Analysis Of Takashi Murakami : High And Low

The Artist I'm going to talk about is Takashi Murakami he was born on February 1, 1962. The title of the artwork is Army of Mushrooms. The date that he created the art in 2003. The art medium is on acrylic on canvas laid on plywood. The size of the artwork is 180.5 x 180 cm. (71.1 x 70.9 in.). In Description of his content when he was a child he always looks at the garden his mother grown the mushrooms he was keep think about the mushrooms in the garden, once he was in the garden there was a lot of mushroom than plants and that’s why he draws of army of mushrooms

As the years have passed Art has come to include expanding subgenres including architecture, murals and memorials (Newspaper Association of America, 2001). However, since the booming of Hip Hop culture, graffiti has also been acknowledged as a form of art in popular culture. “Pop Culture” is a term that includes society’s current collective preferences in music, film, sports, recreation, jokes, fashion and advertising (The Museum of Contemporary Art, 1990). Considering the effects of the international technological revolution

I believe Murakami is one of the best leaders in The Samurai’s Tale when compared to Wada Kansuke, and Lord Akiyama due to his caring, trustworthy, and loyal ways. The reason why I think Murakami is better because he shows many skills and he likes to go all out and doesn’t hesitate much on things he thinks he should do or not to do. Lord Akiyama is a good leader because he gives good orders and people listen to them. Murakami and Wada Kansuke are mostly the same because of their personality and because they have honor, and they are reliable. Lord Akiyama is merciful and he is kind to other people and he favorites Murakami the most. Wada Kansuke is a wise, kind, and smart leader, but he is not as caring as Murakami. Murakami always listens to the commands he is given. The comparison between the three characters are very similar and their personalities are too.

But what is “superflat”? Murakami describes the term loosely to keep it diverse, but he describes it as a link between “... the flat picture planes of traditional Japanese paintings” and “... the lack of any distinction between high and low in Japanese culture” (Lubow). One may take the literal meaning and interpret the term as describing the art as being done a completely flat, two dimensional plane. As I was looking through Murakami’s works, it sparked curiosity inside of me. I chose not to believe that his works had such simple meanings. There had to be an underlying message somewhere. One that explains more about the artist’s true feelings. I wanted to see what caused Murakami to start doing these types of pieces. What was his intention? How has his life been affected? Because of his vague descriptions, and simplistic pieces, I couldn’t help but wonder, what else could Takashi Murakami be

Yasumasa Morimura (born in 1951, Japan) has had a career in film-making and conceptual photography for over three decades. Morimura uses costumes, makeup props and digital manipulation to create an almost replica of the original artwork, replacing the original subject with himself. Morimura graduated from the Kyōto City University of Arts in 1978 and then became an assistant at that same university. During his time working he experimented with many mediums and styles including painting, photography and wood-block art. He soon became recognized for his artworks and began to be involved in traveling shows such as ‘Japanese Art After 1945: Scream Against the Sky’ (1994). After some time, and with critics watching skeptically, he began to

The Great Wave by Christopher Benfey shows a glimpse of “Old Japan” and its fascinating artwork around the time of the cultural tsunami in 1854 followed by the time of American Fascination. This book is not so much a book on Japan, more or less it is a piece comparing the U.S. and Japan by looking at topics like cultural and social aspects faced by both countries. Towards the latter half of the book, Benfey really keys into aspects like Jiujutsu and martial arts along with forms of Japanese art and the idea of expressing ones spirit.

Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States. It appreciates popular culture, or also called “material culture.” It does not criticize the consequences of materialism and consumerism; it merely recognizes its universal presence as a accepted fact. Obtaining consumer goods, responding to ingenious advertisements and erecting more effectual forms of mass communication (back then: movies, television, newspapers and magazines) stimulated energy amongst young people. Pop Art celebrated the United Generation of Shopping. It employs aspects of mass culture, such as advertising, comic books and ordinary cultural objects as well as including imagery from

Ed Ruscha has been making work in Los Angeles for the better part of the century. People often talk about Ed Ruscha’s work, his paintings, his books, photos or films as different and non-traditional. Ruscha broke classical tradition of realism, stepped outside of the boundaries and changed art. Ed Ruscha the most iconic artist in the 20th century pioneered the pop art movement inspiring the world to think outside the box with his bold design choices. Ed Ruscha greatly influenced contemporary art, changing the way the world perceived the simple but yet so complicated canvas that Ruscha composed. Ruscha defies easy categorization as an he artist. He is simultaneously known as a pop artist, a conceptual artist, surrealist

Yayoi Kusama was born in Japan in 1929. She is a well-known artist of pop art, minimalism and surrealism. Before she movsed to New York in 1956, she studied painting in Kyoto. Her artwork is not only limited with different paintings, but also environment, sculpture, performance art, film, installation, fashion and so on.

In order to discuss pop art I have chosen to examine the work and to some extent lives of Roy Lichtenstein and Andy Warhol who were two of the main forces behind the American movement. I intend to reflect the attitudes of the public and artists in America at this time, while examining the growing popularity of pop art from its rocky, abstract expressionist start in the 1950s through the height of consumer culture in the 60s and 70s to the present day.

I think that Haruki Murakami’s 1Q84 ending will reunite Tengo and Aomame, it is their destiny to be together.

Unlike Kumiko’s father, Toru is born after the American occupation of Japan, and thus grows up in a Westernized setting. This leads to him placing less emphasis on working hard in order to succeed in society, as American ideals place more importance on finding success through living a contentful life doing what you enjoy. As a result, he does not feel shame in quitting his job (5), which was considered shameful in Japanese society, and instead lives a relaxing life at home, singing along to the radio while cooking food. This use of technology further exhibits Toru’s Westernized tendencies, as these new technological innovations only came around after American occupation. However, although he lives a relaxed lifestyle he eventually grows dissatisfied by his isolation, and thus seeks out ways to gain employment, which was expected of Japanese men. Murakami utilizes this to convey how self-fulfillment is acquirable through cultural acceptance, as Toru seeks to find contentment through assimilating Japanese society. By highlighting Toru’s struggle in fitting into Japanese society, the author highlights the struggle of many men after the war; Japanese assimilation into American culture caused

Although wildly different in subject matter and style, Kawabata’s Beauty and Sadness and Murakami’s Hard-Boiled Wonderland and the End of the World both show how Japan has been internationalized as well as how it has remained traditional. Kawabata’s novel is traditional and acceptable, much like the haiku poetry he imitates, but has a thread of rebelliousness and modernity running through the web that binds the characters together. Hard-Boiled Wonderland and the End of the World is devastatingly modern, and yet has a similar but opposite undertone of old Japan, or at least a nostalgia for old Japan. In both novels a more international culture

In this passage, Murakami depicts about Komura’s feeling and reaction when his wife left after the earthquake. Seems, Komura does not make any emotional reaction that she has disappeared, and she has leaving him a note saying that he is good, kind, and handsome, living with his is like living with a “chunk of air.” His gentle reaction makes everyone believes his wife is just left him because she is thought he’s too perfect for her, and she feels uncomfortable when she lives with him. Besides, he is tried to find her and talked to her because he wants to know why she left. This shows Komura is struggled with understanding about the disappear of his wife. And then, he is taken a week vacation, and

Companies seek to profit off the work of the individuals they employ. If you aren’t generating more value for the company than they pay you will likely not be working for that company much longer. They also hate taking risks and dealing with the unknown. Manga, like many forms of art, throughout the years was commercialized after it was shown to be capable of making money. Like all markets there was a void where companies viewed the risks to be too high, and eventually an independent group of fans stepped in to fill that demand. This is why Comiket was established. Comiket, the Japanese abbreviation of Comic Market started small with 32 circles and about 700 people in attendance but today has 35,000 circles and about 500,000 attendants. It is, “A marketplace where individuals can offer their own self-produced creations to a community that appreciate and supports such creative personal activities.” (1) These creations are known as dōjinshi and dōjin, and can be used to mean to any independently created and released works not just manga. Since and likely because of the success of Comiket the market for niche manga in Japan has exploded in popularity, there are an increasingly large number of artists, fans, and companies seeking to publish these works. Although often original, much of the work is derivative fan art, yet the copyright holders allow and sometimes even encourage these creations. In this paper I will argue that Japan is a better environment than the U.S.