ii 草間彌生引述於Nadine Daher,《紀念藝術家草間彌生的永恆成就》,《史密森尼》雜誌,2020年1月14日,載自網路 iii 草間彌生引述於建畠哲,《草間彌生》,倫敦,2000年,第11頁 iv 《草間彌生,無限之網: 草間彌生自傳》,Ralph McCarthy著,倫敦,2001年,第29頁 v 唐納德·賈德,《評論和預覽:本月新人——草間彌生》,《Art News》,第58卷,第6期,1959年,第17頁 vi 弗萊文·賈德引述於Javier Pes,《草間彌生重要朋友唐納德·賈德》,《藝術新聞》,2017年8月30日,載自網路
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.