Kusama: Infinity by David Benrimon Fine Art

KUS AM A

INFINITY

Table of Contents

B I O G R A P H Y � � � � � � � � 9 PRINTMAKING ��10 FLOWERS �� 13 P U M P K I N S � � � � � � � 2 7 FRUITS ��39 V A R I O U S � � � � � � � � � 4 7

biography Yayoi Kusama is one of the most important female artists working today. She is recognized for her artistic concepts of infinity, eternity and love through her signature use of infinity nets, polka dots and pumpkins. The Japanese artist’s highly influential career spans mesmeric paintings, immersive rooms, hypnotic installations, participatory performances and Happenings, outdoor sculpture, films, literary works, fashion, design and more. With a mental condition giving her hallucinatory visions of repetitive nets and dots, Kusama depicts these motifs as her mode of self-healing, independent from labels of Abstract Expressionism, Minimalism, Surrealism and Pop Art. Kusama was born in 1929 in Matsumoto City in the Nagano Prefecture of Japan to a family of high social standing, who for a century had managed wholesale seed nurseries. She grew up surrounded by mountain ranges, flower beds and greenhouses of violets and zinnias. Throughout her childhood, Kusama developed an obsessive anxiety and fear due to her bitter familial life, which led to visual and auditory hallucinations. She experienced talking pumpkins and flowers, as well as repeating infinity nets and floating dots expanding over her surroundings. These “images [that] poured from [her] mind the way lava flows from an erupting volcano”1 became the foundation of Kusama’s practice. Kusama first incorporated these dots and nets into her drawings around the age of ten, forming the basis of her decades-long career. In a small Matsumoto bookshop in 1955, Kusama found works by Georgia O’Keeffe in a book. As a young Japanese artist, with only brief training at the Kyoto Municipal School of Arts and Crafts, Kusama wrote a letter to the artist and O’Keeffe replied furthering her determination to move across the world to America. In November 1957, when she was 27 years old, Kusama arrived in New York as a struggling artist but soon established herself as an important avant-garde trailblazer. Her first breakthroughs were a solo exhibition of infinity-nets at Brata Gallery in 1959 and a show at Stephen Radich Gallery where she displayed a 33-foot long net canvas of small hand-painted white loops in 1961. Kusama continued to participate in many important exhibitions showing paintings and sculpture, as well as staging groundbreaking and influential Happenings like body painting festivals and anti-war demonstrations. She even founded a fashion company which marketed radically avant-garde clothes, called Kusama’s Fashions. In New York, she befriended artists Donald Judd, Joseph Cornell, Eva Hesse and Andy Warhol, and shared a studio building with Larry Rivers, John Chamberlain and On Kawara. After an explosive rise to fame in New York, Kusama returned to Tokyo in 1975 to voluntarily live in a psychiatric hospital as her visions worsened, where she continues to live today. In 1966, Kusama exhibited at the Venice Biennale and in 1993 she was invited to represent Japan, as the first solo artist and first woman to show at the Japanese Pavilion, where she created Mirror Room (Pumpkin). Kusama has exhibited extensively internationally, including significant solo-shows at the Center for International Contemporary Arts, New York in 1989 and a major retrospective at the Los Angeles County Museum of Art that traveled to the MoMA, New York, the Walker Art Center and the Museum of Contemporary Art, Tokyo from 1998 to 1999. Kusama’s current exhibition “Kusama: Cosmic Nature” at the New York Botanical Garden opened in Spring 2021. Her work resides in museums and art institutions worldwide. In 1994, she created a monumental yellow pumpkin to be permanently installed on Naoshima Island in Japan. The Benesse Art Site placed the work in an open-air installation at the end of a pier over the water.

printmaking “I have been making prints ever since I was captivated by their allure, and am constantly overwhelmed by the brilliance arising from within the process of making them… I create prints with all my heart for people who love them. Whenever I work on prints, I am filled with a wish to convey to the people my thought in a deep, straight and pure way with clear brightness. This is why I can keep creating prints. I wish to make countless duplicates of the same visual field and spread them across the world… Prints toward which I have these intense feelings are one of the objectives of art in my lifelong career. They also definitely represent a visual aspect of repetitive action and repetitive vision. I have been turning pages of my life using every possible means, such as sculpture, installation, electric environment, light source illusion, repetitive vision sex food-obsession, infinity nets, compulsive furniture, eternal vision against the background of the universe, and pursuit for ever-proliferating beauty and for boundless love and hope. And various discoveries of my soul. I would like to emphasize here that prints are part of each of these aspects.”2 For over 25 years, Yayoi Kusama has created an array of prints that are representative of her entire body of work. Through the print medium, Kusama reworks her infinity-net and polka dots motifs on her recurring subject matter of Pumpkins, Flowers and Fruit, among others. She has created over 400 editions that reflect the transformation of her work in other mediums. Kusama’s printmaking techniques include screen-printing, lithography, intaglio (etching) and relief methods (embossing). She has also experimented with adding collage and lamé (glitter) components. Kusama first incorporated prints as installation in her 1963 ‘Aggregation: One Thousand Boats Show’ at the Gertrude Stein Gallery in New York, where she surrounded a silver soft-sculpturecovered rowboat with 999 black-and-white offset lithographs of the boat photographed from above. Kusama created her first fine prints in 1979 in Tokyo. Although famous in New York, Kusama was virtually unknown back in Japan until her 1982 retrospective and used prints as a method to circulate her imagery. She had never been interested in prints as a medium until she met master printer Tokuzo Okabe. In 1984, Kusama began producing lithographs and etchings in collaboration with the printer Kihachi Kimua, and worked with printers Ishida Ryoichi and Shimo-oka Yoshiaki.3 Through these partnerships, Kusama continued to develop an impressive collection of prints alongside her work in other mediums, making her work more accessible to the public and collectors at all levels.

flo wers Yayoi Kusama’s lifelong fascination with the natural world is revealed through flowers’ prominence in her oeuvre. Kusama was born into an established family who owned and ran a seed farm, cultivating flower beds for seedlings in vast nurseries surrounded by the picturesque towering mountain ranges of the Japanese Alps. As a child, Kusama spent time sketching among the blossoming flowers. Her early botanical drawings feature close-up views of petals and stalks with notes of how buds might develop and grow. She was interested in how their colors and patterns would change through their life cycle. At this time, Kusama began experiencing visions and auditory hallucinations involving flowers talking and infinitely expanding in all directions. “One day, when I was a little girl, I found myself trembling, all over my body, with fear, amid flowers, incarnate, which had appeared all of a sudden. I was surrounded by several hundreds of violets in a flower garden. The violets, with uncanny expressions, were chatting among themselves just like human beings. No sooner had they and I had spiritual dialogues than I became infatuated with them, drawn into the glitter of illusion, away from this world. This was not an illusion but the real world, I told myself.”4 Her technique features chains of cellular forms which amass to create the image, recalling the biology of the plants themselves. For example, ‘Sunflowers’ (fig. 6) presents two colorful blooming sunflowers - the leaves and stalks stacked with linked bricks, while the petals and seeds radiate with polka dots. Flowers are crucial to her practice and her flower sculptures have appeared all over the world. In her current exhibition at the New York Botanical Gardens, she has wrapped trees in her designs and installed monumental flower sculptures throughout.

1. Tulips, 1986 Screenprint on Izumi paper Image: 21h x 18w in (53.5 x 46 cm) Sheet: 24 3/8h x 21 1/4w in (62 x 54 cm) Edition of 75 Raisonné no. 92

2. Flowers, 2002 Lithograph Image: 20 1/4h x 14 1/4w in (51.6 x 36.2 cm) Sheet: 29 1/2h x 21 5/8w in (75 x 55 cm) Edition of 50 Raisonné no. 309

3. Flowers, 1993 Screenprint on Vérin d’Arches paper Image: 10 3/4h x 8 5/8w in (27.3 x 22 cm) Sheet: 15 3/8h x 12 3/8w in (39 x 31.5 cm) Edition of 160 Raisonné no. 181

4. Flowers (1), 1985 Screenprint on Izumi paper Image: 17 3/4h x 20 3/4 in (45.2 x 52.6 cm) Sheet: 21h x 24w in (53.3 x 61 cm) Edition of 100 Raisonné no. 86

5. Three Flowers (III), 1992 Lithograph on Vérin d’Arches paper Image: 11h x 9w in (28.4 x 23 cm) Sheet: 17 1/2h x 12 1/2w in (44.6 x 31.7cm) Edition of 50 Raisonné no. 162

6. Sunflowers, 1989 Screenprint on Izumi paper Image: 20 3/4h x 17 7/8w in (52.8 x 45.4 cm) Sheet: 24h x 21w in (61 x 53.5cm) Edition of 100 Raisonné no. 126

pumpkins Known in Japan as kabocha, Kusama’s pumpkin motif has become a global icon and she calls the vegetable her “companion for life.” The pumpkin melds Kusama’s hallucinogenic repetition of polka dots, the lattice pattern of infinity nets and the pumpkin form. They are often covered in columns of multi-striated monochromatic dots that advance and descend into space, positioned against a background of tightly woven patterns of triangle-like nets. Kusama’s pumpkins are organic, imaginative, dynamic and mesmerizing. Fascination with the pumpkin began in her youth when she experienced hallucinogenic moments. Kusama recalls: “The first time I ever saw a pumpkin was when I was in elementary school and went with my grandfather to visit a big seed-harvesting ground. Here and there along a path between fields of zinnias, periwinkles, and nasturtiums I caught glimpses of the yellow flowers and baby fruit of pumpkin vines. I stopped to lean in for a closer look, and there it was: a pumpkin the size of a man’s head. I parted a row of zinnias and reached in to pluck the pumpkin from its vine. It immediately began speaking to me in a most animated manner. It was still moist with dew, indescribably appealing, and tender to the touch… I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual balance.”5 In 1946, Kusama completed her first Pumpkin painting for a traveling exhibition in Matsumoto, Kusama’s childhood town, in the traditional 19th century Japanese Nihonga style. For the next seventy years, Kusama has brought the kabocha to life, animating the shape with various colors and forms. Some pumpkins are tall and delicate, like ‘Pumpkin (2)’ (fig. 9) while others like ‘Dancing Pumpkin (YOR)’ (fig. 8) are bright orange and moving with personality.

7. A Pumpkin BB-C, 2004 Screenprint on Vérin d’Arches paper Image: 9 3/8h x 11 1/4w in (42 x 28.5 cm) Sheet: 12 7/8h x 15 1/8w in (33 x 38.5 cm) Edition 80 Raisonné no. 330

8. Dancing Pumpkin (YOR), 2004 Screenprint on Vérin d’Arches paper Image: 15 1/2h x 22w in (39.5 x 56.3 cm) Sheet: 19 1/2h x 26w in (50 x 66 cm) Edition of 80 Raisonné no. 321

9. Pumpkin (2), 1990 Screenprint on Izumi paper Image: 20 5/8h x 17 7/8w in (52.5 x 45.4 cm) Sheet: 25h x 21w in (63 x 53 cm) Edition of 150 Raisonné no. 144

10. Red Colored Pumpkin, 1994 Screenprint on Vérin d’Arches paper Image: 18h x 20 5/8w in (45.5 x 52.2 cm) Sheet: 21 5/8h x 25w in (55 x 63.5 cm) Edition of 98 Raisonné no. 189

11. A PUMPKIN GB-D, 2004 Screenprint on Vérin d’Arches paper Image: 9 3/8h x 11 1/4w in (24 x 28.5 cm) Sheet: 13h x 15w in (33 x 38.5 cm) Edition of 80 Raisonné no. 332

fruits Kusama has depicted fruit baskets and grapes throughout her body of work. Fruit and nature imagery is retained from Kusama’s childhood home in Matsumoto, Japan, where her family had wholesale seed nurseries and fields. During World War II, when much of Japan’s food supply was disrupted, the Kusama family storehouse was apparently always full of produce. In the late 1970s, Kusama moved away from abstract themes to focus more on still lifes. Her artwork began to incorporate pumpkins, grapes and flowers as she shifted her colorful nets and polka dots to the backdrop. In 1979, Kusama made her first two prints, which depict vegetables and shoes in the field. “Standing in the Visionary Field,” shows carrots, apples, bananas, grapes and cherries floating among infinity-nets. The fruit’s symbolism of life, plenty and growth appeal to Kusama’s aesthetic of nature, abundance and love. Kusama’s bowls of fruits also play on the traditional genre of still life. Her fruit baskets portray beautifully arranged mushrooms, zucchini, figs, pumpkin, pears, cherries and grapes. As seen in “Pumpkin and Fruits,” (fig. 12) each fruit is delineated using bricks, nets, and multi-striated polka dots that give the items depth and define their forms.

12. Pumpkin and Fruits, 1993 Screenprint on Vérin d’Arches paper Image: 9 1/2h x 13w in (24.2 x 33.2 cm) Sheet: 13h x 17w in (33.5 x 43 cm) Edition of 160 Raisonné no. 188

13. Fruits, 1997 Lithograph on Vérin d’Arches paper Image: 9 1/2h x 13w in (24 x 33 cm) Sheet: 13 3/8h x 17w in (34 x 43.2 cm) Edition of 125 Raisonné no. 234

14. Grapes, 1983 Screenprint on Pêche Soleil paper Image: 20 6/8h x 17 3/4 in (52.5 x 45 cm) Sheet: 25 1/4h x 21 7/8w in (64.3 x 55.5 cm) Edition of 100 Raisonné no. 29

various Kusama frequently depicts more contemporary, cosmopolitan items including high heel shoes and lemon squash beverages. While best known for infinity-net paintings and mirror rooms, these more mundane subjects highlight Kusama’s true mastery of abstractionist techniques. Her compositions are achieved through varying simple geometric patterns, like repeating nets, dots and bricks, placed next to one another to expertly demarcate borders and give the illusion of depth. “Coffee Cup” (fig. 16) and “Lemon Squash,” (fig. 18) a British term for a carbonated fruit drink, depict beverages with dots advancing from small and spread out to large and tightly placed, that create dimension of a round vessel. Kusama also inverts the pattern and color to portray different planes. Another example is ‘Shellfish, (fig. 15)’ a colorful collection of scallop, oysters and conch shells, in which Kusama overlaps her tightening and loosening intricate patterns to render the spiraling shell forms.

15. Shellfish, 1989 Screenprint on Izumi paper Image: 17 6/8h x 20 3/4 in (45.4 x 52.8 cm) Sheet: 21h x 24w in (53.5 x 61 cm) Edition of 100 Raisonné no. 124.

16. Coffee Cup, 1985 Screenprint 24 1/63h x 20 97/112w in 61h x 53w cm Edition of 100 Raisonné no. 79.

17. Infinity Nets, 1953-1985 Screenprint on Izumi paper Image: 17 3/4h x 20 3/4w in (45.2 x 52.6 cm) Sheet: 21h x 24w in (53.3 x 61 cm) Edition of 100 Raisonné no. 76

18. Lemon Squash, 1992 Lithograph on Vérin d’Arches paper Image: 10 7/8h x 8 5/8h in (27.5 x 22 cm) Sheet: 14 3/4h x 11 3/8w in (37.5 x 29 cm) Edition of 150 Raisonné no. 158

19. Shoes, 1984 Lithograph on Vérin d’Arches paper Image: 12 1/4h x 16w in (31.2 x 40.7 cm) Sheet: 16h x 22 1/4w in (43 x 56.5 cm) Edition of 30 Raisonné no. 43

I N D E X flowers

SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Okabe Tokuzo

Tulips, 1986 Screenprint on Izumi paper Image: 21h x 18w in (53.5 x 46 cm) Sheet: 24 3/8h x 21 1/4w in (62 x 54 cm) Edition of 75 Raisonné no. 92 SIGNATURE

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 112, cat. no. 181.

Flowers (1), 1985

Abe Publishing LTD., Yayoi Kusama: Prints - A

Screenprint on Izumi paper Image: 17 3/4h x 20 3/4 in (45.2 x 52.6 cm) Sheet: 21h x 24w in (53.3 x 61 cm) Edition of 100 Raisonné no. 86 SIGNATURE

Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p.

Signed, dated, tiled and numbered

62, cat. no. 92.

Printed by Okabe Tokuzo

Signed, dated and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY

Flowers, 2002 Lithograph Image: 20 1/4h x 14 1/4w in (51.6 x 36.2 cm) Sheet: 29 1/2h x 21 5/8w in (75 x 55 cm) Edition of 50 Raisonné no. 309 SIGNATURE Signed in the lower right margin “Yayoi Kusama,” titled, dated “FLOWERS 2002,” and numbered in the lower left margin.

BIBLIOGRAPHY

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 58, cat. no. 86

Three Flowers (III), 1992 Lithograph on Vérin d’Arches paper Image: 11h x 9w in (28.4 x 23 cm) Sheet: 17 1/2h x 12 1/2w in (44.6 x 31.7cm) Edition of 50 Raisonné no. 162 SIGNATURE

Catalogue raisonné “Yayoi Kusama prints 1979-

Signed, dated, titled in Japanese and numbered

2013, ABE Publishing Ltd., 2013”, p. 179, no. 309.

Printed by Kimura Kihachi

Flowers, 1993 Screenprint on Vérin d’Arches paper Image: 10 3/4h x 8 5/8w in (27.3 x 22 cm) Sheet: 15 3/8h x 12 3/8w in (39 x 31.5 cm) Edition of 160 Raisonné no. 181

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 103, cat. no. 162.

Sunflowers, 1989 Screenprint on Izumi paper

Image: 20 3/4h x 17 7/8w in (52.8 x 45.4 cm) Sheet: 24h x 21w in (61 x 53.5cm) Edition of 100 Raisonné no. 126 SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Ishida Ryoichi

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 83, cat. no. 126.

pumpkins 7.

A Pumpkin BB-C, 2004 Screenprint on Vérin d’Arches paper Image: 9 3/8h x 11 1/4w in (42 x 28.5 cm) Sheet: 12 7/8h x 15 1/8w in (33 x 38.5 cm) Edition of 80 Raisonné no. 330 SIGNATURE Signed, dated, titled and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 189, cat. no. 330.

Dancing Pumpkin (YOR), 2004 Screenprint on Vérin d’Arches paper Image: 15 1/2h x 22w in (39.5 x 56.3 cm) Sheet: 19 1/2h x 26w in (50 x 66 cm) Edition of 80 Raisonné no. 321 SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 185, cat. no. 321. Abe Publishing LTD., All Prints of Kusama Yayoi: 1979-2004, Tokyo, 2006, p. 90.

Pumpkin (2), 1990 Screenprint on Izumi paper Image: 20 5/8h x 17 7/8w in (52.5 x 45.4 cm) Sheet: 25h x 21w in (63 x 53 cm) Edition of 150 Raisonné no. 144 SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 94, cat. no. 144.

10.

Red Colored Pumpkin, 1994 Screenprint on Vérin d’Arches paper Image: 18h x 20 5/8w in (45.5 x 52.2 cm) Sheet: 21 5/8h x 25w in (55 x 63.5 cm) Edition of 98 Raisonné no. 189 SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 116, cat. no. 189.

11.

A PUMPKIN GB-D, 2004 Screenprint on Vérin d’Arches paper Image: 9 3/8h x 11 1/4w in (24 x 28.5 cm)

Sheet: 13h x 15w in (33 x 38.5 cm) Edition of 80 Raisonné no. 332 SIGNATURE Signed, dated, titled and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 190, cat. no. 332.

fruits

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 140, cat. no. 234

14.

Grapes, 1983 Screenprint on Pêche Soleil paper Image: 20 6/8h x 17 3/4 in (52.5 x 45 cm) Sheet: 25 1/4h x 21 7/8w in (64.3 x 55.5 cm) Edition of 100 Raisonné no. 29 SIGNATURE Signed, dated, titled in Japanese and numbered

12.

Pumpkin and Fruits, 1993 Screenprint on Vérin d’Arches paper Image: 9 1/2h x 13w in (24.2 x 33.2 cm) Sheet: 13h x 17w in (33.5 x 43 cm) Edition of 160 Raisonné no. 188 SIGNATURE Signed, dated, titled in Japanese and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 115, cat. no. 188.

13.

Fruits, 1997

Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 27, no. 29.

various 15.

Shellfish, 1989 Screenprint on Izumi paper Image: 17 6/8h x 20 3/4 in (45.4 x 52.8 cm) Sheet: 21h x 24w in (53.5 x 61 cm) Edition of 100 Raisonné no. 124. SIGNATURE

Lithograph on Vérin d’Arches paper Image: 9 1/2h x 13w in (24 x 33 cm) Sheet: 13 3/8h x 17w in (34 x 43.2 cm) Edition of 125

Signed, dated, titled in Japanese and numbered

Raisonné no. 234 SIGNATURE

Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p.

Signed, dated, titled in Japanese and numbered Printed by Art Estemps and published by Gallery Shimizu LTD, Osaka

Printed by Ishida Ryoichi

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A 82, cat. no. 124.

16.

Coffee Cup, 1985 Screenprint

24 1/63h x 20 97/112w in 61h x 53w cm Edition of 100 Raisonné no. 79. SIGNATURE

Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 102, cat. no. 158

19.

Shoes, 1984 Lithograph on Vérin d’Arches paper Image: 12 1/4h x 16w in (31.2 x 40.7 cm) Sheet: 16h x 22 1/4w in (43 x 56.5 cm) Edition of 30 Raisonné no. 43 SIGNATURE

Signed, dated, titled and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p.

Signed, dated and numbered

54, cat. no. 79.

17.

Printed by Kimura Kihachi

Infinity Nets, 1953-1985 Screenprint on Izumi paper Image: 17 3/4h x 20 3/4w in (45.2 x 52.6 cm) Sheet: 21h x 24w in (53.3 x 61 cm) Edition of 100 Raisonné no. 76 SIGNATURE

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p. 36, cat. no. 43

Endnotes

Signed, dated, titled and numbered Printed by Okabe Tokuzo

BIBLIOGRAPHY

1 Y. Kusama, Infinity Net: The Autobiography of Yayoi Kusama,

Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p.

trans. Ralph McCarthy, Tate Publishing, 2011, p. 7.

51, cat. no. 76

18.

Lemon Squash, 1992 Lithograph on Vérin d’Arches paper Image: 10 7/8h x 8 5/8h in (27.5 x 22 cm) Sheet: 14 3/4h x 11 3/8w in (37.5 x 29 cm) Edition of 150 Raisonné no. 158 SIGNATURE Signed, dated, titled in Japanese and numbered

2 Abe Publishing LTD., Yayoi Kusama: Prints - A Catalogue Raisonné 1979 - 2013, Tokyo, 2013, p.5. 3 Y. Kusama, Infinity Net, p. 205. 4

A. Shibutami, “Yayoi Kusama: The Soul of an Avant-Garde

Artist,” in Yayoi Kusama: All About My Love, Thames & Hudson,

Printed by Kimura Kihachi and published by Abe Publishing Ltd., Tokyo

London, 2019, p. 19.

BIBLIOGRAPHY Abe Publishing LTD., Yayoi Kusama: Prints - A

5 Y. Kusama, Infinity Net, p. 75-76.

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