Polka-Dot Artist Yayoi Kusama Dies at 97
Polka-Dot Artist Yayoi Kusama Dies at 97
The News
Yayoi Kusama, the Japanese artist who covered paintings, sculptures and entire rooms in polka dots and became one of the most popular artists on earth, has died at 97.
Her studio announced the death in a statement posted on her website, saying she died in a Tokyo hospital on Aug. 14, according to The Guardian. Reuters reported the death citing the Japanese news agency Kyodo.
"Throughout an extraordinary lifetime devoted entirely to artistic creation, Kusama pursued an internationally acclaimed career as a pioneering avant-garde artist whose creative practice encompassed visual art, performance, fiction, and poetry," the studio statement said. "She continued to paint until her final days, never setting aside her brush."
Timeline
Kusama is born in Matsumoto, Japan, to a wealthy family that ran plant nurseries. She begins having hallucinations as a child, seeing dots and nets swallow the room around her, and draws what she sees.
At 13 she is conscripted to sew fabric for Japanese army parachutes. She later studies traditional nihonga painting in Kyoto.
Rejecting an arranged marriage, she leaves Japan for New York. Georgia O'Keeffe, to whom Kusama had mailed her work, helped her get a foothold in the United States, according to Deutsche Welle.
She sells one of her "infinity net" paintings — dense fields of dotted brushwork — to artists Frank Stella and Donald Judd for $75.
She begins her "soft sculptures," furniture and ladders smothered in white stuffed phallic shapes, work she said was an attempt to confront her fear of sex as something dirty.
Uninvited, she stages "Narcissus Garden" at the Venice Biennale — 1,500 mirrored spheres on the lawn, which she offers for $2 apiece under the sign "Your narcissism for sale." Officials shut the sale down.
Her New York "happenings" turn political: she stages the city's first "homosexual wedding" in Tribeca, washes a Soviet flag outside the United Nations to protest the invasion of Czechoslovakia, and writes to President Richard Nixon offering to sleep with him in exchange for ending the Vietnam War.
Back in Japan and in deteriorating mental health after the 1972 death of her close friend, the artist Joseph Cornell, she checks herself into a Tokyo psychiatric hospital with art therapy courses — and decides to live there permanently, working daily in a nearby studio.
She returns to the Venice Biennale as Japan's officially invited artist, filling a mirrored room with pumpkin sculptures.
Retrospectives at New York's Museum of Modern Art (1998), Tate Modern in London (2012) and the Hirshhorn Museum in Washington (2017) turn her into a blockbuster draw.
Her painting "White No 28" sells for $7.1 million at auction, then a record for a living female artist.
Kusama dies in a Tokyo hospital, her studio said.
Reactions
Her studio said it would "carry forward Kusama's wishes and, through art, continue to bring hope and strength for the future to people around the world."
Kusama was blunt about what drove the work. "My artwork is an expression of my life, particularly of my mental disease," she told Bomb Magazine. Of the visions that produced the dots, she said she felt "as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness."
She also insisted, for decades, that the male artists around her got the credit. She maintained that ideas from her New York years were appropriated by white male artists, including Andy Warhol, while she was written out of art history. Stephan Diederich, curator of a 2026 Kusama retrospective at Cologne's Museum Ludwig, told Deutsche Welle she "was very confident in saying that she set the benchmarks that her male colleagues later drew on," while adding it is impossible to say definitively who was first.
Diederich also credited her openness about mental illness at a time when it was heavily stigmatized: "For her, art was a survival strategy and a form of therapy."
Kusama never expected the establishment to sort out her legacy. "I cannot imagine how I will be classified after my death," she said. "It feels good to be an outsider."
What's Next
Her studio has not announced funeral or memorial arrangements. Kusama's installations remain on view in museums and collections worldwide, including the Museum Ludwig retrospective in Cologne, and her studio said it intends to keep her work in front of the public.
More
The late-career fame was enormous and, by her own telling, wanted — she once told the Financial Times she wished "to become more famous, even more famous." Her mirrored Infinity Rooms became a social-media phenomenon: The Broad in Los Angeles sold 90,000 advance tickets to a 2018 show, fans queued for hours for 30 seconds inside an installation, and her Tate Modern run sold out along with its extension. The selfie era cut both ways. Her 2017 Hirshhorn show in Washington was briefly closed after a visitor damaged a work while trying to take a picture.
She worked to the end, painting daily out of the studio beside the hospital she called home for nearly 50 years. "I create art for the healing of all mankind," she said.
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