View allAll Photos Tagged superflat
Panel from Chiho Aoshima's "City Glow, Mountain Whisper", on display at Gloucester Road Tube station
A lightning rod between different cultural valencies (high/low, ancient/modern, oriental/occidental), Takashi Murakami has stated that the artist is someone who understands the borders between worlds and who makes an effort to know them. With his distinctive "Superflat" style and ethos, which employs highly refined classical Japanese painting techniques to depict a super-charged mix of Pop, animé and otaku content within a flattened representational picture-plane, he moves freely within an ever-expanding field of aesthetic issues and cultural inspirations. Parallel to utopian and dystopian themes, he recollects and revitalizes narratives of transcendence and enlightenment, often involving outsider-savants. Mining religious and secular subjects favored by the so-called Japanese "eccentrics" or non-conformist artists of the Early Modern era commonly considered to be counterparts of the Western Romantic tradition, Murakami situates himself within their legacy of bold and lively individualism in a manner that is entirely his own and of his time.
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A pre-pubescent girl appears lost in wonderland. Her dress is made with flowers, her hair turns into trees as the wind blows. Flocks of seagulls turn into clouds in air, which lead towards the deep space of galaxy. A 招き猫 Maneki-neko hair pin is seen on her hair, but it looks like that it might also be a kite flying in air.
The art of Aya Takano (タカノ綾 Takano Aya) is one coming straight from science fiction, or a mythology set in a distant future. As a Superflat artist, her work is deeply rooted in the language of manga and anime. Exotic animals and landforms combined with an urban city are common themes in her artwork, and are intended to show the juxtaposition between future and fantasy.
After graduating from college, Aya Takano became an assistant for 村上隆 Takashi Murakami, who became her first mentor and jump-started her career. She also work as a manga artist and science fiction essayist.
I will be frank and say that this is not really for me—I would have probably loved it though if the brushwork is more defined and precise—as it stands there is something rather amateurish about it—but it could also be intentional? It is hard to say.
Aya Takano (b. 1976, Japan)
Ejecta
Oil on canvas
606 x 500 mm
2013
# Aya Takano (タカノ綾 Takano Aya)
born December 22, 1976, Japan
Japanese Superflat artist, manga artist, and science fiction essayist.
en.wikipedia.org/wiki/Aya_Takano
# SML Data
+ Date: 2013-05-23T14:12:59+0800
+ Dimensions: 2836 x 3224
+ Exposure: 1/320 sec at f/2
+ Focal Length: 22 mm
+ ISO: 100
+ Camera: Canon EOS M
+ Lens: Canon EF-M 22mm f/2 STM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.EOSM.03974
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by タカノ綾 Aya Takano: Ejecta (Oil on canvas)” / Art Basel Hong Kong 2013 / SML.20130523.EOSM.03974
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #AyaTakano #タカノ綾 #girl #painting #oiloncanvas #superflat
Mutant Morlock In The Realm Of Light.
21" x 21"
© Alexei Vella
A piece of artwork for the "Surfacing" group show at Hibbleton Gallery in Fullerton, California.
When I posted artworks by Yoshitomo Nara and Yayoi Kusama on Facebook, artist Claudia Schwalb commented that she prefer works by Murakami, and we had an interesting discussion of whether or not it is fair to compare them to one with another.
Japanese contemporary artists are interesting as they often blur the lines between “fine” vs “commercial” or what is unfortunately coined as “high” vs “low”. The visual language which these artists employ are used by illustrators and designers alike, but the medium they choose is one which roots from more academic roots.
What is pop anyway? What is fine? What is high? What is low? I think that in the end none of that matters—what matters is that you respond to the works. Certainly we need no “academic eye” to evaluate our taste, do we?
Takashi Murakami
Pom & Me: On the Red Mound of the Dead
2013
Acrylic on canvas mounted on board
39 3/8 x 39 3/8 inches
100 x 100 cm
# Takashi Murakami (b. 1962 Japan)
Takashi Murakami (村上隆 Murakami Takashi, born in Tokyo on February 1 1962) is an internationally prolific contemporary Japanese artist. He works in fine arts media—such as painting and sculpture—as well as what is conventionally considered commercial media —fashion, merchandise, and animation— and is known for blurring the line between high and low arts.
He coined the term superflat, which describes both the aesthetic characteristics of the Japanese artistic tradition and the nature of post-war Japanese culture and society. Superflat is also used as a moniker to describe Murakami’s own artistic style and that of other Japanese artists he has influenced.
Murakami is the founder and President of Kaikai Kiki Co., Ltd., through which he manages the careers of several younger artists and organizes the biannual art fair GEISAI.
en.wikipedia.org/wiki/Takashi_Murakami
# Blum & Poe
2727 S. La Cienega Boulevard
Los Angeles, CA 90034
USA
# SML Data
+ Date: 2013-05-23T16:18:57+0800
+ Dimensions: 2650 x 2650
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 325 mm
+ ISO: 200
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13924.SQ
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by Takashi Murakami 村上隆: Pom & Me: On the Red Mound of the Dead, 2013 (Acrylic on canvas mounted on board)” / Blum & Poe / Art Basel Hong Kong 2013 / SML.20130523.6D.13924.SQ
/ #Photojournalism #CreativeCommons #Crazyisgood #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #TakashiMurakami #村上隆 #blumandpoe #Japan #popart #pop
Takashi Murakami (村上 隆 Murakami Takashi, born February 1, 1962) is a Japanese contemporary artist. He works in fine arts media (such as painting and sculpture) as well as commercial media (such as fashion, merchandise, and animation) and is known for blurring the line between high and low arts. He coined the term "superflat", which describes both the aesthetic characteristics of the Japanese artistic tradition and the nature of post-war Japanese culture and society, and is also used for Murakami’s own artistic style and that of other Japanese artists he has influenced.
Tonight the comet came very close to Aldebaran, with about 7 1/2 arcminutes between them. Appearing with them are several other bright stars in the Hyades cluster.
Taken with StellaLyra 150mm f4 newtonian, with TS Superflat, Nikon Z7ii. Stack of 30 frames, 15 seconds each at ISO 3,200. Stacked and processed in Affinity Photo 2.
I've got a new idea an this is the result.
It's a mosaic but it isn't at the same time.
It a some kind af decomposition
and, of course, i like it very much.
Order your canvas print now at my website
Disclaimer: I know next to nothing about art.
I was only vaguely familiar with Takashi Murakami, having seen a couple of the more well-known images (such as "727", pictured on this postcard), but I had done a little bit of research on the Superflat movement a while back in an attempt to decipher Satoshi Kon's Paranoia Agent. I had read Peter Schjeldahl's savage attack on Murakami in The New Yorker, and had come away with the sense that Schjeldahl had slightly misunderstood the body of work. This turned out to be a massive understatement.
Schjeldahl's chief mistake seems to have been seeing Murakami only as a Japanese Warhol, and although there are obvious similarities in the way the way the two fuse art and pop culture, the context of the two could not be more different. Murakami is, in comparison, a polemicist -- his work is heavily focused on post-war Japanese identity, and in particular, the role of art in post-war Japanese society. Following WWII, Japanese popular culture was essentially imported wholesale from the America, and much of Murakami's work reflects frustration with the loss of a purely Japanese cultural identity, and his attempts to rediscover one by fusing elements of traditional art forms and elements of otaku culture. The centerpiece of this is the character DOB, who is obviously and intentionally derived from Mickey Mouse, a symbol of American cultural hegemony. (In the beautiful "DOB Genesis", a tiny DOB is presented alone at the center of a field of blue -- the germination of post-war Japanese culture from an American seed.) DOB is often regarded as a friendly character, but there is something unmistakably sinister to him, especially in later work in which he appears as an increasingly twisted form dominated by a gaping, fanged mouth.
Other aspects of the exhibition reinforce these themes even more plainly, such as a repeated motif of a skull-shaped mushroom cloud whose eyes are formed by clusters of Murakami's iconic flowers. Schjeldahl regards the flowers as vacuously cute, but they strike me as another sinister image -- symbolic of Murakami's fears of a consumerist monoculture, reminiscent of the amnesia-induced bliss experienced by L'il Slugger's victims in Paranoia Agent.
The difficulty for many (including Schjeldahl), is that instead of rejecting consumerism, Murakami embraces it in a big way -- his company, Kaikai Kiki, churns out all manner of pop junk, much of which is for sale in or about the exhibit. (He also famously collaborated on a line of handbags with Louis Vitton, and ©Murakami features a functioning LV boutique at its center.) Though this is unorthodox, it doesn't bother me. Murakami's intent, at least in part, is to influence popular culture directly, and that requires engaging consumers on their own terms.
The show is worth seeing.
This is Gloucester Road Tube Station, Kensington London.
In 1957 Teresa Lubienska, a Polish Countess who had survived Auschwitz, was stabbed to death in the station. The case was never solved:
History
Key dates Opened 1868
Chiho Aoshima
City Glow, Mountain Whisper
25 July 2006 – 25 January 2007
Gloucester Road Underground Station
Chiho Aoshima - City Glow, Mountain Whisper
Chiho Aoshima
Platform for Art presents City Glow, Mountain Whisper, by Chiho Aoshima, a new commission for Gloucester Road Underground station and her first solo project in the UK.
Chiho Aoshima uses digital media to create unique and extraordinary worlds full of invented creatures in imaginary landscapes. The style of Japanese scroll paintings is evident in Aoshima’s work but the result is very different from that created by traditional painting techniques. She uses computer technology to create detailed and complex images of fantasy worlds. Here, the conventions of perspective and gravity give way to artificial environments that border on the psychedelic.
"My work feels like strands of my thoughts that have flown around the universe before coming back to materialise."
Each of the arches on the District and Circle line platform at Gloucester Road station contains a part of an elaborate composition that expands along the platform. It is a beautiful landscape that gradually transforms from day to night and from an urban to a rural scene, echoing the journeys of LU passengers. The vibrant colours and details keep the viewer’s gaze in constant motion.
Chiho Aoshima - City Glow, Mountain Whisper
Chiho Aoshima
City Glow, Mountain Whisper shows a timeless world created by contemporary technology. It suggests a utopian vision of the earth in which the past and future have collided and the boundaries between organic creatures and inanimate things have broken down. It alludes to the results of genetic, technological and environmental developments. A hybrid of the human, the animal, the plant and the man-made is proposed, and life is literally breathed into each building and mountain.
Chiho Aoshima is associated with the "superflat" movement, a term coined by artist Takashi Murakami - the simplified and emphatically two-dimensional forms employed by a generation of young Japanese artists. She has taken part in high profile projects and exhibitions and has a number of upcoming international projects including the Artpace Residency Program in Texas, a solo exhibition at MoCA Lyon, in France, and exhibitions at the Institute of Contemporary Art, Boston, and the Baltic Centre for Contemporary Art, Gateshead.
Went to Boston Logan Airport yesterday and brought my camera. Came back with a bunch of images that my husband had a hard time parsing - he said they did not look like photographs of 3D objects. That got me thinking of Murakami's Superflat Art Style and if the current trend in architectural photography isn't going into a type of Western-centric Superflat territory...
This here is a very 3D glass outcropping in real life, photographed through another pane of dirty glass. I applied a little straightening and darkened the midtones.
Morlock Invasion!
14" x 14"
© Alexei Vella
A piece of artwork for the "Surfacing" group show at Hibbleton Gallery in Fullerton, California.
Also it is my first experiment using patterns/distorted patterns in the subject matter (the Morlocks).
Tan Tan Bo (2001) and Tan Tan Bo Puking (2002) represent some of Murakami's best work, in my opinion. They feature his most famous character, Mr. Dob, in a psychedelic array of colors and melting shapes.
An impromptu trip to Chicago to see my favorite artist's work--Takashi Murakami's The Octopus Eats its Own Leg exhibition (2017). It was, without question, the best show I've ever seen.
Museum of Contemporary Art. Chicago, Illinois.
From the recent exhibition of Takashi Murakami in Versailles palace.
This piece is called "Flower Matango"
Takashi Murakami’s Superflat Collection
―From Shōhaku and Rosanjin to Anselm Kiefer―
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Yoshitomo Nara - Light My Fire
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YOKOHAMA MUSEUM OF ART
In the GEM you will find an exhibition of Yoshitomo Nara (until October 7. 2007).
The GEM is extremely proud to present the first ever solo show to be held in any European museum by Yoshitomo Nara (b. Hirosaki, 1959), one of today’s leading Japanese artists. As a representative of the Japanese pop art of the nineties, he gained worldwide fame with seductive figurative paintings, drawings and sculptures, all executed in a deliberately elementary style. The emphasis in this presentation will be on recent work, most of it produced especially for this occasion, exhibited in a unique architectural setting developed by Nara in collaboration with design collective Graf.
Close crop of an original artwork by one of the Future Tense launch roster of artists.
See more teasers here: www.flickr.com/photos/thefuturetense/sets/72157622145238003/
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