The film explores the full span of Kusama’s career, from her early life in Japan to the fifteen years the artist spent in New York, starting in 1958, to her return to her native country and the later international recognition of her work.
The Los Angeles Times reports "Kusama – Infinity tells the story of contemporary Japanese artist Yayoi Kusama, who moved to New York City and created 'avant-garde innovations' inspired by the 1960s American political and social revolution. Writer and director Heather Lenz shows how Kusama faced racism and sexism to become a world-renowned artist."
From her studio in Tokyo, Yayoi Kusama recorded a personal message for visitors to her exhibitions at David Zwirner in New York, the city in which she lived for more than 15 years between 1958 and 1975. The Japanese artist expresses her gratitude to both the gallery and the public, and hopes the works on view afford a sense of hope and love.
October 1, 2017–February 25, 2018
The Yayoi Kusama Museum has opened in Tokyo with the inaugural exhibition Creation Is a Solitary Pursuit, Love Is What Brings You Closer to Art. The exhibition presents 45 works including 16 paintings from the artist's recent series My Eternal Soul.
The museum dedicated to Kusama’s work is being directed by Tensei Tatebata, president of Tama Art University in Tokyo and director of the Saitama Museum of Modern Art in Tokiwa. There will be two exhibitions each year and one floor devoted to installations of the artist's mirrored "infinity rooms;" the top floor houses a reading room and an archive.
The New York Times reports, "the museum, a five-story building designed by Kume Sekkei, was completed in 2014, but Ms. Kusama, 87, remained quiet about its purpose. (She perhaps alluded to the project in an interview in February with The Washington Post when she was asked what had been the highlight of her career. 'It's still coming,' Ms. Kusama said. 'I'm going to create it in the future.')" A further article in The New York Times describes "large red polka dots and mirrors in the elevators and a bulbous mosaic pumpkin sculpture on the top floor."
Critically acclaimed exhibitions of Kusama’s work are currently traveling through Asia and America. Life is the Heart of a Rainbow travels to Queensland Art Gallery at the Gallery of Modern Art in Brisbane on November 4 following its presentation at the National Gallery Singapore, where it was the first major museum presentation of the artist's work in Southeast Asia (June 9 - September 3, 2017).
Infinity Mirrors, the major museum survey which includes an unprecedented six infinity rooms as well as installations, sculpture, and large scale paintings, travels throughout the United States and Canada through February 2019.
September 23–December 2, 2017
Four paintings from Yayoi Kusama's Infinity Net series were presented at Judd Foundation in New York this Fall. The exhibition was curated by Donald Judd's son Flavin Judd, and recalled his father's friendship with Kusama and support of her work, including the early Infinity Net paintings. In an ARTNEWS review of Kusama's first solo exhibition in New York at the artist-run Brata Gallery in 1959, Donald Judd wrote, "Yayoi Kusama is an original painter. The five white, very large paintings are strong, advanced in concept and realized . . . The effect is both complex and simple."
The exhibition was accompanied by public programs exploring Judd's relationship with his contemporaries in New York from the 1960s through the 1980s.
Read more in The Art Newspaper.
November 4, 2017–February 11, 2018 at Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia
Life is the Heart of a Rainbow spans seven decades of Kusama's artistic practice and includes 120 works, some being shown for the first time. The exhibition features paintings from the artist's most recent series, My Eternal Soul, as well as sculptures, videos, and installations, including immersive mirrored infinity rooms. Life is the Heart of a Rainbow travels to Queensland Art Gallery at the Gallery of Modern Art in Brisbane from the National Gallery Singapore, where it was the first major museum presentation of the artist's work in Southeast Asia (June 9 - September 3, 2017).
In Brisbane, the exhibition is accompanied by Kusama's Narcissus Garden (1966/2002) in the Watermall at Queensland Art Gallery, and the interactive installation The Obliteration Room (2002 – ongoing) in the Children's Art Centre at the Gallery of Modern Art.
Curated by Russell Storer, Senior Curator at the National Gallery Singapore, with Adele Tanhis, the exhibition was organized by the National Gallery Singapore in collaboration with Queensland Art Gallery.
April 15–August 13
Three works by Yayoi Kusama were included in the critically acclaimed group exhibition Making Space: Women Artists and Postwar Abstraction at The Museum of Modern Art in New York. Drawn entirely from the Museum’s collection, the exhibition featured a 1951 ink on paper work that is a precursor to her Infinity Nets series, an oil on canvas work entitled No. F (1959), and a collage of gelatin silver prints by the artist dating from 1962.
Works by gallery artists Anni Albers and Ruth Asawa were also included in the exhibition.
Read more: a review of the exhibition by Holland Cotter in The New York Times
The major traveling exhibition Infinity Mirrors is the first institutional survey to explore the evolution of Yayoi Kusama's immersive infinity rooms. Following its debut at the Hirshhorn Museum in Washington D.C., the exhibition travels throughout the United States and Canada through 2019. Infinity Mirrors includes an unprecedented 6 infinity rooms, as well as installations, sculpture, and large-scale paintings, many of which will be making their United States debut.
The exhibition travels to the Seattle Art Museum (June 30–September 10, 2017), The Broad in Los Angeles (October 21, 2017–January 10, 2018), the Art Gallery of Ontario (March 3–May 27, 2018), the Cleveland Museum of Art (July 9–September 30, 2018), and the High Museum of Art (November 18, 2018–February 17, 2019).
Read the exhibition announcement in the New York Times
Pictured above: Yayoi Kusama in Phallis Field, 1965. Video courtesy of The Guardian
The Philip Johnson Glass House presented a unique installation of Kusama's Narcissus Garden on its grounds in New Canaan, Connecticut. First exhibited at the 1966 Venice Biennale, the work is created from thousands of mirrored steel spheres that, in this iteration, floated on the surface of the Glass House pond, moving with the wind and water's currents. A pumpkin sculpture was also installed on the grounds of the historic landmark site.
The exhibition was organized by Irene Shum, Curator and Collections Manager at the Glass House, to celebrate the 110th anniversary of Philip Johnson's birth and the tenth anniversary of the opening of the Glass House site to the public.
During September 2016, the special installation Dots Obsession – Alive, Seeking for Eternal Hope was also on view. The Glass House itself was covered in red dots, transforming the structure into a signature Kusama infinity room.
Visitors lining up to see the exhibition on its final day
A major museum retrospective of Yayoi Kusama's work traveled through Europe and to the United States in 2011–2012. The exhibition surveyed the full range of the artist's career, including early paintings made prior to Kusama's move to New York in 1957 to soft sculptures, Infinity Net paintings, mirrored infinity rooms, and the series of works begun in 2009 titled My Eternal Soul. Initially presented at the Museo Nacional Centro de Arte Reina Sofía in Madrid, the exhibition travelled to the Centre Georges Pompidou in Paris, Tate Modern in London, and the Whitney Museum of American Art in New York.
"The first works we see are rather beautiful, surreal watercolours from the 1950s, which occasionally echo Klee and Miró," wrote Mark Hudson in a review of the exhibition at Tate Modern for The Telegraph; in the Infinity Net paintings, Hudson continues, "endlessly repeated semicircular brushstrokes are covered in veils of thinner paint, creating a weblike effect which extends Pollock's idea of the 'all over' composition, with the sense that we are seeing just a fragment of a potentially endless work." For Holland Cotter, who wrote about the final presentation of the retrospective at The Whitney Museum of American Art for The New York Times, "there is no doubt about her heroic, barrier-crashing accomplishment . . . Her Infinity Net paintings and Accumulation sculptures are deservedly classics of global stature; her Japanese work of the 1940s and early 1970s are treasures still underknown."