Yayoi Kusama: Polka Dot artists working with Louis Vuitton

It never occurred to Yayoi Kusama, after 50 years as an avant-garde artists, they would finally get the international community that has always deprived him admiring attention with help from a certain point, polka-covered handbags. Kusama, 83, is the subject of a retrospective, which opened in July at the Whitney Museum of American Art. But what drives them into the public consciousness, his collaboration with Louis Vuitton, the main sponsor of the exhibition. His work with creative director Marc Jacobs has a great time in a collection of polka dot dresses and accessories, as well as the windows of the shops, be punctured, festive dinner, rejoicing, and all the affection of a gas can process resulted octogenarian artist. Kusama, who grew up in the rural Japan, entered the spotlight in the 1960s, a bold splash landing in a psychedelic New York art scene of the likes of Roy Lichtenstein and Andy Warhol dominated. "When I arrived here, I'm working hard because I wanted to be a very important artist in the U.S.," says Kusama. "At that time, the U.S. was the best in the world, was the country's most famous and many people to New York to become an artist." It has established a reputation for dance happenings with artists artistic nude, soft sculptures of penis-shaped and points. Dots were his thing, seductive, surreal, mysterious. Points, she says in her accented English, are "my drug, my personal medicine. Since my childhood, I [saw] pea ... [and] people talked [my art] peas." After the modest success, Kusama fled New York in the 70s, a mental illness. She returned to Japan and check into a psychiatric facility in Tokyo, where, by choice, she still lives. For his triumphant return to New York, Kusama, a small woman wearing a red wig Technicolor, a black robe stained red dots, green peas, sunglasses and a variety of other accessories dotted Vuitton. She has a reputation for being unreliable and impenetrable, but it can also be seriously engaged. It will turn to art as a way to understand his mental illness and admired accused with mental illness to his art that much more enticing. Yayoi Kusama Jacobs, an avid art collector, met Kusama first time in 2006 during the filming of a documentary, when he visited in his studio Kusama in Tokyo. Their affection for each other was obvious. "He's a genius," says Kusama. Was within 15 years at Jacobs Vuitton, he has worked with many influential artists, Stephen Sprouse, the "day" designer bags to Richard Prince and Takashi Murakami, who worked her candy-colored cartoon sensibility to the question Vuitton aesthetics. The collaboration has created a dialogue about art, commerce and consumption. There is no clear message or subtle-cultural issues Kusama. They are an aesthetic gesture. But for the artist, the cooperation is both sweet satisfaction and challenge of end of life: "I think. I want to work harder and harder and want more"