“I paint polka dots on the bodies of people, and with those polka dots, the people will self-obliterate and return to the nature of the universe,” she later wrote in her autobiography.
Kusama saw the room as the manifestation of a “long-cherished dream” to be sublimated by her own art.
Here, psychological and sexual liberation is delivered via unfettered, proliferating circles. More information is also available about the film collection and the Circulating Film and Video Library. Yayoi Kusama has 112 works online. By the time Kusama left her native Japan for the United States in 1956, she’d already begun her practice of dot-making. Our site uses technology that is not supported by your browser, so it may not work correctly. From the late 1950s, after she had moved to the United States, Kusama attracted attention by presenting large paintings repeatedly depicting meshes or polka dots.
It is a rare work Kusama, who migrated from Japan to the United States and swept through the times in diverse fields from painting to performance, gave birth to in Europe in the 1960s. Left to right: Installation view of Yayoi Kusama, Ennui, 1976, Accumulation, 1962-64, Red Stripes, 1965, Arm Chair, 1963, in “Yayoi Kusama: Infinity Mirrors” at the Hirshorn Museum and Sculpture Garden, 2017. If you have additional information or spotted an error, please send feedback to [email protected]. That project has concluded, and works are now being identified by MoMA staff. In one Happening, she went grocery shopping wearing a phallus-adorned dress and matching hat. We have identified these works in the following photos from our exhibition history. This record is a work in progress.
Techniques in metallurgy based on the use of bronze and iron were also introduced from China via Korea to Japan in this period. For licensing motion picture film footage it is advised to apply directly to the copyright holders. F., in which she played with the notion of infinite repetition and infinite space.
We have identified these works in the following photos from our exhibition history. But Kusama’s early sculptures went beyond symbolizing her psychological state. To find out more, including which third-party cookies we place and how to manage cookies, see our privacy policy. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. An abusive mother and dysfunctional childhood probably contributed to her lifelong struggle with mental illness and most certainly resulted in her phobia surrounding sex and the male body (Kusama’s mother would send her to spy on her father’s extra-marital sex-capades, which clearly scarred her psychologically).
Want to know how some of the 20th century’s most celebrated artists made abstract paintings? Courtesy of the Cleveland Museum of Art.
© Yayoi Kusama. In recent years, they’ve become the major draw of Kusama retrospectives, transporting viewers into a kaleidoscopic black hole of shimmering dots, while also providing the perfect backdrop for a selfie sure to inspire lots of likes.
Since 1965, Kusama has produced over 20 “Infinity Mirror” rooms, including one for the Japanese Pavilion at the 1993 Venice Biennale. By visiting our website or transacting with us, you agree to this.
Below, we explore her monumental influence through six deeply irreverent, important works.
In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. Installation views. Indeed, Kusama became just as influential as that of her modernist, male predecessors.
She’s been known to work in 50- to 60-hour stretches, a trance-like process she’s.
There, she entered a space that existed beyond everyday life and psychological trauma: “Like Alice, who went through the looking-glass, I, Kusama, (who have lived for years in my famous, specially-built room entirely covered by mirrors), have opened up a world of fantasy and freedom,” she later wrote. Her most famous public works, dubbed “Body Festivals,” brought together groups of naked performers whom she painted with dots. She explored this idea in this 1967 film (her only one), made with. After holding individual exhibitions at Takemiya Gallery and other locations, in 1957, Kusama went to the United States. (She’s described these as being a result of her mother’s violence and vehement disapproval of her artistic aspirations.)
In other words, obliteration offered the artist an access point into a more fantastical, unrestrained world. “My desire was to predict and measure the infinity of the unbounded universe, from my own position in it, with dots,” she once wrote. It depicted the kabocha—a kind of pumpkin used extensively in Japanese cooking—rendered in the late-19th century Japanese painting style of, It wasn’t until the 1970s, though, that pumpkins reappeared in her work, as a means of fusing abstraction and representation.
If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].
Soon thereafter, she began producing her Infinity Nets series of paintings, including No.
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