
	Where results make sense

Topic: Yayoi Kusama

In the News (Wed 19 Nov 08)

Diego Maradona

Cleveland Browns

Lion Nathan

Quantum of Solace

Jerry Yang

Mark Cuban

Brandon Jacobs

Steven Gerrard

Daniel Craig

Jimmie Johnson

	Yayoi Kusama - Wikipedia, the free encyclopedia
		Yayoi Kusama (草間彌生 or 草間弥生, born March 29, 1929) is an artist, often called "Japan's greatest living artist".
		Kusama is also a published novelist and poet, and has created notable work in film and fashion design.
		Kusama represented Japan at the Venice Biennale in 1993, and in 1998 and 1999 a major retrospective exhibition of her work toured the U.S. and Japan.
	en.wikipedia.org /wiki/Yayoi_Kusama (550 words)

	Yayoi Kusama - AMAM
		According to Kusama's recollection in 1996, she painted the work silver shortly after the exhibition closed, because it had become soiled while on display.
		During the mid '70s Kusama was hospitalized for psychological problems, and in 1977 she took up long-term residence at the Seiwa Hospital in Tokyo, where she set up a studio and has continued her work as an artist.
		Kusama's recollection generally coincides with Castellane's memory that the piece was repainted in 1966, shortly before it was acquired by the Teppers, who, according to Castellane, made their last purchase of Kusama's work in 1966 or, at the latest, 1967.
	www.oberlin.edu /allenart/collection/kusama_yayoi.html (1390 words)

	Yayoi Kusama - Migraine Aura (Site not responding. Last check: 2007-10-31)
		In fact, Yayoi Kusama never made a secret of the fact that she considered her illness was the major driving force of her art.
		"illusory visual spread", which also affected Kusama's perception of her own body and thus created a feeling of "self-obliteration." This is celebrated in Kusama's art as the spiritual experience of the loss of individual identity by becoming one with the forms of the universe.
		The diagnostical classification of Kusama's inspiring hallucinations as a symptom of mental illness has placed her work into the field of so-called "art brut" or "outsider art," despite the obvious phenomenal differences between her works and those produced by artists suffering from psychosis, as previously noted by Jorunn Monrad.
	www.migraine-aura.org /EN/Yayoi_Kusama.html (1071 words)

	ArtandCulture Artist: Yayoi Kusama (Site not responding. Last check: 2007-10-31)
		Kusama's early works featured small, weblike marks that speak to a Minimalist aesthetic; her 1990s work has moved on to intricate patterns and clusters of polka dots.
		Kusama’s "psychosomatic art" exerts a huge influence on today's young artists; a retrospective of her work hosted by the Los Angeles County Museum of Art in 1998 drew unusually adulatory crowds.
		Artnet and Kusama attempt to understand the current revival of interest in her "outsider art." Discussing topics like her status as a role model, her escape from a conservative family in Japan, and her survival in New York in the 1960s, Kusama speaks freely about the details of her life that inform her work.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=824 (676 words)

	index magazine interview
		While she is highly regarded today, in the '70s Kusama was presented by the Japanese press as a double-faced trickster — on one side, the Nudist Goddess in Manhattan surrounded by beautiful youth, and, on the other, the creator of stunning works of art, fashion, and literature.
		And because Kusama has lived voluntarily in a hospital for the mentally ill for the past twenty years, the renewed interest in her work was inevitably entwined with the mystique surrounding the artist herself.
		YAYOI: In front of the statue of Alice in Wonderland in Central Park, and on Wall Street, and in front of the Statue of Liberty.
	www.indexmagazine.com /interviews/yayoi_kusama.shtml (3247 words)

	Dot dot dot - artist Yayoi Kusama ArtForum - Find Articles
		Kusama looked at me as though I were Dorothy Gale from Kansas and had just thrown the mop water in her direction.
		Yayoi Kusama was born in 1929 to a prosperous family, owners of a nursery, in central Japan.
		Kusama did well in elementary school; during the war years, however, her education was curtailed by the National Mobilization Law, and she spent her teens, as did many Japanese girls of her generation, working in a parachute factory.
	www.findarticles.com /p/articles/mi_m0268/is_n6_v35/ai_19353254 (787 words)

	YAYOI KUSAMA: EARLY DRAWINGS
		Yayoi Kusama: Early Drawings is organized by the Birmingham Museum of Art (BMA) and curated by Dr. David Moos, BMA curator of painting, sculpture and graphic arts.
		While some of the pieces included in Yayoi Kusama: Early Drawings are unaltered works dating from the early 1950s, others display her penchant for expanding and elaborating her expressive reach.
		Yayoi Kusama: Early Drawings From The Collection of Richard Castellane is organized by the Birmingham Museum of Art.
	www.artsbma.org /kusamapr1.htm (961 words)

	Yayoi Kusama (Site not responding. Last check: 2007-10-31)
		Yayoi Kusama is one of the most influential and widely-collected artists of the 1960s and quite possibly Japan’s premiere artist of the modern era.
		In Kusama's sculptures, the obsessive quality of the webs in her paintings is expressed in three dimensions.
		In the late 1970s, as Kusama stretched her vision further toward infinity by building ambitious mirror-room installations, she got lost somewhere along the way, and ended up back in Japan, at a Tokyo psychiatric hospital, in the small room where she stayed for over 20 years.
	www.fantasyarts.net /Yayoi_Kusama.htm (450 words)

	Yayoi Kusama - Los Angeles County Museum of Art, Los Angeles, CA ArtForum - Find Articles (Site not responding. Last check: 2007-10-31)
		When Yayoi Kusama arrived in New York from Japan in 1958, at age twenty-nine, she had a single purpose: to become a world-famous artist.
		Kusama readily describes a life of hallucinations and paranoia that compelled her to invent the designs she calls "infinity nets" - roughly semicircular hand-painted strokes of paint, linked and repeated - that coat the surfaces of her paintings and a large portion of her found-object sculpture.
		As the curators remind us, Kusama's self-aggrandizing antics - posing naked with her sculptures, frolicking in fields of the phalluses she purportedly feared, generally keeping the spotlight on herself - foreshadow the self-centered work of later artists.
	www.findarticles.com /p/articles/mi_m0268/is_n1_v37/ai_21118173 (788 words)

	Yayoi Kusama (Site not responding. Last check: 2007-10-31)
		Yayoi Kusama 1038240050 1038265200 New York USA Robert Miller Gallery http://www.robertmillergallery.com rmg@robertmillergallery.com 1038240050.jpg 1042930799 o Robert Miller Gallery Yayoi Kusama The Robert Miller Gallery is pleased to present five installations by Yayoi Kusama.
		Essentially self-taught and fiercely determined to be an artist since childhood, Yayoi Kusama arrived in the United States in 1957 at the age of 28.
		Yayoi Kusama has exhibited in hundreds of galleries and museums around the world during her extraordinary career.
	www.undo.net /artinpress/1038265200.1038240050.html (305 words)

	Yayoi Kusama introduction
		Yayoi and I first met in the Hague, Holland, in 1966.
		We struck up a good working relationship right away and had ourselves a nice spread in the long since defunct TIQ magazine.
		One of these photos, really a discard, turned up in the great 1998 Kusama exhibition (Museum of Modern Art, New York) where I stumbled over it on my first visit to MoMA.
	www.thelooniverse.com /yKusama/yindex.html (121 words)

	Yayoi Kusama; Richard Dunn - smh.com.au
		Yayoi Kusama begins an essay on her own work with the short statement, of which Wittgenstein would have approved, "It started from hallucination." And this is the best point to enter her life.
		But like flares, lava lamps and inter-galactic travel, her work has both rocketed and bombed in and out of favour, as modernism was usurped by postmodernism and then resurrected as an integral force of synthetic modernism.
		Kusama's latest resurgence started at the 1993 Venice Biennale, after which her work was bought by major museums on three continents.
	www.smh.com.au /articles/2002/04/23/1019441247410.html (740 words)

	Yayoi Kusama
		Yayoi Kusama arrived in New York in 1958 and quickly became known as an artist there.
		Although Kusama showed with influential artists in New York, she never achieved long term critical or financial support and returned to Tokyo in the mid-seventies.
		Yayoi Kusama's mental illness began in childhood when she began hallucinating the dots, nets and flowers which subsequently appear in her paintings and sculptures.
	www.oneroom.org /sculptors/kusama.html (313 words)

	YAYOI KUSAMA
		These recent installations reflect Miss Kusama's increasing interest in new technology while retaining her longstanding preoccupation with the ideas of repetition and infinity.
		Kusama's universe is made up from dots and infinite meshwork structures, which characteristically proliferate from watercolors, drawings, and paintings onto objects and entire rooms.
		Neighboring on Pop Art, Minimalism, and Abstract Expressionism, Kusama has developed an oeuvre which is strongly informed by political and feminist issues as well as by mystical ideas and which she prefers to refer to as 'obsessional art'.
	www.undo.net /artinpress/artist/YAYOI_KUSAMA.html (851 words)

	WAC \| Visual Arts \| Exhibition \| Love Forever: Yayoi Kusama, 1958-1968
		Love Forever: Yayoi Kusama, 1958–1968,co-curated by Lynn Zelevansky, Los Angeles County Museum of Art, and Laura Hoptman, The Museum of Modern Art, New York, focuses on Kusama's time in New York in order to help retrieve a chapter of art history that was all but forgotten.
		The obsessive character of Kusama's art and her manner of connecting the personal and formal, the organic and constructed, the ephemeral and the material, speaks directly to concerns that are central to today's art world.
		Hoptman writes that "Kusama's equation of herself with her work, and her relentless exhibition of the result, can be seen as a rare and militant claim of self-authorship.
	www.walkerart.org /archive/8/A973D5586AA1C2926161.htm (868 words)

	BOMB Archives \| Yayoi Kusama
		From 1958-73 Kusama lived in New York, where she was well known in the Manhattan art scene of Happenings, sexual revolution and anti-war protest–all featured in her work of that period.
		Kusama’s art, which bridges Eastern and Western traditions, combines elements of 1960s American psychedelia and Pop culture, with the artist’s obsessive all-over patterning.
		In her installations, (often involving her own performance participation), the artist compulsively covers every surface either in dots, mirrors, or phallus-like protrusions.
	www.echonyc.com /~bomb/archive/kusama/kusama_bio.html (136 words)

	Yayoi Kusama
		Yayoi Kusama is one of Japan’s most distinguished artists.
		Born in 1929 in Japan, Kusama arrived in New York in 1958 where she showed her work with major painters and sculptors of the time such as Claes Oldenburg, Robert Morris and Andy Warhol.
		Kusama at Hôtel de la Monnaie on March 15, and by a meeting with the artist organised by Ecole Nationale des Beaux Arts on March 16 at 2.30 p.m
	www.galeriepieceunique.com /infoframes/kusama2.htm (169 words)

	MoMA.org \| Exhibitions \| 1998 \| Love Forever: Yayoi Kusama 1958-1968
		Kusama with "Love Forever" buttons, which she distributed at the opening of Kusama's Peep Show, a mirror-lined environmental installation at Castellane Gallery.
		The 70-plus works in the exhibition, many of them on view for the first time since their creation in the 1950s and 1960s, include paintings, drawings, collages, and sculptures; a 30-minute experimental film by the artist; three precedent-setting environmental installations; and slide documentation of her provocative performance pieces.
		Photo-documentation served a dual purpose for Kusama: not only did it allow her to preserve work that was ephemeral, but it also provided an alternate medium with which to create.
	www.moma.org /exhibitions/1998/kusama (498 words)

	YAYOI KUSAMA
		Kusama’s works, which she qualifies “obsessionnal”, is based on repetitions and multiplications of signs: as a child, she remembers having had the hallucinatory vision of a pea-shaped motif decorating a tablecloth at home being repeated throughout the room.
		Since then, her universe and her installations are inhabited by a multitude of colored peas and also mirrors and phallic shapes repeated to infinity: one remembers the “Repetitive-vision, Phallus-boat” shown at the gallery in March 2000.
		Mostly known for her sculptures and paintings, Kusama has also been involved in fashion, movies and has published several poems and novels.
	www.galeriepieceunique.com /infoframes/kusama3.htm (318 words)

	Pillows, Yayoi Kusama, Cerealart
		Kusama came to prominence in the late 50’s with her site specific installations, which today exist in the form of photography, and with her infamous dot and net obsession paintings.
		She continues to explore the influence of patterns, repetition, and the idea of infinity, of the notion that a two-dimensional work of art, of even an installation had the ability to transcend spatial limitations.
		The Kusama Balloons, which are made of synthetic leather, are available in three variations in size and color.
	www.spacify.com /ShowProduct.asp?pf_id=Cer.Pillows (220 words)

	artnet.com Magazine Features - kusama speaks
		Interest in Kusama in the Japanese art world has seen a marked increase in recent years.
		Kusama is now busy preparing for probably the most important show of her career, which will originate at the Los Angeles County Museum of Art in March next year.
		Titled "Yayoi Kusama Love Forever, 1958-1968," it will focus on her work from the early '60s when lived in New York City, and travel to the Museum of Modern Art in New York and then to the Walker Art Center in Minneapolis.
	www.artnet.com /Magazine/features/itoi/itoi8-22-97.asp (1056 words)

	Yayoi Kusama (Site not responding. Last check: 2007-10-31)
		Kusama's trademark has been her patterned works, inundated with dotted marks or painstakingly executed patterns that the artist describes as "nets" or "veils" that separate her from others.
		Abandoned by her father, and rebuked by her mother for her artistic inclinations, in 1957 she left Japan to pursue life as an artist in the United States.
		Kusama returned to Japan in 1975, twenty years after her arrival in the United States, and voluntarily committed herself to a mental institution, stating that hospitalization elevated her state of mind.
	www.bassmuseum.org /contact/kusama.html (579 words)

	....yayoi-kusama.jp....
		In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival.
		From1998 to 1999, a major retrospective of Kusama’s works which opened at the Los Angeles County Museum of Art traveled to the Museum of Modern Art, New York, the Walker Art Center and the Museum of Contemporary Art, Tokyo.
		Kusama participates in various activities in other than art, such as photographic collaboration with photographer Nobuyoshi Araki, an appearance in the film “Topaz” written and directed by writer Ryu Murakami, and collaboration with musician Peter Gabriel and fashion designer Issey Miyake.
	www.yayoi-kusama.jp /e/biography/index.html (554 words)

	Yayoi Kusama - DiscoverNikkei.org
		"Yayoi Kusama: Steel Balls and Soft White Objects" (http://www.artnet.com/ag/fineartthumbnails.asp?gid=754andcid=69466): New York, Robert Miller Gallery, October 16-November 13 2004.
		Notice (http://www.erikapalomino.com.br/moda/noticias/index.php?md_noti_id=2571): "Artista plástica Yayoi Kusama abre nova exposição em SP".
		"Yayoi Kusama: Early Drawings from the Collection of Richard Castellane, Class of 1955" (http://www.princeton.edu/pr/news/00/q2/0512-kusama.htm): Princeton NJ, Princeton University Art Museum, May 9-July 30 2000.
	www.discovernikkei.org /wiki/Yayoi_Kusama (717 words)

	Yayoi Kusama Online
		Yayoi Kusama at the National Gallery of Art, Washington D.C. Infinity Nets Yellow, 1960
		Blanton Museum of Art at the University of Texas, Austin
		All images and text on this Yayoi Kusama page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/kusama_yayoi.html (188 words)

	Yayoi Kusama ( - ) Artwork Images, Exhibitions, Reviews
		Yayoi Kusama - No. F 1959 oil on canvas The Museum of Modern Art Japanese
		Yayoi Kusama - The Hill, 1953 A (No. 30) 1953 gouache, pastel, oil Hirshhorn Museum Japanese
		The focus of the show however lies on the oeuvre of the last ten years, the majority of which are diary-like drawings, in which text and symbols frequently mingle.
	www.wwar.com /masters/k/kusama-yayoi.html (319 words)

	Queensland Art Gallery - Yayoi Kusama (Site not responding. Last check: 2007-10-31)
		Yayoi Kusama is one of the most significant contemporary artists to emerge from Japan.
		Suffering from 'rijin'sho', or depersonalisation syndrome, Kusama's art triggers visual experiences that metaphorically communicate the hallucinations, or veil of dots, she has endured since she was a child.
		This vibrant iconography, often transposed as nets or auras, dominates her practice.
	www.qag.qld.gov.au /old/collection/contemporary_asian_art/yayoi_kusama (184 words)

Try your search on: Qwika (all wikis)