Takashi Murakami: Otaku plus the Superflat Motion Essay

Takashi Murakami: Otaku as well as the Superflat Activity

Chris Radley (458656)


Graphic Design BA(Hons): Part Time CCS200 ● 1850 Word Composition January 2010

" Any involvement with Murakami's catalogues even more profound than the usual rapid gloss over is liable to leave the Western art consumer (at least 1 old enough being unaffected by the current American youth gimmick for all points otaku) staggering in a sea of not familiar signifiers, feeling hooked, fascinated yet vaguely ill-at-ease, not unlike Expenses Murray's figure in Sofia Coppola's Lost in Translation (2003). ”[1] - Dick Hebdige

With this essay I will be looking at Japan visual designer Takashi Murakami and reviewing the ways through which his practice is educated by the framework in which his work is made. Context is identified as the interpersonal, political and/or cultural environment in which anything exists or perhaps occurs. If perhaps something is taken from its initial context and places in to another circumstance then it is meaning, or reason for existing, will change.

Takashi Murakami is credited with founding with Superflat motion, which is a sub-culture of put art. Started his profession studying Nihon-ga (traditional Western art) by Tokyo University or college of Great Arts and Music, but became progressively disillusioned together with the artform and sought to pursue artwork that was more associated with modern day Japanese life. This kind of longing caused him to become passionate about otaku culture, assuming it mirrored society as it currently is usually – consumerist and having a fascination for all those things tiny. His operate is impacted by context in many different ways. His work is usually both mainly for and about otaku culture, and so those not really acquainted with it may not completely understand this. Equally with those not really acquainted with Japanese lifestyle on the whole. His way of functioning also seems quite industrial to americans, who may consider his line of products ‘selling out', but the Japanese recognize that art and accompanying products is going to blend collectively, much like watching a show, then venturing out to buy motion picture memorabilia.

‘Otaku' is a Japanese term used to relate to people with obsessive hobbies, particularly cartoons, manga and video games[2]. Murakami's job comments about this culture and its obsessive characteristics. It also remarks on the ‘Kawaii' or ‘Cute' culture in Japan (Which Murakami says is hard to comprehend without looking deeper, like pop fine art in America and the need to understand consumer tradition to relate with it[3]). The aim of referencing this culture inside the Superflat movements is to create a constant stream of buyers and suppliers – simply by appealing to the otaku market, it makes it feel a part of something which they will in turn buy into. Westerners may see this as taking advantage, but this kind of supply and demand cycle will create a sustainable fine art market in Japan, which is something it includes not skilled since before the war.

And appealing to this otaku culture, Murakami's products also appeal to younger children due to its convenience and cuteness, and the older Japanese lifestyle due to its comments on the taboo and sexual fetishism. Japan sexual traditions is more accepting people's fetishes, but 2 weeks . strange phenomenon. It is comparable to office workers opting for drinks with their boss following work and achieving drunk, whatever happens away from the office stays on outside of any office, and what ever you enjoy in your private life is never wondered as long as that stays personal and does not affect other parts in your life. This is how Murakami is capable of getting works just like ‘Hiropon' Fig 1 and ‘My Forlorn Cowboy' Fig 2 . After creating all of them and receiving opinions, he found that even though otaku people generally dismissed ‘Cowboy', they loathed ‘Hiropon'. Murakami enlisted a expert, Masahiko Asano, to find out how come this was, that he reported " ‘Hiropon' is like a satire, and anime statistics are the object of love for otaku people, ”. When asked why Hiropon could not always be the object of affection, Asano replied " can you masturbate to her? If not, that can't be”[4]....

Bibliography: [1]

Hebdige. D. (2008) Flat Young man vs . Thin: Takashi Murakami and the Battle for " Japan”. ©MURAKAMI. Rizzoli International Publications (NY). Wikipedia (2010), " Otaku”, http://en.wikipedia.org/wiki/Otaku [accessed 13 January 2010]. Vogel, C. (2005) The Murakami Affect. [Online] NYTimes. Available at: http://www.nytimes.com/2005/04/06/arts/design/06mura.html [Accessed 22 August 2009]. Lubow, A. (2005) The Murakami Method. [Online] NYTimes. Offered by: http://www.nytimes.com/2005/04/03/magazine/03MURAKAMI.html [Accessed 22 October 2009]. Perez, Meters. (2006) Takashi Murakami. [Online] ArtInfo. Available at: http://www.artinfo.com/news/story/17056/takashi-murakami [Accessed 21 years old October 2009]. Saltz, L. (2007) Package or No Package. [Online] Ny Art. Offered at: http://nymag.com/arts/art/reviews/32367 [Accessed 18 January 2010]. Takashi Murakami - Toying with Artwork. (2005). Artwork Safari (BBC) [online video]. Readily available from: http://www.youtube.com/watch?v=y8wUWbO7SfQ [Accessed 14 January 2010]. Keehn, L. Farreneheit. (2009) Takashi Murakami. [Online] Swindle. Offered at: http://swindlemagazine.com/issueicons2/takashi-murakami [Accessed 21 October 2009]. Thomas, E. D. (2003) The Most Desired Works of Art. [Online] ARTnews. Offered by: http://www.artnews.com/issues/article.asp?art_id=1417 [Accessed 16 January 2010].