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Portrait Yaoi Kusama

YAYOI KUSAMA, born in Matsumoto, Japan in 1929 Lives and works in Tokyo Graduated from the Kyotom Municipal School of Fine Arts, Kyoto. In 2000, Kusama won The Education Minister's Art Encouragement Prize and Foreign Minister's commendations, and received the Asahi Prize in 2001. It is very exceptional thing. She was selected as main artist of Yokohama Triennial. These years, she join many group exhibitions in Europe, and her latest installation solo exhibition is going around in France, Denmark, Switzerland etc. HOMEPAGE

1961  INVOLVEMENT SHOW | March Gallery, New York
1963  NO SHOW | Gallery Gertrude Stein, New York
1988  NO!art anthology | Edition Hundertmark, Cologne
1995  NO! | Neue Gesellschaft für Bildende Kunst, Berlin
2001  NO!art and the Aesthetics of Doom | Block Museum, Evanston, IL
2002  NO!art and the Aesthetics of Doom | Museum of Art, Iowa City, IA
2003  NO!art in BUCHENWALD, Boris Lurie: Geschriebigtes/...,
          catalogbook, Stuttgart

          Contribution:   ACCUMULATION # 1, 1963
2018  FLASHES OF THE FUTURE | Ludwig Forum, Aachen/Germany

NO!art involved Artists: ARMENTO + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR

NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.

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