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Eyeing one of the galleries stacked with her psychedelic paintings at Manhattan’s Whitney Museum of Art Monday afternoon, Yayoi Kusama said, “I’m genius.”
At 83, the beyond-prolific artist wasn’t overstating her career. A beacon in the avant-garde, Pop Art, minimalist and feminist art movements, the Japanese artist’s portfolio includes painting, collage, sculpture, performance art and environmental installations. Georgia O’Keeffe helped her find her way to the New York art scene where Kusama influenced artists such as Andy Warhol and Claes Oldenburg, and hit the Hamptons with Mark Rothko and other creative pals. During her 15-year stay in the States, Kusama left quite an impression. Widely known for her polka dots and her naked performers, she staged the Grand Orgy to Awaken the Dead at the Museum of Modern Art and presided over the Homosexual Wedding at the Church of Self-Obliteration at 33 Walker Street. She even wrote to former President Richard Nixon offering a sexual romp if he would stop the Vietnam War.
A few years after moving back to Japan in 1973, Kusama checked into the Seiwa Hospital for the Mentally Ill, where she continues to live by choice and work tirelessly. Kusama has returned to New York this week for the first time in decades, thanks to a collaboration with Louis Vuitton and her retrospective at the Whitney, which bows Thursday. Wearing her polka dot Louis Vuitton scarf, and a polka dot dress her team helped design, she graciously thanked Louis Vuitton chairman and chief executive officer Yves Carcelle for giving her reason to return to New York. The gratitude appeared to be mutual as Carcelle told her early on in their conversation that he owns one of her paintings from 1953.
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Another one of her paintings from that period sold at Christie’s for $5.1 million a few years ago, a record for any living female artist. And the octogenarian shows no signs of easing up. “I painted everything myself and I am very proud of that. I have done 200 paintings recently — only some of them are in the gallery downstairs,” Kusama said. “My legs hurt because of the years and years [I have spent] standing while painting. Now I am in a wheelchair [albeit a polka dot-covered one]. The doctor is taking care of my knees. He said he can fix them.”
WWD: It has been many years since you were in New York. What strikes you about how the city has changed?
Yayoi Kusama: When I was living here in the Sixties, it was like the city was at the utmost point of the world. There was more energy. Today it lacks energy.
WWD: How was it that you happened to write to Georgia O’Keeffe and she encouraged you to come to the U.S.?
Y.K.: In my home country, there was a little shop with old books but it was really in the countryside. You couldn’t find English books. I found this very avant-garde American art book that had information about Georgia O’Keeffe. I was very much impressed by her. I went to Tokyo to the American Embassy and I spent six hours in the documentary room looking up her name on this Who’s Who list of Americans that they had. I wrote a letter to her and sent a picture I had done, too. It was a daring thing to do. Everyone told me she will never write back but she did.…Young women, what they called war brides, were the only ones who traveled at that time.
WWD: Is it true that you started your polka dot technique at the age of 10?
Y.K.: My mother was against me being an artist. She just wanted me to marry a rich man. She was so angry when I started painting that she never gave me any money to continue. Other people helped me financially and bought my paintings. Georgia O’Keeffe proposed that I live with her. She was in New Mexico then and I wanted to be in New York.