Yayoi Kusama

In 1957, encouraged by Georgia O'Keeffe, artist Yayoi Kusama left Japan for New York City to become a star. By the time she returned to her home country in 1973, she had established herself as a leader of New York's avant-garde movement, known for creating happenings and public orgies to protest the Vietnam War and for the polka dots that had become a trademark of her work. Her sculptures, videos, paintings, and installations are to this day included in major international exhibitions. Available for the first time in English, Infinity Net paints a multilayered portrait of this fascinating artist. Taking us from her oppressive childhood in postwar Japan to her present life in the psychiatric hospital where she voluntarily stays—and is still productive—Kusama's autobiography offers insight into the persona of mental illness that has informed her work. While she vibrantly describes the hallucinatory episodes she experiences, her tale is punctuated by stories of her pluck and drive in making her artistic voice heard. Conveying the breadth and ambition of her own work, Kusama also offers a dazzling snapshot of 1960s and 1970s New York City and her encounters with its artists—she collaborates with Andy Warhol, shares an apartment with Donald Judd, and becomes romantically entangled with Joseph Cornell. Replete with the sense of the sheer necessity within an artist to create, Infinity Net is an energetic and juicy page-turner that offers a glimpse into Kusama's exhilarating world.

The Autobiography of Yayoi Kusama

Infinity Net

In her most personal book to date, Yayoi Kusama brings us into her private world through poetic recollections, giving insight into her creative process and the essential role language plays in her paintings, sculptures, and daily life. With a new focus on Yayoi Kusama’s use of language, this book features an impressive overview of her poetry, which the artist creates alongside her work in other mediums. Highlighting the importance of words to the artist, the book draws special attention to the captivating, poetic titles of her paintings, such as in I WOULD LIKE TO SHOW YOU THE INFINITE SPLENDOR OF STARDUST IN THE UNIVERSE and FIGURE OF THE MIDNIGHT DARKNESS OF THE UNIVERSE THAT I DEDICATED ALL MY HEART. These visionary titles are a quintessential part of Kusama’s eye-catching artworks, but also hold their own as unique aphorisms and appealing statements of cosmic spirituality. The poetry also collected here touches on Kusama’s personal trials, her human ideals, and her heroic pursuit of art above all else. Centered around EVERY DAY I PRAY FOR LOVE, Kusama’s acclaimed exhibition at David Zwirner, New York, in 2019, the book features more than 300 pages of new paintings, sculptures, and Infinity Mirror Rooms. It also includes photographs of Kusama over time, offering a unique visual timeline of this iconic artist.

Yayoi Kusama: Every Day I Pray For Love

Festival of Life

I am deeply terrified by the obsessions crawling over my body, whether they come from within me or from outside. I fluctuate between feelings of reality and unreality. I, myself, delight in my obsessions.'Yayoi Kusama is one of the most significant contemporary artists at work today. This engaging autobiography tells the story of her life and extraordinary career in her own words, revealing her as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers. Kusama describes the decade she spent in New York, first as a poverty stricken artist and later as the doyenne of an alternative counter-cultural scene. She provides a frank and touching account of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd and the reclusive Joseph Cornell, with whom Kusama forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan in the early 1970s, Kusama checked herself into a psychiatric hospital in Tokyo where she resides to the present day, emerging to dedicate herself with seemingly endless vigour to her art and her writing. This remarkable autobiography provides a powerful insight into a unique artistic mind, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant-garde. In addition to her artwork, Yayoi Kusama is the author of numerous volumes of poetry and fiction, including The Hustler's Grotto of Christopher Street, Manhattan Suicide Addict and Violet Obsession.

Infinity Net: The Autobiography of Yayoi Kusama

Japanese painter, sculptor, writer, installation and performance artist Yayoi Kusama has been in the vanguard of contemporary art for sixty years. Best known for her use of patterns of dots (which she claims evolved from the hallucinations she’s had since childhood), Kusama, now 84 years old, is finally getting the international recognition she deserves. Hi, Konnichiwa brings together Kusama’s vivid imagery and haunting words with photos of the artist at work and at various stages in her life. The pieces are mostly from recent years (2000-2012), although there are some that go back as far as the 1950s. Here are Kusama’s large-scale canvases, environmental sculptures, multi-media installations, and numerous self-portraits. Here, too, are photos of the artist at ten years old, and as a young woman in Tokyo and then New York, often wearing outrageous clothes of her own design. And we see Yayoi Kusama in recent years, working in her studio in Tokyo—minus the garish make-up and red wig. The book is a chronicle of her creative endeavors and of her life, offering a glimpse into the fevered imagination of this very complicated and fascinating woman. Yayoi Kusama was born in 1929 in Japan, and from an early age, suffered from hallucinations, which she maintains inspired the visual language she continues to use today. At art school in Kyoto, she first began to experiment with the subversive themes that became her trademark. After leaving school, Kusama had a period of intense productivity, and by 1955, was gaining prominence as an artist in Japan. In 1958, Yayoi Kusama moved to New York, where she was one of the pioneers of the Pop Art and performance art movements. She became a darling of the media, promoting free sex and anti-war activism. She started Kusama Fashion Company, which was quite successful—her clothes sold in hundreds of stores including Bloomingdales By the 1970s, the earlier energy and excitement of the New York art scene had subsided. In 1973, Kusama went back to Japan, and in 1977, took up residence in a psychiatric hospital, where she still lives. She built a large studio nearby and continues to work there. While she certainly didn’t fade into obscurity, Yayoi Kusama moved out of the spotlight. The last few years, however, have seen renewed interest in her work. In 2008, Christie’s sold a painting for $5.1 million, then a record for a living female artist. A major retrospective opened at the Whitney Museum in New York in Summer 2013; and at the same she Kusama collaborated with Marc Jacobs for Louis Vuitton collection featuring her polka dots. Kusama recently signed with a new gallery in New York, and a solo show is planned for Fall 2013.

Yayoi Kusama Art Book

Hi, Konnichiwa

Yayoi Kusama. Edited by Frances Morris

Ralph F.. McCarthy

Yayoi Kusama is one of the most significant contemporary artists at work today. This engaging autobiography tells the story of her life and extraordinary career in her own inimitable style, revealing her as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers. Kusama describes the decade she spent in New York, first as a povertystricken artist and later as the doyenne of an alternative counter-cultural scene. She provides a frank and touching account of her relationships with key art-world figures, including Georgia O'Keeffe, Donald Judd and the reclusive Joseph Cornell, with whom Kusama forged a close bond. In candid terms she describes her childhood and the first appearance of the obsessive visions that have haunted her throughout her life. Returning to Japan in the early 1970s, Kusama checked herself into a psychiatric hospital in Tokyo where she resides to the present day, emerging to dedicate herself with seemingly endless vigour to her art and her writing. This remarkable autobiography provides a powerful insight into a unique artistic mind, haunted by fears and phobias yet determined to maintain her position at the forefront of the artistic avant-garde. In addition to her artwork, Yayoi Kusama is the author of numerous volumes of poetry and fiction, including The Hustler's Grotto of Christopher Street, Manhattan Suicide Addict and Violet Obsession.

Yayoi Kusama: Give Me Love documents the artist's most recent exhibition at David Zwirner, New York, which marked the US debut of The Obliteration Room, an all-white, domestic interior that viewers are invited to cover with dot stickers of various sizes and colors. Widely recognized as one of the most popular artists in the world, Yayoi Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installation, the written word, films, fashion, design, and architectural interventions. Born in 1929 in Matsumoto, Japan, Yayoi Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking happenings, events, and exhibitions. Now in her late 80s, Kusama is entering one of the richest creative periods of her life. Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: “[N]ew ideas come welling up every day….Now I am more keenly aware of the time that remains and more in awe of the vast scope of art.” Taking The Obliteration Room as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls, and furniture covered in myriad multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes beautiful reproductions of Kusama's new large-format paintings from My Eternal Soul series. Ranging from bright and densely pixelated forms, to umber figures with darker blues and muted oranges, these paintings demonstrate the artist's striking command of color, and her exceptional control over balance and contrast. Bold brushstrokes hover between figuration and abstraction; vibrant, animated, and intense, these paintings introduce their own powerful pictorial logic, at once contemporary and universal. The catalogue continues with a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since her studies in Japan in the 1950s, and which gained prominence in the 1980s, continuing to remain an essential part of her practice. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations that recall The Obliteration Room, these immersive works seem created on human scale, with the tallest measuring 70 inches (178 cm). Vibrant plates capture how color, shape, size, and surface merge in these sculptures and mesmerize the viewer. Texts include a "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.

Yayoi Kusama: Give Me Love

Diedrich Diederichsen

Midori Yamamura

Lily van der Stokker

Mirrored Years

This book explores Yayoi Kusama's best-known and most spectacular series--the Infinity Mirror Rooms--and its influence on the course of contemporary art over the past 50 years. World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama's iconic Infinity Mirror Rooms, which originated with Phalli's Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's "self-obliteration" in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series' impact over the course of the artist's career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Infinity Mirrors

Los Angeles County Museum of Art

Laura Hoptman

Akira Tatehata

Walker Art Center

Lynn Zelevansky

Texts by Laura Hoptman, Akira Tatehata, Lynn Zelevansky

Yayoi Kusama

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