the Wayback Machine The Wall Street Journal.

72 ^ Des Houghton (8 June 2012), Justice Minister Jarrod Bleijie condemns Yayoi Kusama artwork at new Supreme Court and District Court building in Brisbane The Courier-Mail.

73 ^ a b York, 537 West 20th Street New. "EVERY DAY I PRAY FOR LOVE". David Zwirner. Archived from the original on 18 December 2019. Retrieved 18 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", 5 December 2009 – 30 May 2010 Archived 17 December 2013 at the Wayback Machine Fairchild Tropical Botanic Garden.

76 ^ "Yayoi Kusama". What's On. Tate Modern. Archived from the original on 4 June 2012. Retrieved 3 June 2012.

77 ^ Trebuchet Magazine Archived 18 March 2012 at the Wayback Machine

78 ^ Rogers, Sam (25 September 2015). "In infinity: Yayoi Kusama's dots take over the Louisiana Museum of Modern Art". Wallpaper. Archived from the original on 22 December 2015. Retrieved 16 December 2015.

79 ^ "Yayoi Kusama: Infinity Theory [exhibition website]". Garage Museum of Contemporary Art. 2015. Archived from the original on 22 December 2015. Retrieved 16 December 2015.

80 ^ "Yayoi Kusama: In Infinity". Archived from the original on 7 April 2017. Retrieved 6 April 2017.

81 ^ "Yayoi Kusama's new installation comes to MONA Tasmania". 22 October 2016. Archived from the original on 3 August 2017. Retrieved 17 June 2017.

82 ^ Finkel, Jori (16 August 2016). "Yayoi Kusama to Be the Focus of a Touring Museum Show". The New York Times. ISSN 0362-4331. Archived from the original on 23 December 2016. Retrieved 11 March 2017.

83 ^ "Yayoi Kusama heads to Singapore, while Southeast Asian art travels the globe". 2016. Archived from the original on 20 January 2017. Retrieved 20 January 2017.

84 ^ "Yayoi Kusama". Archived from the original on 29 January 2019. Retrieved 29 January 2019.

85 ^ "Yayoi Kusama's works finally arrive in Jakarta". The Jakarta Post. Archived from the original on 9 May 2018. Retrieved 9 May 2018.

86 ^ Stuart, Gwynedd (25 July 2018). "Another Yayoi Kusama Installation Has Arrived in L.A.—and You Can See It For Free". Los Angeles Magazine. Archived from the original on 5 November 2021. Retrieved 5 November 2021.

87 ^ "STARS: Six Contemporary Artists from Japan to the World".. Archived from the original on 18 August 2020. Retrieved 18 August 2020.

88 ^ Heinrich, Will (9 April 2021). "Yayoi Kusama's 'Cosmic Nature' Dots a Bronx Garden". The New York Times. Archived from the original on 30 April 2021. Retrieved 3 May 2021.

89 ^ Yoshitake, Mika, ed. (2021). Yayoi Kusama: Cosmic Nature. New York: Rizzoli Electa. ISBN 978-0-8478-6839-1.

90 ^ "Yayoi Kusama: A Retrospective \ Tel Aviv Museum of Art". Archived from the original on 19 December 2021. Retrieved 19 December 2021.

91 ^ "This Tel Aviv Museum Show Just Opened. It's Already Sold Out". Haaretz. Archived from the original on 19 December 2021. Retrieved 19 December 2021.

92 ^ "Yayoi Kusama Infinity Mirror Room, Phoenix Art Museum, Firefly Room". Archived from the original on 23 October 2017. Retrieved 22 October 2017.

93 ^ "Kusama Installation". Louisiana Museum of Modern Art. Archived from the original on 19 August 2018. Retrieved 9 October 2017.

94 ^ "Yayoi Kusama: The Spirits of the Pumpkins Descended into the Heavens". NGA. Archived from the original on 25 January 2021. Retrieved 6 May 2019.

95 ^ Selvin, Claire (15 January 2019). "ICA Boston Acquires Yayoi Kusama 'Infinity Mirror Room' Work". ARTnews. Archived from the original on 23 May 2019. Retrieved 23 May 2019.

96 ^ "Yayoi Kusama's 'Infinity Room' to return permanently to Museum MACAN". The Jakarta Post. Archived from the original on 30 August 2019. Retrieved 30 August 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. Archived from the original on 7 November 2020. Retrieved 9 May 2020.

98 ^ "Some Living American Women Artists/Last Supper". Smithsonian American Art Museum. Archived from the original on 20 January 2022. Retrieved 21 January 2022.

99 ^ Love Forever : Yayoi Kusama, 1958–1968, 9 July – 22 September 1998 Archived 22 December 2011 at the Wayback Machine, The Museum of Modern Art, New York.

100 ^ YAYOI KUSAMA, 12 July – Sept 30, 2012 Archived 19 July 2014 at the Wayback Machine, Whitney Museum of American Art, New York.

101 ^ Yayoi Kusama, 9 February – 5 June 2012 Archived 4 June 2012 at the Wayback Machine, Tate Modern, London.

102 ^ "The Top 10 Living Artists of 2015". Artsy. 16 December 2015. Archived from the original on 22 December 2015. Retrieved 16 December 2015.

103 ^ "WCA Past Honorees". Archived from the original on 17 November 2013. Retrieved 17 January 2016.

104 ^ Blouinartinfo (23 January 2007). "Art News: Kusama First Japanese Woman to Win Coveted Art Award". BLOUINARTINFO. Archived from the original on 31 October 2013. Retrieved 23 April 2008.

105 ^ "安吾賞-第9回受賞者". Ango awards. Archived from the original on 18 March 2015. Retrieved 8 March 2015.

106 ^ Pes, Javier; Emily Sharpe (2 April 2015). "Visitor Figures 2014: The World Goes Dotty Over Yayoi Kusama". The Art Newspaper. Archived from the original on 12 March 2017.

107 ^ Lesser, Casey (17 February 2017). "Yayoi Kusama's Infinity Rooms Made Accessible to People with Disabilities for First Time". Artsy. Archived from the original on 12 March 2017. Retrieved 11 March 2017.

108 ^ Overly, Steven (9 March 2017). "People in wheelchairs couldn't see Yayoi Kusama's 'Infinity Mirrors'. The museum found an innovative fix". The Washington Post. Archived from the original on 10 March 2017. Retrieved 11 March 2017.

109 ^ Sarah Thornton (20 May 2012), The price of being female Archived 3 August 2017 at the Wayback Machine The Economist.

110 ^ Cross-Cultural Journeys: Yayoi Kusama and Kenzo Okada Archived 23 September 2012 at the Wayback Machine Christie's.

111 ^ Bridget Moriarity (5 March 2009), Artist Dossier: Yayoi Kusama[permanent dead link] 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 Million Archived 16 November 2014 at the Wayback Machine The Wall Street Journal.

113 ^ Superchunk - Art Class (Song For Yayoi Kusama), archived from the original on 14 March 2022, retrieved 14 March 2022

114 ^ Zinman, Gregory (September 2013). "DREAM REELER: Jud Yalkut (1938–2013)". The Brooklyn Rail. Archived from the original on 1 March 2021. Retrieved 3 March 2021.

115 ^ Patel, Nisha (23 November 2016). "The Self-Obliteration Of Yayoi Kusama". Culture Trip. Archived from the original on 15 August 2020. Retrieved 13 September 2020.

116 ^ "Polka dots from another world". EL PAÍS. 13 May 2011. Archived from the original on 15 August 2022. Retrieved 13 September 2020.

117 ^ "a world of polka dots, by the boy least likely to". the boy least likely to. Archived from the original on 23 May 2019. Retrieved 23 May 2019.

118 ^ Archived 23 August 2013 at the Wayback Machine

119 ^ "Kusama: Infinity". IMDb. 11 May 2018. Archived from the original on 7 September 2019. Retrieved 23 May 2019.

120 ^ "Kusama: Infinity DVD". Archived from the original on 15 July 2022. Retrieved 23 May 2019 – via

121 ^ "Yayoi Kusama's Famous Polka Dots Adorn Veuve Clicquot Champagne Collaboration". HYPEBEAST. 9 September 2020. Archived from the original on 5 December 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.

Biography portal

• 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 collection of The Museum of Modern Art

• [*Women Artists and Postwar Abstraction | HOW TO SEE the art movement with Corey D'Augustine, MoMA

• Phoenix Art Museum online Archived 28 January 2019 at the Wayback Machine

• Earth is a polka dot. An interview with Yayoi Kusama Video by Louisiana Channel

• BBC NewsNight Yayoi Kusama

• Why Yayoi Kusama matters now more than ever

• Yayoi Kusama art for the Instagram age

• Yayoi Kusama/artnet

草間彌生に関する情報:

草間彌生（くさまやよい、1929年3月22日-）は、日本の現代美術家。主に彫刻やインスタレーションを手がけるが、絵画、パフォーマンス、ビデオアート、ファッション、詩、小説などでも活動している。彼女の作品はコンセプチュアルアートに基づいており、フェミニズム、ミニマリズム、シュルレアリスム、アートブリュット、ポップアート、抽象表現主義のいくつかの属性を示しており、自伝的、心理的、性的なコンテンツが注入されています。彼女は日本から出てくる最も重要な生きているアーティストの一人として認められています。[1]

草間彌生

ワックスモデル（2012年）

ボーン

草間彌生（草間彌生）

昭和22年（1929年）（93歳）

長野県松本市

国籍

日本語

のために知っている

*絵画デッサン彫刻インスタレーション芸術パフォーマンスアートフィクションファッションライティング

運動

*ポップアートミニマリズムフェミニストアート環境アート

賞

世界文化賞

ウェブサイト

草間は松本で育ち、京都市立芸術大学で日本画と呼ばれる伝統的な日本画のスタイルで訓練を受けました。[2]草間は、しかし、アメリカの抽象印象派に触発されました。彼女は1958年にニューヨーク市に移動し、特にポップアートの動きで、1960年代を通じてニューヨークの前衛的なシーンの一部でした。[3]1960年代後半のヒッピーのカウンターカルチャーの台頭を受け入れ、彼女は裸の参加者が鮮やかな色の水玉模様で描かれた一連の出来事を組織したときに世間の注目を集めた。[4][5]1970年代以来、草間は、最も顕著には、世界中の様々な美術館で、アートを作成し続けてきました。[6]

草間は彼女の精神的健康について開いています。彼女は芸術が彼女の精神的な問題を表現する彼女の方法になったと言います。[7]彼女は彼女の伝記のリリースに関するインタビューで報告しました"私は毎日痛み、不安、恐怖と戦い、私の病気を和らげた唯一の方法は、芸術を作り続私は芸術の糸をたどり、何とか私が生きることを可能にする道を発見しました。"[8]

略歴

編集

初期の生活：1929-1949

編集

草間彌生は昭和22年（1929年）、長野県松本市に生まれた。[9]植物の苗床と種子農場を所有する商人の家族に生まれ、[10]草間は小学校でカボチャの絵を描き始め、幻覚から見た作品を作りました。[7]彼女の母親は彼女の創造的な努力を支持していませんでした; 草間は彼女の母親が彼女を落胆させるためにそれを奪うだろうので、彼女の芸術を終えるために急いでいた。[11]彼女の母親はまた、物理的に虐待されました,[12]そして草間は、"周りに遊ぶだろうタイプとして彼女の父を覚えています,誰が多くの女性化するだろう".[10]アーティストは、彼女の母親が彼女の父の不倫をスパイするために彼女を送るだろうと言います,これは彼女にセクシュアリティのための生涯の軽蔑を植え込みました,特に男性の下半身と男根:"私はセックスが好きではありません. 私はセックスに強迫観念を持っていました。私が子供の頃、私の父は恋人を持っていたし、私は彼を見て経験しました。私の母は彼をスパイするために私を送った。私は何年も誰ともセックスをしたくなかった[... 性的な強迫観念とセックスの恐怖は私の中に並んで座っています。"[13]彼女の素晴らしいビジョンを含む彼女の外傷的な子供時代は、彼女の芸術的スタイルの起源であると言うことができます。[14]

草間は十歳のとき、"光の点滅、オーラ、またはドットの密なフィールド"として記述されている鮮やかな幻覚を経験し始めました。[15]草間に話しかけた花や、草間が生きてくることを見つめていた布の模様なども含まれている。, さらに、彼は彼女の芸術的なキャリアに関与しており、彼女は"自己抹消"と呼んでいます。[17]草間の芸術は、彼女が幻覚を持ち始めたときに彼女の家族と彼女の一つの心からの脱出となりました。[11]彼女は伝えられるところによると、彼女はドット上の彼女の永続的な固定の背後にある精液の影響の別のものとして引用し、彼女の家族の家の近くの川のベッドをカバーする滑らかな白い石に魅了されました。[18]

草間は13歳の時に軍の工場に送られ、日本軍のパラシュートの縫製や製作を任され、第二次世界大戦に巻き込まれた[1]。工場での時間について話していると、空襲警報が聞こえたり、白昼にアメリカのB-29が頭上を飛んでいるのを見ることができたが、思春期を"閉じた暗闇の中で"過ごしたという。[1]彼女の子供たちは戦争の出来事の影響を大きく受けており、彼女はこの期間中に個人的かつ創造的な自由の概念を大切にし始めたと主張してい[18]

1948年に京都市立工芸学校で教育を受ける。[19]このはっきりと日本のスタイルに不満を抱いて、彼女は1950年代に松本と東京で彼女の絵画の七つの個展をステージング、欧米の前衛に興味を持った[20]。

日本での初期の成功：1950年-1956年

編集

1950年までに、彼女は主に紙の上に、水の色、ガッシュ、油絵具で抽象的な自然の形を描いていました。彼女は表面をカバーし始めた—壁、床、キャンバス、そして後に、家庭用のオブジェクト、そして裸のアシスタント—彼女の作品のトレードマークになる水玉で。

彼女がそれらを呼んだように、水玉の広大なフィールド、または"無限のネット"は、彼女の幻覚から直接天井でした。彼女がこれらの点を組み込んだ最初の記録された作品は、1939年に10歳で描かれた絵であり、作家の母親と推定される着物を着た日本人女性のイメージが[21]大規模な、時には30フィート以上の長さのキャンバスの絵画の彼女の最初のシリーズ、[22]インフィニティネットは、静かに幻覚ビジョンをほのめかしたネットとドットのシーケンスで覆われていました。

彼女の1954年の絵画の花（D.S.P.S）に草間は言っています:

ある日、私はテーブルの赤い花のパターンを見ていた、と私は見上げたとき、私は天井、窓、壁をカバーする同じパターンを見て、最終的に部屋、私の体と宇宙のすべて私は自己抹消し始めたかのように感じました,無限の時間と空間の絶対性の無限の中で回転します,そして無に還元されます. 私はそれが実際に起こっていたと私の想像力だけではなく、実現したように、私は怖がっていました。私は赤い花の呪文によって私の人生を奪われないように逃げなければならないことを知っていました。私は必死に階段を駆け上がった。私の下のステップがバラバラになり始め、私は私の足首を捻挫階段を落ちました。[23]

ニューヨーク市：1957年-1972年

インフィニティルームの設置

草間は東京とフランスで暮らした後、27歳で日本を離れ、アメリカに向かった。彼女は、日本社会を"小さすぎ、卑屈すぎ、封建的すぎ、女性を軽蔑しすぎている"と考え始めたと述べている。日本を米国に残す前に、彼女は彼女の初期の作品の多くを破壊した[15]。1957年、彼女はシアトルに移り、Zoe Dusanne Galleryで絵画の展覧会を開催しました。[25]彼女は一年のためにそこに滞在しました[16]ニューヨーク市に移動する前に、彼女は街の脚光を浴びるに参加することに興味を公言し、オキーフの助言を求めたジョージア*オキーフとの通信に続いて。[26]アメリカでの彼女の時間の間に, 彼女はすぐに前衛的な動きのリーダーとしての彼女の評判を紹介し、アナキストの美術評論家ハーバート-リードから彼女の作品のための賞賛を受けた。[27]

1961年、彼女はドナルド・ジャッドや彫刻家のエ・ヘッセと同じ建物にスタジオを移し、ヘッセは親友となった。[28]1960年代初頭に草間は、はしご、靴、椅子などのアイテムを白い男根の突起で覆うことによって、いわゆる柔らかい彫刻を作り始めました。[29]図面のマイクロマネージ複雑さにもかかわらず、彼女はそれらを迅速かつ一括して判明し、彼女はまだ維持している生産性のリズムを確立しました。彼女は新しい仕事で撮影されている[16]と定期的に彼女の署名ボブのかつらとカラフルな、前衛的なファッションを身に着けて公共の場で登場しました。[13]

ポルカドットは、全世界のエネルギーと私たちの生活の象徴である太陽の形と、穏やかな月の形を持っています。円形、柔らかく、多彩、無意味知らない。水玉が動きになる。.. 水玉は無限への道です。

-草間彌生、マンハッタンで自殺常習者[30]

1963年以来、草間は鏡/無限の部屋のシリーズを続けてきました。この複雑な無限ミラーの取付けでは、視聴者の上のさまざまな高さで掛かるネオン色の球の映されたガラス容器のスコアと並ぶ専用に建てられた部屋。小さなプラットフォームの中に立って、観察者は、光が繰り返し終わることのない空間の錯覚を作成するためにミラー化された表面から反射を見てい[31]

その後の数年間、草間は非常に生産的であり、1966年までに彼女は鏡、ライト、パイプイン音楽を組み込んだ部屋サイズの自立したインスタレーションを実験していた。彼女はジャッドとジョセフ-コーネルを友人や支持者の中に数えた。しかし、彼女は彼女の仕事から財政的に利益を得ませんでした。この頃、草間は過労で定期的に入院し、オキーフはあるディーラーのエディス-ハーバートを説得して、草間が財政的困難を避けるためにいくつかの作品を購入した。[19]彼女は自分が値すると信じていたお金を稼ぐことができず、彼女の欲求不満は非常に極端になり、自殺を試みました。[11]