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Yayoi Kusama by Robert Shore Mini-biography of Yayoi Kusama's life and artistic career.

Yayoi Kusama: Every Day I Pray for Love by Yayoi Kusama In her most personal book to date, Yayoi Kusama brings us into her private world through poetic recollections, giving insight into her creative process and the essential role language plays in her work and daily life. With a new focus on Kusama's use of language, this book gives an impressive overview of her poetry, which the artist creates alongside her work in other media. Highlighting the importance of language to Kusama, the book draws special attention to the captivating poetic titles of her paintings. Centered around EVERY DAY I PRAY FOR LOVE, Kusama's acclaimed exhibition at David Zwirner, New York, in 2019, this book features more than 300 pages of new paintings, sculptures, and Infinity Mirrored Rooms. It also includes photographs of Kusama over time, offering a unique visual timeline of this iconic artist.

Yayoi Kusama by Yayoi Kusama This publication, originally published to accompany a sell-out exhibition at Matsumoto City Museum of Art, offers an overview of Kusama's entire career, including works from her youth, when she indulged in drawing to escape from her hallucinations; paintings made when she was based in New York, including 'Infinity Nets' and 'Polka Dots'; works from the1980s and 1990s, when she participated in the Venice Biennale; and last but not least, the ongoing large-scale series 'My Eternal Soul'. The plates are in chronological order and followed by detailed captions.

Yayoi Kusama: Festival of Life by Jenni Sorkin (Text by) "Yayoi Kusama: Festival of Life" documents the artist's most recent, concurrent exhibitions at David Zwirner's Chelsea and Upper East Side spaces in New York, featuring a selection of paintings from her iconic My Eternal Soul series, new large-scale flower sculptures, a polka-dotted environment, two Infinity Mirror Rooms, and a selection of new Infinity Nets paintings. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.

Yayoi Kusama by Catherine Taft; Laura Hoptman; Akira Tatehata Yayoi Kusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama's subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, which is arguably still one of the most comprehensive studies on her work to date, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.

Yayoi Kusama by Mika Yoshitake (Editor); Melissa Chiu (Contribution by); Alexander Dumbadze (Editor); Yayoi Kusama (Contribution by); Gloria Sutton (Contribution by) This book explores Yayoi Kusama's best-known and most spectacular series--the Infinity Mirror Rooms--and its influence on the course of contemporary art over the past 50 years. Kusama's iconic Infinity Mirror Rooms, which originated with Phalli's Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's "self-obliteration" in the Vietnam War era to her more harmonious aspirations in the present. Generously illustrated, this publication invites readers to examine the series' impact throughout the artist's career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Yayoi Kusama by Jo Applin Almost a half-century after Yayoi Kusama debuted her landmark installation 'Infinity Mirror Room - Phalli's Field' (1965) in New York, the work remains challenging and unclassifiable. Jo Applin looks at the installation in detail and places it in the context of subsequent art practice and theory as well as Kusama's own (as she called it) 'obsessional art'.