BIOGRAPHY
|
TAKASHI MURAKAMI was born in Tokyo, Japan in 1962. As a child he was a highly influenced by Japanese anime of the 1970s and 1980s -- like Ginga Tetsudo 999 -- and planned to work in the animation industry. He proceeded to earn his BA, MFA, and PhD at the Tokyo National University of Fine Arts and Music, where he studied the traditional Japanese art of Nihonga (lit. "Japanese-style paintings"). In a time where modernization in Japan meant westernization, Nihonga was taught in an effort to teach innovative painting within the Japanese tradition. It leveraged eclecticism to "[revive] lost techniques of ancient painting as well as [incorporate] the latest experiments of contemporary Western painting" (Myers 139).
Murakami first gained recognition in the 1990s when he created sculptures in the realm of otaku i.e. obsessive interest in subcultures, often in anime and manga. The sculptures range from balloon-like bears and self-portraits to stereotypically disproportionate anime characters. The sculptures are meant to emphasize the kawaii aesthetic of commercial Japanese art, and the "eroticism of young men and women in Japanese cartoon culture." Unlike typical otaku sculptures, however, these sculptures come in a range of sizes, from 20 inches to 10 feet tall. In the 1990s, Murakami became part of the Japanese Neo-Pop movement. Neo-Pop art is not considered a new style itself, but draws from many other movements such as Pop Art, Minimalism, and Conceptual art through dramatic and controversial work, usually in the form of sculpture and installation as opposed to painting. In its essence, Japanese Neo-Pop features culturally informed appropriationist artwork that expresses "an ironic awareness of the phantasmal nature of [the artists'] identity" (Myers 140). In Japan, this meant incorporating the pop culture anime figures in all their "metallic glitter" and "wild fancy." In 1993-94, Murakami separated himself from the Neo-Pop movement. Instead of expressing cynicism through sculpture, his new work is “a record of the struggle of the discriminated people” through painting that incorporated pop culture references and superflat imagery (Wakasa). It was at this time that Murakami created his original character, self-portrait, and alter ego DOB. DOB is depicted as a bulbous figure bearing two round ears with the letters “D” and “B” respectively. His name partially originates from the phrase “Dobojite dobojite” (Why? Why?), which was adapted from the comic book Inakappe Taisho. The inspiration for his appearance was derived from Sonic the Hedgehog and the robotic cat Doraemon (Spyer). Recently, Murakami wrote an essay discussing the theory behind his current work. To begin, Murakami utilizes manga and anime imagery because it serves as a “common frame of reference” for his generation. Secondly, manga and anime evolved differently than other Japanese art. The high culture of Japan was primarily concerned with western art. Manga and anime began as imitations of western art as well, but developed into its own style, unique to Japan. This regional quality of manga and anime attracted a large popular culture following. According to Myers, manga and anime present “a model of post-colonial subversion” (143). Thus, Murakami uses manga and anime imagery (post-colonial) and traditional Japanese art (pre-colonial) to create Japan’s own brand of pop(ular) art. Perhaps that which is most notable, and that which I find most interesting, about Murakami is his coinage of the term “superflat” or スーパーフラット. Murakami uses this word to refer to an artistic style and movement, as well as Japan’s consumer culture. It is also the name of a 2001 art exhibit that Murakami curated. To learn more about Murakami’s superflat theory and works, click here! Murakami has also expanded his production spectrum to include merchandise. In his studio, he mass produces items such as mugs, keychains, and pillows with the help of a full staff of employees. All feature his characteristic bright colors, flat imagery, and manga/anime-inspired characters. He has also assumed the roles of "curator, theorist, product designer, businessman, and celebrity" in addition to artist. To learn about works Murakami has created outside of the fine art realm, click here! In conclusion, Murakami creates works with market survivability using art styles unique to Japan, while featuring aspects of both its high and low art culture, to create for it a national artistic identity. Murakami is now the president if Kaikai Kiki, an art production company based in a Brooklyn studio and Hiropan Factory, just outside Tokyo. His work has been shown worldwide, in such places as Los Angeles, Versailles, and Qatar. His work “The 500 Arhats” and others will be on exhibit at the Mori Art Museum in Toyko, Japan starting October 31, 2015. |