Yayoi Kusama facts for kids
Quick facts for kids
Yayoi Kusama
草間 彌生 |
|
|---|---|
Wax model (2012)
|
|
| Born |
Yayoi Kusama (草間 彌生)
22 March 1929 |
| Nationality | Japanese |
| Known for |
|
| Movement |
|
| Awards | Praemium Imperiale |
Yayoi Kusama (草間 彌生, Kusama Yayoi, born 22 March 1929) is a Japanese contemporary artist. She works primarily in sculpture and installation and is also active in painting, performance, video art, fashion, poetry, fiction, and other arts.
She is considered one of the most important living artists to come out of Japan, the world's top-selling female artist, and the world's most successful living artist. Her work influenced that of her contemporaries, including Andy Warhol and Claes Oldenburg.
Contents
Early life
Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano into a family of merchants. Kusama began drawing pictures in elementary school and created artwork she saw from hallucinations, works of which would later define her career. 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. Her traumatic childhood can be said to be the origin of her artistic style.
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". These hallucinations also included flowers that spoke to Kusama, and patterns in fabric. Kusama's art became her escape from her family and her own mind when she began to have hallucinations.
World War II and early career
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. 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. 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.
She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948. 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.
Early success in Japan: 1950–1956
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—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. Her first series of large-scale, sometimes more than 30 ft-long canvas paintings, Infinity Nets, were entirely covered in a sequence of nets and dots.
New York City: 1957–1972
.jpg)
After living in Tokyo and France, Kusama left Japan at the age of 27 for the United States. Before leaving Japan to the United States, she destroyed many of her early works. In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery. She stayed there for a year before moving on to New York City. 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.
In the early 1960s Kusama began to create so-called soft sculptures. She had herself routinely photographed with new work and regularly appeared in public wearing her signature bob wigs and colorful, avant-garde fashions.
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.
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.
Return to Japan: 1973–1977
In 1973, Kusama returned in ill health to Japan, where she began writing 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. Her studio, where she has continued to produce work since the mid-1970s, is a short distance from the hospital in Tokyo.
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. Her painting style shifted to high-colored acrylics on canvas, on an amped-up scale.
Revival: 1980s–present
When Kusama left New York she was practically forgotten as an artist until the late 1980s and 1990s.
Following the success of the Japanese pavilion at the Venice Biennale in 1993, Kusama went on to produce a huge, yellow pumpkin sculpture covered with an optical pattern of black spots. The 2.5-meter-wide "Pumpkin," made of fiberglass-reinforced plastic, was installed in 1994 on a pier on Naoshima, Kagawa, becoming iconic.
Kusama continued to work as an artist in her ninth decade. She has harkened back to earlier work by returning to drawing and painting; her work remained innovative and multi-disciplinary.
In 2017, the Yayoi Kusama Museum opened in Tokyo, featuring her works.
The Pérez Art Museum Miami has the most recent showing of Kusama's work in South Florida. Yayoi Kusama: LOVE IS CALLING will be on view and accessible to the public through 2024.
Works and publications
.jpg)
Film
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 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.
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.
Fashion
In 1968, Kusama established Kusama Fashion Company Ltd, and began selling avantgarde fashion. 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. Each phone was limited to 1,000 pieces.
In 2011, Kusama created artwork for six limited-edition lipglosses from Lancôme. That same year, she worked with Marc Jacobs (who visited her studio in Japan in 2006) on a line of Louis Vuitton products, including leather goods, ready-to-wear, accessories, shoes, watches, and jewelry. Louis Vuitton created a second set of products in 2023.
Writing
In 1977, Kusama published a book of poems and paintings entitled 7. One year later, her first novel appeared. Between 1983 and 1990, she finished the novels The ... Grotto of Christopher Street (1983), The Burning of St Mark's Church (1985), Between Heaven and Earth (1988), Woodstock ... Cutter (1988), Aching Chandelier (1989), Double ... at Sakuragazuka (1989), and Angels in Cape Cod (1990), alongside several issues of the magazine S&M Sniper in collaboration with photographer Nobuyoshi Araki. Her most recent writing endeavor includes her autobiography Infinity Net 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 includes the artist's poetry and photographs of her exhibitions.
Commissions
To date, Kusama has completed several major outdoor sculptural commissions 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; Red Pumpkin (2006) for Naoshima Town, Kagawa; 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. 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.
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).
Collections
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; Art Gallery of Ontario, Toronto; Utah Museum of Fine Arts, Salt Lake City, UT; and the National Museum of Modern Art, Tokyo and in the City Museum of Art in her home town of Matsumoto entitled The Place for My Soul.
Recognition
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. In October 2006, Kusama became the first Japanese woman to receive the Praemium Imperiale, one of Japan's highest honors for internationally recognized artists. She received the Person of Cultural Merit (2009) and Ango awards (2014).
Kusama 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, as if they were actually walking through them.
Personal life
During her time in New York, Kusama had a brief relationship with artist Donald Judd. 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.
Interesting facts about Yayoi Kusama
- 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.
- In 2010, Kusama designed a Town Sneaker styled bus, whose route travels through her hometown of Matsumoto.
- As of 2012, her work has the highest turnover of any living woman artist.
- In 2014, Kusama was ranked the most popular artist of the year.
Yayoi Kusama quotes
- "My life is a dot lost among thousands of other dots."
- "Every time I have had a problem, I have confronted it with the ax of art."
- "I have a flood of ideas in my mind. I just follow my vision."
- "I, Kusama, am the modern Alice in Wonderland."
See also
In Spanish: Yayoi Kusama para niños
