Every Day I Pray For Loveacrylic on canvassigned YAYOI KUSAMA, titled EVERY-DAY I PRAY-FOR LOVE, and dated 2022 on the reverse80.3 by 65.2 cm. 31 5/8 by 25 5/8 in.90.4 by 75.6 cm. 35 5/8 by 29 3/4 in. (framed)Executed in 2022

Every Day I Pray For Love

Monkeysigned and dated 1980collage with acrylic, pastel, ink and felt pen on papercm 65,8x51,2

Monkey

A 1960s <a href="https://www.sothebys.com/en/search?query=Kusama&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Kusama</a> <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/art-&amp;-artist" rel="noopener noreferrer" target="_blank">exhibition poster</a>.<ul><li>Published on the occasion of: Yayoi Kusama at Galleria del Naviglio Milan: Jan. 26-February 9th, 1966.</li><li>Brochure on one side, foldout poster on reverse.</li><li>Includes an interview with Kusama and Gordon Brown (in Italian), and a quote from her key early supporter, Herbert Read, referring to Kusama's art as "the most authentic type of super reality."</li><li>Offset printed.</li><li>This work is presented unframed.</li></ul> In 1964, Yayoi Kusama followed-up her Aggregation: One Thousand Boats Show with her provocative Driving Image Show at Castellane Gallery NY - an installation that would eventually travel to Europe, (including Milan's Galleria del Naviglio). This highly collectible vintage original 60s Kusama poster, uniquely features the artist in a macaroni dress (shot by Peter Moore); and is defined by the evocative keywords: ‘sex-food-obsession, compulsion-furniture, repetitive-vision, macaroni-room, air-quanta, interminable-nets, perseveration-forms'.

Yayoi Kusama Driving Image Show Exhibition Poster

Pumpkins by <a href="https://www.sothebys.com/en/search?query=Yayoi+Kusama&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Yayoi Kusama</a>.<ul><li>Sold as a set of 2.</li><li>Yayoi Kusama (Japanese, born 1929).</li><li>Each is stamped on the underside.</li></ul>

Kusama Pumpkins

A first edition copy of Kusama's first novel, ンハッタン自殺未遂常習犯, (Manhattan Suicide Addict) never translated into English, illustrated with the artist's own work.<ul><li>Yayoi Kusama (Japanese).</li><li>Photography by Hikaru Sasaki (Japanese).</li><li>Foreword by Herbert Read.</li><li>Afterword by Shuzo Takiguchi.</li><li>Tokyo:&nbsp;Kowsakusha/Workshop and Forum International,&nbsp;1978.</li><li>Includes black and white drawings by Kusama.</li><li>In Japanese with English headings.</li><li>Presented in the original orange and silver wrappers, with original orange dust jackets.</li></ul> Manhattan Suicide Addict was written in three weeks "in a burst of manic energy," following the death of Kusama's longtime close friend Joseph Cornell and her subsequent return to Tokyo and entrance into Seiwa Hospital for the mentally ill. Remarkably, the debut novel of Japan's greatest living artist was translated into French only in 2005, and to date, no complete English version has been attempted. The text is a semi-autobiographical psychedelic vision of the artist's early years in New York City, illustrated with black and white reproductions of her dense, layered paintings and collages, full of quintessentially Kusama botanical, serpentine, lace-like, and polka-dot patterns reminiscent of her best-known and most popular work. The artist would revisit this period of her life in her much later autobiography Infinity Net: "New York was in every way a fierce and violent place. I found it all extremely stressful and was soon mired in neurosis.[...] My hands are empty now, but I shall fill them with everything my heart desires, right here in New York."

Manhattan Suicide Addict

A dizzying poster of Kusama's iconic polka-dotted soft sculptures, advertising the opening of the 1965 installation at the Castellane Gallery of her first ever mirror room, hand-addressed by Kusama in 1965 to the Museum of Modern Art.<ul><li>Produced by Castellane Gallery in 1965.</li><li>Hand-addressed by the artist to the Museum of Modern Art on verso, with 1965 Grand Central Station postmark.</li><li>This work is presented unframed.</li></ul> Kusama's exhibition, titled in full "Infinity Mirror Room —Phalli's Field (Floor Show)," was documented in a series of photographs of the artist reclining on her own "phallus meadow" in a red leotard — the most famous and striking images of her work from that era. In her autobiography, Kusama describes the installation that marked the beginning of arguably her best-known and most popular series of works: "The walls of the room were mirrors, and sprouting from the floor were thousands of white canvas phallic forms covered with red polka dots. The mirrors reflected them infinitely, summoning up a sublime, miraculous field of phalluses. People could walk barefoot through the phallus meadow, becoming one with the work and experiencing their own figures and movement as part of the sculpture. Wandering into this infinite wonderland, where a grandiose aggregation of human sexual symbols had been transformed into a humorous, polka-dotted field, viewers found themselves spellbound by the imagination as it exorcised sexual sickness in the naked light of day." The New York Times described Kusama's mid-'60s work as the "awful vision of a self-perpetuating infinity," but they meant they liked it. The verso of the poster is addressed by Kusama to MoMA, which now holds numerous works by the artist in their permanent collection and mounted her site-specific installation Narcissus Garden at PS1 in 2018. An important association of this scarce document for an early and landmark show from this major artist — distinctly rare addressed by Kusama.

Floor Show Exhibition Poster

Louis Vuitton Yayoi Kusama Paint Dot Zippy Card Holder Black Hardware, 2022<ul><li>The interior is lined in a tonal coated canvas</li><li>Includes dust bag and box</li><li>This item is final sale and not eligible for return</li></ul>

Yayoi Kusama Paint Dot Zippy Card Holder Black Hardware, 2022

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