Yayoi Kusama Net Worth

Background and career

Yayoi Kusama (草間 彌生, Kusama Yayoi; 22 March 1929 – 14 August 2026) was a Japanese artist who worked primarily in sculpture and installation. She was also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work was based in conceptual art and shows some attributes of feminism, minimalism, surrealism, art brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She was acknowledged as one of the most important artists to have come out of Japan, and was one of the world's top-selling female artists and ranked #19 in Sotheby's 2023 list of the top 50 artists. Her work influenced her contemporaries, including Andy Warhol and Claes Oldenburg.

Kusama was raised in Matsumoto, and trained at the Kyoto City University of Arts for a year in a Japanese painting style called nihonga. She was inspired by American abstract impressionism. She moved to New York City in 1958 and was a part of the New York avant-garde scene throughout the 1960s, especially in the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, she came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots. She experienced a period in the 1970s during which her work was largely overlooked, but a revival of interest in the 1980s brought her art back into public view. Kusama continued to create art in various museums around the world, from the 1950s onwards.

She was open about her mental health and resided in a mental health facility from the 1970s until her death. She said that art had become her way to express her mental problems. "I fight pain, anxiety, and fear every day, and the only method I have found that relieved my illness is to keep creating art", she told an interviewer in 2012. "I followed the thread of art and somehow discovered a path that would allow me to live."

Yayoi Kusama was born on 22 March 1929 in Matsumoto, Nagano. Born into a family of merchants who owned a plant nursery and seed farm, Kusama began drawing pictures of pumpkins in elementary school and created artwork she saw from hallucinations, works of which would later define her career. Her mother was not supportive of her creative endeavors; Kusama would rush to finish her art because her mother would take it away to discourage her. Her mother was physically abusive, and she remembered her father as "the type who would play around, who would womanize a lot". She said her mother would often send her to spy on her father's extramarital affairs, which instilled within her a lifelong contempt for sexuality, particularly the male's lower body and the phallus: "I don't like sex. I had an obsession with sex. When I was a child, my father had lovers and I experienced seeing him. My mother sent me to spy on him. I didn't want to have sex with anyone for years ... The sexual obsession and fear of sex sit side by side in me." Her traumatic childhood, including her hallucinations, can be said to be the origin of her artistic style. The pumpkins which are monumental in her art came from a visit to a big seed-harvesting ground with her grandfather when she was young. She said that she was "enchanted by their charming and winsome form" as well as their "generous unpretentiousness" even though they generally may not inspire too much respect.

When Kusama was ten years old, she began to experience vivid hallucinations which she described as "flashes of light, auras, or dense fields of dots". These hallucinations included flowers that spoke to Kusama, and patterns in fabric that she stared at coming to life, multiplying, and engulfing or expunging her, a process which she carried into her artistic career and which she called "self-obliteration". Kusama's art became her escape from her family and her own mind when she began to have hallucinations. She was reportedly fascinated by the smooth white stones covering the bed of the river near her family home, which she cited as another of the seminal influences behind her lasting fixation on dots.

During the Pacific War, when Kusama was 13, she was sent to work in a military factory where she was tasked with making parachutes for the Imperial Japanese Army. Discussing her time in the factory, she said that she spent her adolescence "in closed darkness" although she could always hear the air raid sirens and see U.S. B-29s flying overhead during daytime. Her childhood was greatly influenced by the war, and she said that it was during this period that she began to value notions of personal and creative freedom. She attended Arigasaki High School.

She went on to study Nihonga painting at the Kyoto Municipal School of Arts and Crafts in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo in the 1950s.

By 1950, she was depicting abstract natural forms in watercolor, gouache, and oil paint, primarily on paper. She began covering surfaces—walls, floors, canvases, and later, household objects, and naked assistants—with the polka dots that became distinctive traits of her work. Her first show took place in Japan in 1952.

The vast fields of polka dots, or "infinity nets", as she called them, were taken directly from her hallucinations. The earliest recorded work in which she incorporated these dots was a drawing in 1939 at age 10, in which the image of a Japanese woman in a kimono, presumed to be the artist's mother, is covered and obliterated by spots. Her first series of large-scale, sometimes more than 30-foot (9.1 m)-long canvas paintings, Infinity Nets, were entirely covered in a sequence of nets and dots that alluded to hallucinatory visions.

The Metropolitan Museum of Art's published wall text and object labels for Surrealism Beyond Borders state that Kusama was not officially associated with Surrealism, but discuss early gouaches such as A Circus Rider's Dream (1955) in relation to the movement. The same text notes that she was in contact with the poet-critic Shūzō Takiguchi, described there as a major proponent of Surrealism in Japan.

On her 1954 painting Flower (D.S.P.S), Kusama said:

One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows, and the walls, and finally all over the room, my body and the universe. I 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. As I realised it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs spraining my ankle.

After living in Tokyo and France, Kusama left Japan at the age of 27 for the United States. She stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women". Before leaving Japan for the United States, she destroyed many of her early works. In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery. She stayed there for a year before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice. She arrived in New York City in 1958 where the majority of her well known collections were born: Infinity Networks and sculptures. Her first exhibition that earned great success was in 1959 at the Brata Gallery and then she went on to pioneering body art performances and "happenings". During her time in the U.S

, she quickly established her reputation as a leader in the avant-garde movement and received praise for her work from the anarchist art critic Herbert Read.

In 1961, she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend. In the early 1960s, Kusama began to create so-called soft sculptures by covering items such as ladders, shoes, and chairs with white phallic protrusions. Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she maintained for the rest of her life. She established other habits too, like having herself routinely photographed with new work and regularly appearing in public wearing her signature bob wigs and colorful, avant-garde fashions.

In June 1963, one of Kusama's soft sculpture pieces, a couch covered with phallus-like protrusions she had sewn, was exhibited at the Green Gallery. Included in the same exhibition was a papier-mache sculpture by Claes Oldenburg, who had not worked in soft sculpture. Kusama's piece received the most attention from attendees and critics, and by September Oldenburg was exhibiting sewn soft sculpture, some pieces of which were very similar to Kusama's; Oldenburg's wife apologized to Kusama at the exhibit. According to Fordham professor of art Midori Yamamura, Oldenburg likely was inspired by Kusama's work to use sewn pieces himself, pieces which made him an "international star". Kusama became depressed over the incident. A similar incident occurred soon after when Kusama exhibited a boat she had covered in soft sculpture, with photographs of the boat completely covering the walls of the exhibit space, which was very innovative. Andy Warhol remarked on the exhibit, and not long after covered the walls of an exhibit space with photos of a cow, for which he drew significant attention. Kusama became very secretive about her studio work. Helaine Posner, of the Neuberger Museum of Art, said it was likely some combination of sexism and racism that kept Kusama, who was creating work of equal importance to men who were using her ideas and taking the credit for them, from getting the same kinds of backing.

From 1963, Kusama continued her series of Mirror/Infinity rooms. In these complex infinity mirror installations, purpose-built rooms lined with mirrored glass contain scores of neon-colored balls, hanging at various heights above the viewer. Standing inside on a small platform, an observer sees light repeatedly reflected off the mirrored surfaces to create the illusion of a never-ending space.

During the following years, Kusama was enormously productive, and by 1966, she was experimenting with room-size, freestanding installations that incorporated mirrors, lights, and piped-in music. She counted Judd and Joseph Cornell among her friends and supporters. However, she did not profit financially from her work. Around this time, Kusama was hospitalized regularly from overwork, and O'Keeffe persuaded her own dealer Edith Herbert to purchase several works to help Kusama stave off financial hardship. She was not able to make the money she believed she deserved, and her frustration became so extreme that she attempted suicide.

In the 1960s, Kusama organized outlandish happenings in conspicuous spots like Central Park and the Brooklyn Bridge, often involving nudity and designed to protest the Vietnam War. In one, she wrote an open letter to Richard Nixon offering to have sex with him if he would stop the war. Between 1967 and 1969, she concentrated on performances held with the maximum publicity, usually involving her painting polka dots on her nude performers, as in the Grand Orgy to Awaken the Dead at the MoMA (1969), in which performers were instructed to embrace each other while engaging the sculptures around them at the sculpture garden of the Museum of Modern Art. During the unannounced event, eight performers under Kusama's direction removed their clothing, stepped nude into a fountain, and assumed poses mimicking the nearby sculptures by Picasso, Giacometti, and Maillol.