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  • Provenance

    Galleria d'Arte del Naviglio, Milan; Private Collection, Europe

  • Exhibited

    Milan, Galleria d'Arte del Naviglio, Driving Image Show, 1966; Love Forever: Yayoi Kusama, 1958-1968: Los Angeles County Museum of Art, 8 March - 8 June 1998; New York, The Museum of Modern Art New York, 9 July - 22 September 1998; Minneapolis, Walker Art Center, 13 December 1998 - 7 March 1999; Tokyo, Museum of Contemporary Art, 29 April - 4 July 1999

  • Literature

    L. Hoptman, A. Tatehata & U. Kultermann, Yayoi Kusama, London/New York, 2000, p. 50 (illustrated)

  • Catalogue Essay

    Yayoi Kusama, in an interview in 1964, describes the origin of the work in her Driving Image exhibition, first shown in the same year at the Castellane Gallery, New York: "My Aggregation Sculpture... arises from a deep, driving compulsion to realize in visible form the repetitive image inside of me. When this image is given freedom, it overflowd the limits of time and space. People have said that [it] represents and irresistible force...that goes by its own momentum once it has started."

  • Artist Biography

    Yayoi Kusama

    Japanese • 1929

    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 octogenarian who still lives—somewhat famously—in a psychiatric institution in Tokyo and steadfastly paints in her immaculate 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. 

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130

Untitled (Child Mannequin)

1964
Manequin, acrylic paint, wig, shoes, steel.
101.6 x 60 x 35.5 cm (40 x 23 5/8 x 14 in).
This work is accompanied by a certificate of authenticity signed by the artist.

Estimate
£60,000 - 80,000 

Sold for £103,250

Contemporary Art Day Sale

14 October 2010
London