Louis Vuitton meets high Art and Interior Design - Upper East Side fashion - Yayoi Kusama on Madison Ave E.75 street.
|Dots Obsession - relentless singularity of perfection of the idea.|
|Loius Vuitton's latest collaborator, Yayoi Kusama|
|1967 Infinity Nets oil on canvas|
|1982 Pumpkin lithograph|
|1991 Mirror Room|
|2000 White Dots mixed media|
|2004 The Moment of Regeneration|
Fashionistas, prepare to go dotty: The much-anticipated collaboration between Japanese artist Yayoi Kusama and Marc Jacobs by Louis Vuitton was unveiled at Louis Vuitton’s Fifth Avenue flagship store in New York, with Kusama-inspired window displays and pop-up stores set to open across the globe later this week.
Timed to coincide with the opening of a Kusama retrospective at the Whitney Museum of American Art, which recently finished a run at the Tate Modern in London, the Vuitton venture will see a new line of ready-to-wear clothes and accessories, including polka-dotted jewelry, purses, shoes and watches.
Yayoi Kusama is one of the most influential and widely collected artists of the 1960s and quite possibly Japan's premiere artist of the modern era. Critics have variously ascribed her work to minimalism, feminism, obsessivism, surrealism, pop, and abstract expressionism.
Kusama was born in Matsumoto in 1929. Kusama remembers growing up "as an unwanted child of unloving parents." A penchant for drawing and painting led her to plot her escape with the help of art magazines, and after sewing black-market American currency into the seams of her clothes, Kusama fled Japan on the advice of her hero, Georgia O'Keeffe.
She arrived in New York in 1958 and began to create a life for herself as an artist. Kusama made the front page of the New York Daily News in August 1969 after infiltrating the Museum of Modern Art's sculpture garden with a bunch of naked co-conspirators to perform her "Grand Orgy to Awaken the Dead."
Kusama's paintings, collages, sculptures, and environmental works all share an obsession with repetition, pattern, and accumulation. Hoptman writes that "Kusama's interest in pattern began with hallucinations she experienced as a young girl – visions of nets, dots, and flowers that covered everything she saw. Gripped by the idea of 'obliterating the world,' she began covering larger and larger areas of canvas with patterns." Her organically abstract paintings of one or two colours (the Infinity Net series), which she began upon arriving in New York, garnered comparisons to the work of Jackson Pollock, Mark Rothko, and Barnett Newman.
Kasuma knows how to push the envelope in the most subtle ways. Even those opposed to polka dots find themselves being drawn into to her seductive pattern that adorns entire rooms and adorns a object her haute couture magic wand can cast its spell upon. Kasuma proves that her work is timeless and grounded in a relentless search for the perfect single idea. Kasuma has been garnering New York with her magic since 1958.
“Yayoi Kusama” continues through Sept. 30 at the Whitney Museum of American Art; (212) 570-3600, whitney.org.