![]() ![]() Her work and pieces were created based on what Kusama saw in her hallucinations which started at the age of 10. She has chosen to live there ever since and has produced her artworks from there. She returned to Japan in 1977 and admitted herself to a mental institution. to challenge her ability and talent as an artist in 1957 where she became recognized as an influential artist in the late 1960’s. Her concept of art is called “self-obliteration” and her trademark is brightly colored polka-dots which obliterate her from the world and be part of the universe. Art was a form of expression for her to heal from her troubling childhood. She was born to an affluent family, but had a traumatic childhood due to her father’s extra-marital relationships and her mother’s abusive behavior caused by her father’s infidelity. The avant-garde artist and writer, Yayoi Kusama, was born in Nagano, Japan. My two friends who had already gone to the exhibit and inspired me to go helped me prepare by teaching me some facts and details about the exhibit before I headed to the museum. I found very helpful to know about the Kusama exhibit before going there because it is a very different museum experience from the usual ones. After having visited the Yayoi Kusama’s Infinity Mirrors Exhibit at Hirshhorn Museum in person, I would say that it was out of this world experience to me. which started in February 2017 became quite a sensation in Washington, D.C. ![]() Our must-read guide to books on Kusama includes Kusama’s Body Festival in 60s (2011) by the artist herself.The Kusama Exhibit at the Hirshhorn Museum in Washington, D.C. Although Kusama left her conservative Japanese upbringing in her late 20s to immerse herself in the 1960s underground New York art scene-gaining some notoriety-it was not until much later in life that she achieved widespread recognition. Ninety-three-year-old Kusama is one of the biggest stars in the art world, famed for her signature spot motifs and bold colours used across multiple media. The book also features selections from Kusama’s unpublished writings as well as correspondence with the UK artist Georgia O’Keeffe. The volume, edited by Doryun Chong (M+ deputy director), is structured around six thematic sections including “The Biocosmic” and “Joy of Life”. An accompanying publication, described as the “most comprehensive survey of her work to date”, will be published by Thames & Hudson in London ( Yayoi Kusama: 1945 to Now). Two of Kusama’s hugely popular Infinity Mirror Rooms installations are also on show at Tate Modern until June next year, providing much needed revenue for the gallery in the wake of the Covid-19 pandemic (tickets for the artist’s “unique vision of endless reflections” cost £10 full price, and continue to sell out).Ī retrospective of Kusama’s work is also due to open at the M+ museum in Hong Kong later this year (12 November-). The Kusama installation-first staged at the Queensland Art Gallery, Australia, in 2002-is part of Tate Modern’s Uniqlo Tate Play programme scheduled for the school holidays. Participants can also create their own works which will be added to an ever-expanding garden in the Turbine Hall. “Visitors are handed a sticker sheet of colourful dots with which to leave their mark on this stark interior, which slowly becomes transformed into a sea of colour,” a Tate statement says. The enclosure, filled with white furniture, will be located within Tate Modern’s Turbine Hall. This summer, Tate Modern will stage Obliteration Room (23 July-29 August) which involves transforming a blank, white apartment space into a “sea of colourful dots”, the organisers say. The Yayoi Kusama art juggernaut shows no sign of slowing down.
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