Yayoi Kusama

草间弥生

出版商 ‏ : ‎Hatje Cantz

发布日期： 2026年1月6日

语言： 英语

印刷长度： 268页

ISBN-10： 3775760334

ISBN-13： 978-3775760331

物品重量： 2.5磅

尺寸： 8.07 x 0.79 x 10.24 英寸

页面参数仅供参考，具体以实物为准

这部权威画册深入探索了草间弥生七十年的艺术生涯，收录了她早期的珍稀作品和最新创作。

这本图录是贝耶勒基金会（Fondation Beyeler）于2025年秋季举办的草间弥生（1929年生）大型回顾展的配套出版物。作为草间弥生在瑞士的首次回顾展，这本具有里程碑意义的出版物全面探索了她七十余年的艺术生涯。图录与艺术家及其工作室紧密合作完成，深入剖析了草间弥生丰富多样的创作，从她早期的作品（其中一些从未在欧洲展出）到最具代表性的作品，以及新作和她著名的“无限镜屋”系列作品之一。图录图文并茂，阐释了草间弥生标志性的艺术语言，其特点是反复出现的元素和无限延伸的镜面空间，将观者带入无限的境界。对于任何想要了解草间弥生对当代艺术的深远影响的人来说，这都是一本不可或缺的参考书。

The definitive catalog offering an in-depth exploration of Yayoi Kusama's seven-decade career, including rare early works and new productions

This catalog accompanies the Fondation Beyeler's major autumn 2025 exhibition dedicated to the celebrated Japanese artist Yayoi Kusama (born 1929). As the first retrospective of Kusama's work in Switzerland, this landmark publication offers a comprehensive exploration of her more than seven-decade career. Developed in close collaboration with the artist and her studio, the catalog presents an in-depth look at Kusama's diverse body of work, from her early creations―some never before seen in Europe―to her most iconic pieces, as well as new productions and one of her renowned Infinity Mirror rooms. Richly illustrated, the catalog examines Kusama's signature artistic language, characterized by obsessive repetition and boundless mirrored spaces that transport viewers into infinite realms. It serves as an essential reference for anyone seeking to understand Kusama's enduring impact on contemporary art.

草间弥生（生于1929年）的创作领域不仅限于雕塑和装置艺术，还包括绘画、行为艺术、录像艺术、时装设计、诗歌、小说等。20世纪50年代末，她移居纽约，加入前卫艺术的行列，从事软雕塑创作，并对沃霍尔和奥尔登堡等艺术家产生了影响。与此同时，她也参与了偶发艺术和其他行为艺术活动，并开始运用她标志性的圆点。1973年返回日本后，她的作品一度相对沉寂，但在20世纪80年代，人们对​​她的作品重新燃起了兴趣，使她的作品获得了至今仍享有的经典地位。

Yayoi Kusama (born 1929) has worked not only in sculpture and installation but also painting, performance, video art, fashion, poetry, fiction and other arts. With her late-1950s move to New York City, she joined the ranks of the avant-garde, working in soft sculpture and influencing the likes of Warhol and Oldenburg. At this time, she was also involved with happenings and other performance-oriented works and began to deploy her signature dots. Her work fell into relative obscurity after her return to Japan in 1973, but a subsequent revival of interest in the 1980s elevated her work to the canonical status it still enjoys today.