i 草間彌生,引述於《無限的網:草間彌生自傳》,由Ralph McCarthy,倫敦,2011年,第75頁。 ii 草間彌生,《掙扎靈魂的奧德賽》,《藝術生活》,東京,1975年11月,第96-113頁,引述於《草間彌生》,倫敦,2000年,Phaidon出版社,第119頁。 iii 草間彌生,引述於尤德·亞爾庫特,《波點人生:對話草間彌生》,《The New York Free Press & West Side News》,1968年2月15日,引述於《草間彌生回顧展》,Stephanie Rosenthal編,慕尼黑,2021年,第76頁。 iv 草間彌生,引述於《草間彌生為何情繫南瓜?》,《Phaidon》,載自網絡。
Named "the world's most popular artist" in 2015, it's not hard to see why Yayoi Kusama continues to dazzle contemporary art audiences globally. From her signature polka dots—"fabulous," she calls them—to her mirror-and-light Infinity Rooms, Kusama's multi-dimensional practice of making art elevates the experience of immersion. To neatly pin an artistic movement onto Kusama would be for naught: She melds and transcends the aesthetics and theories of many late twentieth century movements, including Pop Art and Minimalism, without ever taking a singular path.
As an nonagenarian who still lives in Tokyo and steadfastly paints in her studio every day, Kusama honed her punchy cosmic style in New York City in the 1960s. During this period, she staged avant-garde happenings, which eventually thrust her onto the international stage with a series of groundbreaking exhibitions at the Museum of Modern Art in the 1980s and the 45th Venice Biennale in 1993. She continues to churn out paintings and installations at inspiring speed, exhibiting internationally in nearly every corner of the globe, and maintains a commanding presence on the primary market and at auction.