Yayoi KUSAMA (born in 1929)
Except otherwise stated, all results include the premium.
See also : Current art by women
Chronology : 2006
See also : Current art by women
Chronology : 2006
Intro
Since the age of 10 Yayoi Kusama suffers from hallucinations. Watching the behavior of her parents had added an obsessive horror of sex. Poetry is not enough. To fight her anxiety, she paints patterns of tiny identical polka dots on unlimited surfaces. She sees in hallucination the motif which she is painting, infinitely repeated, and comes to assimilate it to the contradiction between individual and mankind.
The infinite repetition of the red flower pattern of the family tablecloth was a major element of these early hallucinations. She reported seeing the same pattern covering the ceiling, the windows and the walls, and finally all over the room, her body and the universe, threatening her own life.
Aged 19 in 1948, she paints Flower Spirit, a morbid suite of waves of sanguineous flowers. A seminal 1950 work is titled Accumulation of the corpses (Prisoner surrounded by the curtain of depersonalisation).
She arrives in New York City in June 1958, bringing therein her obsessions and her visions. Viewing the network of lights of New York from the top of the skyscrapers, she appreciates the mystical dimension of her own ailment. She expresses infinity, spending dozens of consecutive hours to tirelessly paint on the canvas the same tiny colorful pattern whose repetition cancels her discomfort. She is nothing but a small insignificant dot in the infinity of mankind, but she would like this dot to become highly visible.
Her art comes at the right time, when New York seeks to define a new style to supersede the expressionism. Searching for her psychic quietness through a process of annihilation, self obliteration in her own wording, she is supported by Donald Judd and the minimalists. The use of white in art is the concern of other artists including Manzoni, Ryman, Uecker and the unlimited repeatability of her brush is comparable to Agnes Martin's. In 1961 she moves her studio into the same building as Donald Judd and Eva Hesse.
This work is never finished. She is able to perform it without resting during forty or fifty hours, satiating her body and subconscious mind in this repetitive task. Each of these identical dots is at one moment an achievement of her creation. When a canvas is entirely filled with that white proliferation, she begins another one that can be viewed as its extension.
The flat surface of her paintings is no longer enough for her. In 1962 she fills socks with cotton or mattress stuffing to simulate phalluses which she uses to fully cover some pieces of furniture and various objects. To evoke the female fertility, she recovers cardboard egg cartons that she dispositions convex side up on large canvases in the same tight repetition as for her Interminable Nets. The interstices are clogged with a stuffing and the whole is painted.
The creative act is a temporary therapy that does not heal her obsession against sex. Wanting to face it like Dali had done thirty years earlier, she will end her New York period in exhibitionism and pornography. In indecent happenings, she paints her signature polka dots on her clothes or her bare skin and will later do the same on her assistants.
The infinite repetition of the red flower pattern of the family tablecloth was a major element of these early hallucinations. She reported seeing the same pattern covering the ceiling, the windows and the walls, and finally all over the room, her body and the universe, threatening her own life.
Aged 19 in 1948, she paints Flower Spirit, a morbid suite of waves of sanguineous flowers. A seminal 1950 work is titled Accumulation of the corpses (Prisoner surrounded by the curtain of depersonalisation).
She arrives in New York City in June 1958, bringing therein her obsessions and her visions. Viewing the network of lights of New York from the top of the skyscrapers, she appreciates the mystical dimension of her own ailment. She expresses infinity, spending dozens of consecutive hours to tirelessly paint on the canvas the same tiny colorful pattern whose repetition cancels her discomfort. She is nothing but a small insignificant dot in the infinity of mankind, but she would like this dot to become highly visible.
Her art comes at the right time, when New York seeks to define a new style to supersede the expressionism. Searching for her psychic quietness through a process of annihilation, self obliteration in her own wording, she is supported by Donald Judd and the minimalists. The use of white in art is the concern of other artists including Manzoni, Ryman, Uecker and the unlimited repeatability of her brush is comparable to Agnes Martin's. In 1961 she moves her studio into the same building as Donald Judd and Eva Hesse.
This work is never finished. She is able to perform it without resting during forty or fifty hours, satiating her body and subconscious mind in this repetitive task. Each of these identical dots is at one moment an achievement of her creation. When a canvas is entirely filled with that white proliferation, she begins another one that can be viewed as its extension.
The flat surface of her paintings is no longer enough for her. In 1962 she fills socks with cotton or mattress stuffing to simulate phalluses which she uses to fully cover some pieces of furniture and various objects. To evoke the female fertility, she recovers cardboard egg cartons that she dispositions convex side up on large canvases in the same tight repetition as for her Interminable Nets. The interstices are clogged with a stuffing and the whole is painted.
The creative act is a temporary therapy that does not heal her obsession against sex. Wanting to face it like Dali had done thirty years earlier, she will end her New York period in exhibitionism and pornography. In indecent happenings, she paints her signature polka dots on her clothes or her bare skin and will later do the same on her assistants.
1959 Untitled (Nets)
2022 SOLD for $ 10.5M by Phillips
In 1959 Yayoi Kusama covers her canvases with a network of regularly spaced dots in white paint, in a minimalist gesture that she reproduces without any other modification than thickness variations. Her obsession cancels all notions of composition : in each work there is no beginning, no ending, and no focal point.
An Untitled (Nets) that had belonged to Uecker, oil on canvas 130 x 116 cm painted in 1959, was sold for $ 10.5M from a lower estimate of $ 5M by Phillips on May 18, 2022, lot 11.
An Untitled (Nets) that had belonged to Uecker, oil on canvas 130 x 116 cm painted in 1959, was sold for $ 10.5M from a lower estimate of $ 5M by Phillips on May 18, 2022, lot 11.
1959 Interminable Net
2019 SOLD for HK$ 62M by Sotheby's
Yayoi Kusama reaches her target of astonishing the New York arts community. Her art is the opposite of all tendencies : it does not offer the global effect of abstract expressionism, nor the gestural amplitude of action painting, nor the new figuration of pop art. Her monochrome white is not a sign of purity but a provocation. Donald Judd is amazed.
Interminable net No. 2, oil on canvas 183 x 274 cm painted in 1959 which had belonged to Judd, was sold for $ 5.8M by Christie's on November 12, 2008, lot 20.
Interminable net # 3, oil on canvas 133 x 125 cm painted in 1959, was sold for $ 5.9M by Sotheby's on May 12, 2015, lot 17.
Interminable net # 4, oil on canvas 144 x 109 cm painted in 1959, was sold for HK $ 62M by Sotheby's on April 1, 2019, lot 1144.
Interminable net No. 2, oil on canvas 183 x 274 cm painted in 1959 which had belonged to Judd, was sold for $ 5.8M by Christie's on November 12, 2008, lot 20.
Interminable net # 3, oil on canvas 133 x 125 cm painted in 1959, was sold for $ 5.9M by Sotheby's on May 12, 2015, lot 17.
Interminable net # 4, oil on canvas 144 x 109 cm painted in 1959, was sold for HK $ 62M by Sotheby's on April 1, 2019, lot 1144.
1960 White
2014 SOLD for $ 7.1M by Christie's
On November 12, 2014, Christie's sold for $ 7.1M from a lower estimate of $ 1.5M White No. 28, oil on canvas 148 x 111 cm painted in 1960, lot 8.
1960 Red
2015 SOLD for HK$ 55M by Sotheby's
In 1959 in New York, Yayoi Kusama focused on the white which is a better symbol of the infinity of the cosmos. In 1960 she comes back to the red which takes the form of a curtain barring her negligible person from the infinite world as a direct emanation from her psychological anguish.
No. Red B, oil on canvas 175 x 133 cm painted in 1960 in her signature repetitive brush work, was sold for HK $ 55M from a lower estimate of HK $ 30M by Sotheby's on October 4, 2015, lot 1062.
No. Red B, oil on canvas 175 x 133 cm painted in 1960 in her signature repetitive brush work, was sold for HK $ 55M from a lower estimate of HK $ 30M by Sotheby's on October 4, 2015, lot 1062.
2006 Infinity Nets
2022 SOLD for HK$ 53M by Christie's
In 1958 Yayoi Kusama brings to New York City the visual elements of her hallucination. The world is an unlimited net or curtain. Mankind is nothing more than undifferentiated tiny spots distributed evenly throughout that network. The basic element is a polka dot but it can also take other forms.
The very long stay of the artist in New York is a continuous attempt to escape the common fate. She imagines and realizes many happenings at the extreme limits of decency and even beyond.
She is in contact with the avant-gardes. Donald Judd is enthusiastic about her graphic minimalism. She admires the use of ordinary objects of chance by Joseph Cornell who manages an exception to his lonely habits for maintaining with her a daily and platonic relationship which is beneficial to the creativity of both artists. Yayoi Kusama covers with her dots various artefacts as well as the naked bodies of the participants of her performances and uses mirrors to display the infinity.
On September 30, 2017, Sotheby's sold for HK $ 42M an oil on canvas 107 x 92 cm painted by Yayoi Kusama in 1972, lot 1067.
This artwork is an unexpected return to her obsession with the infinity nets but can also be considered as a new prototype by its use of multiple colors.
After 14 years of overwork in New York the artist is exhausted. The sudden death of Cornell on December 29, 1972 completes the ruin of her fragile world. She returns to Japan in the following year. Her voluntary residence since 1977 in a hospital for the mentally ill protects her against her desire for excessive performance without reducing her graphic creativity.
The artist never parted from her obsession. Nevertheless the achromatic Infinity Net (T.W.A.), acrylic on canvas 194 x 260 cm painted in 2000, provides an impression of appeasement with its clouds and flakes of differing grey hues based on a single intricate brushstroke circling dots throughout the surface. The repeated tiny gesture with the brush does not imply an instant view of the desired global infinity, providing the mirage of the clouds.
This T.W.A. opus was sold for $ 4.1M by Christie's on November 10, 2022, lot 105.
She continues in a similar style. The triptych Infinity Nets (TWHOQ), acrylic on canvas 194 x 390 cm overall, was painted in 2006 in gold loops around vermilion dots, a combination that may evoke the warmth of the sun..
This TWHOQ opus was sold for HK $ 53M from a lower estimate of HK $ 28M by Christie's on November 30, 2022, lot 18.
The very long stay of the artist in New York is a continuous attempt to escape the common fate. She imagines and realizes many happenings at the extreme limits of decency and even beyond.
She is in contact with the avant-gardes. Donald Judd is enthusiastic about her graphic minimalism. She admires the use of ordinary objects of chance by Joseph Cornell who manages an exception to his lonely habits for maintaining with her a daily and platonic relationship which is beneficial to the creativity of both artists. Yayoi Kusama covers with her dots various artefacts as well as the naked bodies of the participants of her performances and uses mirrors to display the infinity.
On September 30, 2017, Sotheby's sold for HK $ 42M an oil on canvas 107 x 92 cm painted by Yayoi Kusama in 1972, lot 1067.
This artwork is an unexpected return to her obsession with the infinity nets but can also be considered as a new prototype by its use of multiple colors.
After 14 years of overwork in New York the artist is exhausted. The sudden death of Cornell on December 29, 1972 completes the ruin of her fragile world. She returns to Japan in the following year. Her voluntary residence since 1977 in a hospital for the mentally ill protects her against her desire for excessive performance without reducing her graphic creativity.
The artist never parted from her obsession. Nevertheless the achromatic Infinity Net (T.W.A.), acrylic on canvas 194 x 260 cm painted in 2000, provides an impression of appeasement with its clouds and flakes of differing grey hues based on a single intricate brushstroke circling dots throughout the surface. The repeated tiny gesture with the brush does not imply an instant view of the desired global infinity, providing the mirage of the clouds.
This T.W.A. opus was sold for $ 4.1M by Christie's on November 10, 2022, lot 105.
She continues in a similar style. The triptych Infinity Nets (TWHOQ), acrylic on canvas 194 x 390 cm overall, was painted in 2006 in gold loops around vermilion dots, a combination that may evoke the warmth of the sun..
This TWHOQ opus was sold for HK $ 53M from a lower estimate of HK $ 28M by Christie's on November 30, 2022, lot 18.
Pumpkin
Intro
The pumpkin became a major element of Yayoi Kusama's hallucinations in her childhood. Visiting a harvesting ground with her grandfather, she noticed a specimen on the size of a human head. The vegetable then began to speak to her friendly, counterbalancing the nasty flowers and dogs of her visions. The pumpkin provides a feeling of abundance and joy, enabling to cancel her desire of self obliteration.
She featured it repetitively from the 1990s as a support to reach a peaceful infinity. The vegetable painted in its natural golden orange on canvases and sculptures appealed to the public. They were decorated with tight patterns of her signature polka dots.
At the Venice biennale in 1993 she exhibited her pumpkin sculptures in a mirror walled room while immersing herself on live amidst the infinity of the vegetables in a polka dotted attire of the same colors. This happening restarted her career after two decades of oblivion. From then the pumpkin, which does not have the abstract austerity of nets and curtains, became her inseparable alter ego.
A similar mirror room of pumpkins had been exhibited in 1991 in a Japanese museum.
She featured it repetitively from the 1990s as a support to reach a peaceful infinity. The vegetable painted in its natural golden orange on canvases and sculptures appealed to the public. They were decorated with tight patterns of her signature polka dots.
At the Venice biennale in 1993 she exhibited her pumpkin sculptures in a mirror walled room while immersing herself on live amidst the infinity of the vegetables in a polka dotted attire of the same colors. This happening restarted her career after two decades of oblivion. From then the pumpkin, which does not have the abstract austerity of nets and curtains, became her inseparable alter ego.
A similar mirror room of pumpkins had been exhibited in 1991 in a Japanese museum.
1
2010 acrylic on canvas TWPOT
2019 SOLD for HK$ 54M by Sotheby's
The Pumpkin reference TWPOT is an acrylic on canvas 130 x 162 cm painted in 2010. The background is an infinite pattern knotted like a fishing net in yellow lines over black.
It was sold for HK $ 54M from a lower estimate of HK $ 12M by Sotheby's on April 1, 2019, lot 1138.
It was sold for HK $ 54M from a lower estimate of HK $ 12M by Sotheby's on April 1, 2019, lot 1138.
2
2013 acrylic on canvas LPASG
2021 SOLD for HK$ 63M by Christie's
The Pumpkin reference LPASG, acrylic on canvas 130 x 130 cm painted in 2013, was sold for HK $ 63M from a lower estimate of HK $ 45M by Christie's on December 1, 2021, lot 52.
Compared with the opus TWPOT narrated above, the canvas is square and the patterns of dots are tighter.
Compared with the opus TWPOT narrated above, the canvas is square and the patterns of dots are tighter.
3
2013 acrylic on canvas SKLO
2021 SOLD for HK$ 51M by Christie's
The Pumpkin reference SKLO, acrylic on canvas 130 x 162 cm painted in 2013, was sold for HK $ 51M by Christie's on May 24, 2021, lot 59.
4
2014 bronze
2022 SOLD for $ 6.5M by Sotheby's
The Pumpkin reference M is a bronze 187 x 187 x 182 cm edited in 2014. The number 8/8 was sold for $ 6.5M from a lower estimate of $ 3.5M by Sotheby's on November 16, 2022, lot 15.
In the style of the Op art, the polka dots are displayed in lines of decreasing sizes on each side of the vertical ribs of the pumpkin.
In the style of the Op art, the polka dots are displayed in lines of decreasing sizes on each side of the vertical ribs of the pumpkin.
5
2017 sculpture
2021 SOLD for HK$ 55M by Christie's
A Pumpkin 215 x 180 x 180 cm made in 2017 in fiberglass reinforced plastic and urethane was sold for HK $ 55M from a lower estimate of HK $ 28M by Christie's on December 1, 2021, lot 72.
Its shape and graphic style are similar to the M bronze narrated above, excepted that the grooves are empty of polka dots.
Its shape and graphic style are similar to the M bronze narrated above, excepted that the grooves are empty of polka dots.
