Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Staying in Japan was out of the question. My parents, the house, the land, the shackles, the conventions, the prejudice ... For art like mine – art that does battle at the boundary between life and death, questioning what we are and what it means to live and die – this country was too small, too servile, too feudalistic, and too scornful of women. My art needed a more unlimited freedom, a wider world." Yayoi Kusama, quoted by essayist Mignon Nixon in D.A.P./Tate's major 2012 exhibition catalog, Yayoi Kusama.
Published by Louisiana Museum of Modern Art. Edited by Lćrke Rydal Jřrgensen, Marie Laurberg, Michael Juul Holm.
Kusama's delicate drawings both illustrate and interpret Hans Christian Andersen's tale
Hans Christian Andersen’s fairy tale “The Little Mermaid” (1839), a story about a girl from the sea who followed her dreams and suffered a disastrous fate on land, is known all over the world (particularly in its animated incarnation). But the familiar story is brought to new life in this gorgeous edition, a collaboration between the Louisiana Museum of Modern Art and artist Yayoi Kusama.
Paired with Hans Christian Andersen’s original text, the densely patterned, undulating line drawings of Kusama’s Love Forever series (2004–7) conjure up storms in the roiling waves of the ocean, the Little Mermaid’s vast underwater kingdom and her longing to live in the human world. Kusama’s fertile, endlessly repeating forms are an ideal match for the poetic and disturbing universe evoked in the fairy tale; the result is a true collaboration. Kusama’s drawings both illustrate and interpret Andersen’s story, bringing it to terrifying life, and Andersen’s words lend narrative content to Kusama’s landscapes of unblinking eyes, curling tendrils and disembodied profiles.
Yayoi Kusama (born 1929) first left Japan at the age of 28, landing in late 1950s New York. Her oeuvre, now spanning more than 50 years, includes painting, performance, installations and environments, sculpture, film, fashion, design and literary work. She was recently named the world’s most popular artist, based on annual figures reported by The Art Newspaper for global museum attendance in 2014.
Published by David Zwirner Books. Text by Akira Tatehata, Yayoi Kusama.
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 interior that viewers were invited to cover with dot stickers of various sizes and colors. 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 multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes Kusama’s recent large-format paintings from the My Eternal Soul series and a selection of new, large Pumpkin sculptures, a form that Kusama has been exploring since the 1950s. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations, these immersive works seem created on a human scale. Texts include "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.
Yayoi Kusama was born in 1929 in Matsumoto, Japan. She was recently named the world’s most popular artist by various news outlets, based on annual figures reported by The Art Newspaper for global museum attendance in 2014. Her exhibitions were the most visited worldwide that year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America?all of which have drawn record-breaking attendances at every venue. Kusama’s work is featured in collections such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.
Akira Tatehata is an art critic and poet based in Japan who has written extensively about Yayoi Kusama’s work. In 1993, he invited the artist to represent Japan at the 45th Venice Biennale. He now serves as the President of the Kyoto City University of Arts, Director of The Museum of Modern Art, Saitama, and Chairman of the Japanese Council of Museums.
Published by Louisiana Museum of Modern Art. Edited by Lćrke Rydal Jřrgensen, Marie Laurberg, Michael Juul Holm. Foreword by Poul Erik Třjner, et al. Text by Marie Laurberg, Jo Applin, Stefan Würrer, Yayoi Kusama, Signe Marie Ebbe Jacobsen.
A non-Western female artist arriving in the US as Pop art and Minimalism were beginning to take shape, Yayoi Kusama (born 1929) was part of these milieus but also remained somewhat outside of them, developing a highly distinctive artistic universe. Yayoi Kusama: In Infinity offers an extensive overview of the major stages of Kusama’s work: from her abstract, intensively hand-crafted Infinity Net paintings (which made Kusama’s initial reputation in New York) to the soft, eroticized furniture sculptures covered in hundreds of white, penis-like forms, ending with Kusama’s recent works that shape whole spaces as intense environments. This volume also includes new essays discussing Kusama’s artistic and literary work and four of Kusama’s own poems.
Published by David Zwirner. Text by Akira Tatehata, Yayoi Kusama.
Yayoi Kusama: I Who Have Arrived in Heaven features new work from the artist's critically acclaimed 2013 inaugural exhibition at David Zwirner, which spanned the gallery's three locations in New York. Kusama's extraordinary and highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design and interventions within existing architectural structures. Opening this book is a series of exquisitely produced color plates of brightly colored, large-format square paintings. Part of a recent body of work, they allude to universal spheres or basic life forms and highlight Kusama's unique amalgamation of representational and nonrepresentational subject matter. Also featured is the video installation, Song of a Manhattan Suicide Addict, in which the artist herself is seen performing a song she composed while an animated slideshow of selected artworks moves behind her and the two mirrored infinity rooms. Infinity Mirrored Room--The Souls of Millions of Light Years Away encompassed a cube-shaped, mirror-paneled room that featured a shallow reflecting pool as its floor; hundreds of multicolored LED lights were suspended at varying heights from the ceiling, flickering on and off in a strobelike effect. Another mirrored infinity room, Love Is Calling, stands as one of Kusama's most immersive, kaleidoscopic environments to date. It was composed of a darkened, mirrored room illuminated by inflatable, tentacle-like forms--covered in the artist's characteristic polka dots--that extended from the floor and ceiling, gradually changing colors.
Yayoi Kusama was born in 1929 in Matsumoto, Japan. She was recently named the world’s most popular artist by various news outlets, based on annual figures reported by The Art Newspaper for global museum attendance. Her exhibitions were the most visited worldwide that year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America?all of which have drawn record-breaking attendances at every venue. Kusama’s work is featured in collections such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York.
Akira Tatehata is an art critic and poet based in Japan who has written extensively about Yayoi Kusama’s work. In 1993, he invited the artist to represent Japan at the 45th Venice Biennale. He now serves as the President of the Kyoto City University of Arts, Director of The Museum of Modern Art, Saitama, and Chairman of the Japanese Council of Museums.?
Published by Fundación Eduardo F. Costantini. Edited with text by Philip Larratt-Smith, Frances Morris.
Obsesión Infinita accompanies the first Latin American retrospective of Yayoi Kusama (born 1929), a massive survey of more than 100 works created between 1950 and 2013. It includes her abstract paintings of the 1950s, made just prior to her move to New York in 1957; the "soft sculptures" that followed her move, and her friendships with Donald Judd, Andy Warhol, Claes Oldenburg and Joseph Cornell; and the famous happenings of the late 60s. It was in these years that Kusama became known as "the Polka Dot Princess," for her obsessive use of polka dots in installations and performances. In 1973 she returned to Japan, and in 1977 settled voluntarily in a psychiatric clinic where she has continued to make performances and installations. Alongside color reproductions, this volume includes archival photographs of Kusama performances and portraits of the artist from the many periods of her career.
PUBLISHER FUNDACIóN EDUARDO F. COSTANTINI
BOOK FORMAT Paperback, 9.25 x 10.75 in. / 232 pgs / 94 bw.
PUBLISHING STATUS PUB DATE 11/30/2013 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2014 p. 129
PRODUCT DETAILS ISBN 9789871271504TRADE LIST PRICE: $55.00 CDN $65.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by D.A.P./Tate. Edited by Frances Morris. Text by Jo Applin, Juliet Mitchell, Mignon Nixon, Midori Yamamura.
Accompanying the first major American retrospective exhibition of Yayoi Kusama's work, and an exhibition at Tate Modern in London, this volume offers a definitive monograph on Japan's most famous living artist. It features a wealth of works from all periods in Kusama's career, as well as essays by various international curators and critics, discussing Kusama's years in New York, her career after her return to Japan, her installation works and the psychoanalytic import of her art. Kusama's originality, innovation and sheer drive to make art have propelled her through a career that has spanned six decades, encompassing painting, sculpture, printmaking, photography, collage, film and video, performance, installation and even product design. From the late 1950s to the early 1970s Kusama lived in New York, and was at the forefront of many artistic innovations in the city, becoming close with artists such as Donald Judd, Andy Warhol, Joseph Cornell and Claes Oldenburg, and influencing many others along the way. It was in these years that Kusama was dubbed "the Polka Dot Princess," for her obsessive use of polka dots in installations and happenings. Returning to Japan in her forties, she rebuilt her career, waiting years for the international recognition that she has recently achieved. Now in her ninth decade, Kusama's imagination remains fertile and productive, as she continues to devise dazzling installations and relentlessly hand-paints her ongoing series of minutely detailed figurative fantasy paintings. Yayoi Kusama was born in Matsumoto, Japan, in 1929. She left Japan for New York at the age of 28, following a correspondence with Georgia O'Keeffe, and was soon participating in the city's 1960s wave of happenings and avant-garde activities. In 1973, Kusama returned to Japan and began writing surrealistic novels and poetry. On November 12, 2008, Christie's New York sold a work by her for $5.1 million, a record for a living female artist.
Published by Walther König, Köln. Essays by Karola Grässlin and Jan Verwoert.
Yayoi Kusama is recognized as one of Japan's best-known, most versatile and internationally successful artists. In the mid-1960s her work was mentioned in the same breath as Minimal art, monochrome painting, and the new trends in Europe, and she was also seen as a forerunner of Pop art. Noted for her soft sculptures and psychedelic installations, Kusama explores themes of love, infinity and obsession throughout her work, from her net-like pattern paintings begun in 1959, to her Pop-inspired love happenings in the 1960s, to installations in which every surface has been compulsively covered in polka-dots, mirrors or stuffed phallus-like protrusions.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Paperback, 8.5 x 10.5 in. / 61 pgs / 77 color / 4 bw.
PUBLISHING STATUS PUB DATE 6/15/2004 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2005 p. 135
PRODUCT DETAILS ISBN 9783883758299SDNR30 LIST PRICE: $30.00 CDN $35.00
AVAILABILITY Not Available
STATUS: Out of print | 11/28/2010
For assistance locating a copy, please see our list of recommended out of print specialists >
Since childhood, Kusama has been afflicted with a condition that makes her see spots, which means she sees the world in a surreal, almost hallucinogenic way that sits very well with the Wonderland of Alice. She is fascinated by childhood and the way adults have the ability, at their most creative, to see things the way children do, a central concern of the Alice books, by Lewis Carroll.
The book will be colour illustrated to very high specification, with her images interspersed thoughtfully throughout the text.
Produced in collaboration with the Kusama Studio, Tokyo and Gagosian Gallery.
PUBLISHER PENGUIN GLOBAL
PUBLISHING STATUS PUB DATE -- Active
DISTRIBUTION CONTACT PUBLISHER
PRODUCT DETAILS ISBN 9780141197302RETAIL LIST PRICE: $35.00 CDN $35.00