|self portrait 1950|
oil on canvas 34 x 34 cm
|Island No. 7 1953|
watercolour and pastel on paper 30.5 x 26.5 cm
"I am pursuing art in order to correct the disability which began in my childhood." Y.K..
|Dots on the Sun 1953|
watercolour and pastel on paper 25 x 26 cm
She experimented early with materials and technique and set out to teach herself western style oil painting.
|no. 8 H.A.P. 1956|
oastel, gouache, acrylic on paper 58.4 x 45.7 cm
|No. White A.Z. 1958-59 (detail)|
oil on canvas 210 x 414 cm
|No. B White 1959 detail|
oil on canvas 226 c 298 cm
|Infinity Nets (white) 1959 detail|
oil on canvas 131 x 117.5 cm
|No. T.W.3 1961 detail|
oil on canvas 174 x 125 cm
She did it herself.
She was an avid self-publicists. A writer of manifestos.
|Accumulation No. 1 1962 |
sewn and stuffed fabric, paint, fringe on chair frame, 121 x 121 x 121 cm
This re-invention of her art, was unexpected and gained her publicity.
|Accumulation 1963 |
sewn and stuffed fabric, wood chair frame, paint 90 x 97.8 x 88.9 cm
|self obliteration no. 2 1967 |
watercolour, pen, pastel, photocollage on paper 40 x 50 cm
Yayoi Kusama continued to show new work alongside much younger artists in the biennial and triennial circuit international art scene. She lives in Tokyo today, and has a team of dedicated assistants. She continues to exhibit to even wider acclaim each year. Her new installations are based on the Infinity Mirrors that she began making in 1966.
Text in this post is derived from the introduction to the Tate Modern's catalogue for Kusama's 2012 exhibition written by Frances Morris. The images are also from that book.