Yayoi Kusama

Yayoi Kusama, Infinity Mirror Room (Phalli’s Field), 1965, sewn stuffed fabric, mirrors, 360×360 x 324 cm. Installation, Floor Show, Castellane Gallery, New York.

Yayoi Kusama, "Accumulation No. 2," 1968.

Yayoi Kusama, Narcissus Garden, 1966, Installation View, The 33rd Venice Biennale, Venice, Italy. Image courtesy the artist, Yayoi Kusama Studio, Victoria Miro Gallery, London Ota Fine Arts, Tokyo

Yayoi Kusama, Alice in Wonderland Happening, 1968, Alice in Wonderland statue, Central Park, New York.

Yayoi Kusama, Self-Obliteration by Dots (detail), 1968, performance, documented with black-and-white photographs by Hal Reif.

Part 3 of Yayoi Kusama’s Self Obliteration, 1967

Kusama’s newly translated autobiography Infinity Net: The Autobiography of Yayoi Kusama is out later this year.

From the 2008 New York Times article Kusama Dot Com by Alexi Worth:

Probably more than any other living artist, Kusama’s case highlights the tensions inherent in the division between mainstream and outsider art. Is great art the conscious effort of brilliant minds, or is it an outpouring of freakish individuality? Kusama’s is clearly both. Claiming to be utterly uninfluenced by any other artist or school, she pictures her art-making as a purely therapeutic necessity: ”art medicine.” And yet her artwork has been understood, by her friend Donald Judd and others, as a uniquely sophisticated response to the predicaments of 20th-century modernism.

Images via Bomb Magazine, Museum of Contemporary Art, Sydney, and Yayoi Kusama.jp.

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I am a dot, you are a dot, we are dots.

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