Hoptman Laura (ed.), Yayoi Kusama, London, Phaidon, 2000→
Kusama Yayoi, Manhattan suicide addict, Dijon, Les presses du réel, 2005→
Kusama Yayoi, Infinity net : the autobiography of Yayoi Kusama, London, Tate Pub Ltd, 2011
Love Forever: Yayoi Kusama, 1958-1969, Los Angeles County Museum of Art, Los Angeles, 1998→
Yayoi Kusama, Museo Nacional Centro de Arte Reina Sofía, Madrid, 10 May – 12 September 2011 ; Centre Pompidou, Paris, 10 October 2011 – 9 January 2012 ; Tate Modern, London, 9 February – 5 June 2012 ; Whitney Museum of American Art, New York, 28 June – 30 September 2012→
Yayoi Kusama: life is the heart of a raindow, National Gallery Singapour, Singapore, 9 June – 3 September 2017 ; Queensland Art Gallery/ Gallery of Modern Art, Brisbane, 4 November 2017 – 11 February 2018
Japanese visual artist.
Yayoi Kusama was born into a prosperous and conservative family, but spent her childhood in the midst of a war-torn country. At the age of 10, she began to suffer from hallucinations. She used drawing as a means of fighting her fear of disintegration at the hands of an invisible world threatening to spread and swallow her up. From the very beginning, her mental illness took centre stage in her creative process. She studied at the Tokyo School of Fine Arts, where she was introduced to Nihonga painting. In the 1950s, she explored more abstract forms, which were well received by both the artistic and psychiatric communities. The subjects of her childhood drawings (flowers, the cosmos, the heart) are repeated in an infinite and uniform pattern. In the late 1950s, she moved to New York and studied at the Art Students League. It was during this time that she created her Infinity Net series, whose larger and larger compositions, exhibited for the first time at the Brata Gallery in 1959, seem to submerge the viewer in a network of dots and lines. According to critic Lucy Lippard*, this work placed her within the Eccentric Abstraction movement, which is defined by a rejection of strict minimalism, and the inclusion of emotion, sensuality, and the use of synthetic materials endowed with organic shapes and a certain sexual resonance.
In 1963, the artist unveiled her first installation in New York, at the Gertrude Stein Gallery, Aggregation: One Thousand Boats Show, a boat covered in white phallic shapes in a room with walls clad in wallpaper sporting the same pattern. Her series of obsessional objects are tied to sexuality, food, and furniture. In 1963, she organized her first libertarian happenings and fashion shows. She returned to Japan in 1973, where after 1980 she started producing flexible sculptures and environments that play with mirror effects and artificial lighting: closed and sensual spaces, always saturated with her emblematic dots. In the 1990s, several exhibitions secured her international recognition, enabling her to create monumental installations comprising inflatable objects and outdoor sculptures.