Born in 1929, Kusama grew up on her wealthy family’s seed nursery in Matsumoto, Japan. She recalled that, when she was 10, she had the first of the hallucinations that she would experience all her life: she’s described it as the red flower-patterned tablecloth that seemed to spread to everything.
After moving to the United States in 1957—first Seattle, then New York the following summer–she filled canvases with little circles for her “Infinity Net” paintings, obsessive, minimalist versions of the Abstract Expressionist art. “This endless repetition caused a kind of dizzy, empty hypnotic feeling,” Kusama said in a 1964 radio interview. She also found them personally calming, healing.
Around 1962 and ’63, she began sewing and stuffing phalluses. She covered coats with them and shoes and chairs and a rowboat and whole rooms.
Yayoi Kusma, “Infinity Dots,” 1990, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)
Kusama created her first “Infinity Mirror Room” in 1965, with “Infinity Mirror Room (Phalli’s Field).” She filled the floor of the mirrored space with hundreds of red and white polka dot phalluses. “Kusama’s Peep Show: Endless Love Show” from 1966 invited visitors to stick their heads in one of two windows into a hexagonal mirrored room aglow with blinking colored lights accompanied by music by The Beatles.
At “Body Festivals” and “Self-Obliteration” performances around New York in 1967 and ‘68, Kusama invited people to strip naked, then she painted them with polka dots. The events became increasingly politically charged—protesting the American war in Vietnam or the Soviet invasion of Czechoslovakia.
She had an intense, apparently erotic, but platonic with the artist Joseph Cornell, who inspired her to create collages.
In her 2002 autobiography, she made racist statements, including calling her old New York neighborhood a “slum” where real estate prices were “falling by $5 a day” because of “Black people shooting each other out front, and homeless people sleeping there.” She also called Black people “primitive, hyper-sexualized beings.” She issued an apology in 2023: “I deeply regret using hurtful and offensive language in my book.”
In 1973, Kusama returned to Japan, where she continued to suffer from anxiety attacks, and in 1977, took up residence at the Seiwa Hospital in Tokyo, where she’d been getting periodic treatment for mental illness, while maintaining her own apartment and studio nearby.
Over the past two decades, as Kusama returned to making walk-in “Infinity Mirrored Rooms,” she attracted blockbuster crowds and became an international artworld star.
Yayoi Kusama in “Flower Obsession.” (Photo by Yusuke Miyazaki)Yayoi Kusama’s “Infinity Mirrored Room – Dancing Lights That Flew Up to the Universe,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Infinity Mirrored Room – Dancing Lights That Flew Up to the Universe,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s family, ca. 1929. (Courtesy of the artist)Yayoi Kusama, title unknown, c. 1967-69.Yayoi Kusama, title unknown, c. 1967-69.Yayoi Kusama with “Pumpkin,” 2010. (Courtesy of Ota Fine Arts, Tokyo/Singapore/ Shanghai; Victoria Miro, London; David Zwirner, New York)Yayoi Kusama, “Alone, Buried in a Flower Garden,” 2014. Acrylic on canvas. (Collection of the artist)Yayoi Kusama, “Summer Flowers,” 1988. Acrylic on canvas. (Collection of the artist)Yayoi Kusama, “Pumpkins Screaming About Love Beyond Infinity,” 2017, at The New York Botanical Garden, 2021. Mirrors, acrylic, glass, LEDs, and wood panels. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner)Yayoi Kusama, “Infinity Mirrored Room—Illusion Inside the Heart,” 2020, at The New York Botanical Garden, 2021. Mirror-polished stainless steel, glass mirrors, and colored glass. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner)Yayoi Kusama, “My Soul Blooms Forever,” 2019, at The New York Botanical Garden, 2021. Urethane paint on stainless steel. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. Photo by Robert Benson Photography.)A variety of paintings on canvas by Yayoi Kusama exhibited in “Kusama: Cosmic Nature” at The New York Botanical Garden, 2021. (Photo by Robert Benson Photography)Yayoi Kusama, “Narcissus Garden,” 1966/2021, at The New York Botanical Garden, 2021. 1,400 stainless steel spheres. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. Photo by Robert Benson Photography.)Yayoi Kusama, “Flower Obsession (Sunflowers),” 2000. Video Still. (Collection of the artist)Yayoi Kusama, “I Want to Fly to the Universe,” 2020, at The New York Botanical Garden, 2021. Urethane paint on aluminum. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner)Yayoi Kusama, “Ascension of Polka Dots on the Trees,” 2002/2021, at The New York Botanical Garden, 2021. Printed polyester fabric, bungees, and aluminum staples installed on existing trees. (Collection of the artist. Photo by Robert Benson Photography.)Yayoi Kusama, “Dancing Pumpkin,” 2020, at The New York Botanical Garden, 2021. Urethane paint on bronze. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. Photo by Robert Benson Photography)Yayoi Kusama, “Life,” 2015, at The New York Botanical Garden, 2021. Fiberglass-reinforced plastic, tiles, and resin. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. Photo by Robert Benson Photography.)Yayoi Kusama, “I Want to Go to the Universe,” 2013. Acrylic on canvas. (Collection of the artist)Yayoi Kusama, “Hymn of Life—Tulips,” 2007, at The New York Botanical Garden, 2021. Mixed media. (Collection of the City of Beverly Hills)Yayoi Kusama, “Dancing Pumpkin,” 2020, at The New York Botanical Garden, 2021. Urethane paint on bronze. (Courtesy of Ota Fine Arts, Victoria Miro, and David Zwirner. Photo by Robert Benson Photography)Yayoi Kusama’s “My Eternal Soul” series at David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusma, “Bird,” 1980, collage, pastel, gouache and ink on paper. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Hanako,” 2004, stryol metal, paint on specific canvas, motor. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “Infinity Dots,” 1990, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, untitled, 1953. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, untitled, 1953, pastel and gouache on paper. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “The Galaxy,” 1994, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “Mushrooms,” 2005, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “Mantis,” 1981, mixed media and collage on paper. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “Infinity-Nets (QPS),” 2008, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusma, “Fallen Blossoms,” 1990, acrylic on canvas. (Courtesy Mucciaccia Gallery, New York)Yayoi Kusama’s “Sleeping Girl,” 1988, plastic, modeling clay, acrylic, glitter and feathers, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Increment in the Spring,” 1986, mixed media, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Hanako,” 2004, stryol metal, paint on specific canvas, motor, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Taka-Chan” (left), 2005, stryol metal, paint on specific canvas, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Taka-Chan,” 2005, stryol metal, paint on specific canvas, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Taka-Chan,” 2005, stryol metal, paint on specific canvas, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Miiko-Chan” (left), 2004, stryol metal, paint on specific canvas, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Hi, Konnichiwa (Hello)! Miiko-Chan,” 2004, stryol metal, paint on specific canvas, at Mucciaccia Gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s exhibit “Every Day I Pray for Love,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s exhibit “Every Day I Pray for Love,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Infinity Mirrored Room – Dancing Lights That Flew Up to the Universe,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama’s “Infinity Mirrored Room – Dancing Lights That Flew Up to the Universe,” David Zwirner gallery, New York, Dec. 5, 2019. (Greg Cook photo)Yayoi Kusama, “A Flower (No. 14),” 1953, ink, gouache and pastel on woven paper.Yayoi Kusama, “Blue Coat,” 1965, stuffed and sewn aqua and black striped cotton, wire hanger.Yayoi Kusama, “Blue Coat,” 1965, stuffed and sewn aqua and black striped cotton, wire hanger.Yayoi Kusama, “Beyond the Sky,” 1988, acrylic on canvas.Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama’s “Love Is Calling” at Boston’s Institute of Contemporary Art, Sept. 17, 2019. (Greg Cook)Yayoi Kusama pictured with her work “Love Is Calling” during her solo exhibition “I Who Have Arrived In Heaven” at David Zwirner gallery, New York, 2013. (Courtesy ICA Boston)Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at deCordova Sculpture Park and Museum, Sept. 15, 2018. (Greg Cook)Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at deCordova Sculpture Park and Museum, Sept. 15, 2018. (Greg Cook)Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at deCordova Sculpture Park and Museum, Sept. 15, 2018. (Greg Cook)Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at deCordova Sculpture Park and Museum, Sept. 15, 2018. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova, Sept. 15, 2018. (Greg Cook)Looking out one of the holes in Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)The exterior of Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)The exterior of Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Inside Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at deCordova Sculpture Park and Museum, Sept. 15, 2018. (Greg Cook)The exterior of Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)The exterior of Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)The exterior of Yayoi Kusama’s “Where the Lights in My Heart Go,” an infinity mirror room, 2016, at Decordova. (Greg Cook)Yayoi Kusama “Where the Lights in My Heart Go,” 2016, mirror polished stainless steel with glass mirror. (Courtesy deCordova Sculpture Park and Museum)
