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The Japanese artist’s polka-dot-covered paintings, phallic sculptures and public performances caused a stir in New York City and Europe in the 1960s. Yayoi Kusama’s work was often seen as assertively erotic, although its intended effect was the opposite. “By continually reproducing the forms of things that terrify me,” she said, “I am able to suppress the fear.” Credit. Philip Game/Alamy Yayoi Kusama, a Japanese artist whose polka-dot-covered paintings, phallic sculptures and public performances caused a stir in New York City and Europe in the 1960s, and whose mirrored “Infinity Room” installations became selfie sensations and blockbuster museum and gallery attractions in recent decades, died on Aug. The Yayoi Kusama Museum and the Yayoi Kusama Foundation announced her death, at a hospital, on Thursday. Far larger in scale than the Abstract Expressionist works that were then dominating New York galleries, her pieces quickly attracted the notice of young artists who were trying to take American art in new directions.
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1 confirmed death — Yayoi Kusama, 97.
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The Japanese artist’s polka-dot-covered paintings, phallic sculptures and public performances caused a stir in New York City and Europe in the 1960s. Yayoi Kusama’s work was often seen as assertively erotic, although its intended effect was the opposite. “By continually reproducing the forms of things that terrify me,” she said, “I am able to suppress the fear.” Credit. Philip Game/Alamy Yayoi Kusama, a Japanese artist whose polka-dot-covered paintings, phallic sculptures and public performances caused a stir in New York City and Europe in the 1960s, and whose mirrored “Infinity Room” installations became selfie sensations and blockbuster museum and gallery attractions in recent decades, died on Aug. The Yayoi Kusama Museum and the Yayoi Kusama Foundation announced her death, at a hospital, on Thursday. Far larger in scale than the Abstract Expressionist works that were then dominating New York galleries, her pieces quickly attracted the notice of young artists who were trying to take American art in new directions.
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