The Kusama Longline sports Top is the perfect workout top for exercising with style. The compression fabric along with double-layered front and shoulder straps ensures great support while running, jumping, or pumping iron. Wear it while exercising or style it as a streetwear top on sunny days!
• Compression fabric: 78% polyester, 22% spandex
• Sports mesh lining: 92% polyester, 8% spandex
• Fabric weight for compression fabric: 8.25 oz/yd² (280 g/m²) and sports mesh lining: 4.42 oz/yd² (150 g/m²),
• Has openings for removable padding and fully lined with mesh
• Removable padding included
• Double-layered front
• Longline silhouette
• Estimated delivery: 15-30 business days
|XS||33 ⅛||25 ¼||35 ⅜|
|S||34 ⅝||26 ¾||37|
|M||36 ¼||28 ⅜||38 ⅝|
|L||39 ⅜||31 ½||41 ¾|
|XL||42 ½||34 ⅝||44 ⅞|
|2XL||45 ⅝||37 ¾||48|
|3XL||48 ⅞||41||51 ⅛|
Yayoi Kusama, (born March 22, 1929, Matsumoto, Japan), Japanese artist who was a self-described “obsessional artist,” known for her extensive use of polka dots and for her infinity installations. She employed painting, sculpture, performance art, and installations in a variety of styles, including Pop art and Minimalism. By her own account, Kusama began painting as a child, at about the time she began experiencing hallucinations that often involved fields of dots. Those hallucinations and the theme of dots would continue to inform her art throughout her career. She had little formal training, studying art only briefly (1948–49) at the Kyōto City Specialist School of Arts. Family conflict and the desire to become an artist drove her to move in 1957 to the United States, where she settled in New York City. Before leaving Japan, she destroyed many of her early paintings. Her early work in New York City included what she called “infinity net” paintings. Those consisted of thousands of tiny marks obsessively repeated across large canvases without regard for the edges of the canvas, as if they continued into infinity. Such works explored the physical and psychological boundaries of painting, with the seemingly endless repetition of the marks creating an almost hypnotic sensation for both the viewer and the artist. Her paintings from that period anticipated the emerging Minimalist movement, but her work soon transitioned to Pop art and performance art. She became a central figure in the New York avant-garde, and her work was exhibited alongside that of such artists as Donald Judd, Claes Oldenburg, and Andy Warhol.
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