YAYOI KUSAMA SCREENPRINT ON KAKITASHI PAPER LEMON SQUASH. Date 1999. Number 39/60. Image size 54cm by 45cm. Whole sheet size 70cm by 59cm. Shipping cost incluing pack ange deliver to US address 50 USD and International 150 USD. We can arrange door-to-door delivery to most east coast address and provide to check perior to pay. By her own account, Kusama began painting as a child, at about the time she began experiencing hallucinations that often involved fields of dots. Those hallucinations and the theme of dots would continue to inform her art throughout her career. She had little formal training, studying art only briefly (1948–49) at the Kyōto City Specialist School of Arts. Family conflict and the desire to become an artist drove her to move in 1957 to the United States, where she settled in New York City. Before leaving Japan, she destroyed many of her early paintings.Her early work in New York City included what she called “infinity net” paintings. Those consisted of thousands of tiny marks obsessively repeated across large canvases without regard for the edges of the canvas, as if they continued into infinity. Such works explored the physical and psychological boundaries of painting, with the seemingly endless repetition of the marks creating an almost hypnotic sensation for both the viewer and the artist. Her paintings from that period anticipated the emerging Minimalist movement, but her work soon transitioned to Pop art and performance art. She became a central figure in the New York avant-garde, and her work was exhibited alongside that of such artists as Donald Judd, Claes Oldenburg, and Andy Warhol. Obsessive repetition continued to be a theme in Kusama’s sculpture and installation art, which she began to exhibit in the early 1960s. The theme of sexual anxiety linked much of that work, in which Kusama covered the surface of objects, such as an armchair in Accumulation No. 1 (1962), with small soft phallic sculptures constructed from white fabric. Installations from that time included Infinity Mirror Room—Phalli’s Field (1965), a mirrored room whose floors were covered with hundreds of stuffed phalli that had been painted with red dots. Mirrors gave her the opportunity to create infinite planes in her installations, and she would continue to use them in later pieces. Kusama moved back to Japan in 1973. From 1977, by her own choice, she lived in a mental hospital. She continued to produce art during that period and also wrote surreal poetry and fiction, including The Hustlers Grotto of Christopher Street (1984) and Between Heaven and Earth (1988).Kusama returned to the international art world in 1989 with shows in New York City and Oxford, England. In 1993 she represented Japan at the Venice Biennale with work that included Mirror Room (Pumpkin), an installation in which she filled a mirrored room with pumpkin sculptures covered in her signature dots. Between 1998 and 1999 a major retrospective of her works was shown at the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Walker Art Center in Minneapolis, Minnesota, and Tokyo’s Museum of Contemporary Art. In 2006 she received the Japan Art Association’s Praemium Imperiale prize for painting. Her work was the subject of a major retrospective at the Whitney Museum of American Art in New York City in 2012, and a traveling exhibition attracted record crowds at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., in 2017. The latter show featured a sample of Kusama’s Infinity Mirrored Rooms, installations usually comprising a mirrored room with hundreds of coloured lights, and the works soon became some of her most popular pieces. That year she opened a museum dedicated to her work in Tokyo, near her studio and the psychiatric hospital where she lived.