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Japanese artist

Takashi Murakami
Murakami at the Palace of Versailles 2010
Born	(1962-02-01) February 1, 1962 (age lx) Tokyo, Japan
Nationality	Japanese
Education	Tokyo Academy of the Arts
Known for	Gimmicky art
Movement	Superflat

Takashi Murakami ( 村上 隆 , Murakami Takashi , born February ane, 1962) is a Japanese contemporary artist. He works in fine arts media (such as painting and sculpture) also as commercial (such as fashion, merchandise, and animation) and is known for blurring the line between high and low arts as well as co artful characteristics of the Japanese creative tradition and the nature of postwar Japanese culture and society, and is as well used for Murakami's artistic style and other Japanese artists he has influenced.^[1]

Murakami is the founder and President of Kaikai Kiki Co., Ltd., through which he manages several younger artists. He was the founder and organizer of the biannual fine art fair Geisai.^[2]

Life and career [edit]

Bookish groundwork and early career [edit]

Artist Takashi Murakami with early work "Polyrhythm" at Galerie Mars in Tokyo 1992. Photo by Ithaka Darin Pappas

Murakami was born and raised in Tokyo, Nippon. From early on, he was a fan of anime and manga (Japanese cartoons and comics respectively), and hoped to work in the animation manufacture. He attended Tokyo University of the Arts to acquire the drafting skills necessary to become an animator, but eventually majored in Nihonga, the 'traditional' style of Japanese painting that incorporates traditional Japanese creative conventions, techniques and subjects. He earned his master's degree in 1988. Though he would go on to earn a Ph.D. in Nihonga (1993), he gradually became disillusioned with its insular, highly political world and started to explore more contemporary artistic styles, media, and strategies.^[3]

Murakami was dissatisfied with the state of contemporary art in Nihon, believing it to be "a deep appropriation of Western trends."^[4] Thus, much of his early work was done in the spirit of social criticism and satire. On an article naming and explaining all of Murakami'southward pieces lies the infamous My Lonesome Cowboy, a companion to his earlier Hiropon. The sculpture is that of a naked anime character with blond spiky hair with a spiral trail of semen circling him. This piece is Murakami's most expensive piece to date selling for $15,100,000^{[5] [half-dozen]} at Sotheby's New York sale in 2008.^[7] Efforts from this period include functioning art (Osaka Mixer Projection, 1992), parodies of the "message" art pop in Japan in the early '90s, (Dobozite Dobozite Oshamanbe, 1993), and conceptual works (e.g. Randoseru Project, 1991). He also began developing his own popular icon, "Mr. DOB," which would later develop into a form of self-portraiture, the first of several endlessly morphing and recurring motifs seen throughout his piece of work. Though he garnered attending, many of his early on pieces were non initially well received in Japan.^[viii]

New York [edit]

In 1994, Murakami received a fellowship from the Asian Cultural Quango and participated in the PS1 International Studio Program in New York City for a twelvemonth.^[9] During his stay, he was exposed to and highly inspired by Western contemporary artists such as Anselm Kiefer and particularly the simulationism of artists such equally Jeff Koons. He established a small studio, which, together with the Hiropon Factory in Japan, became the precursor to his company Kaikai Kiki. Subsequently returning to Japan, he would develop the cadre concepts behind his artistic practice and brainstorm exhibiting regularly at major galleries and institutions across Europe and America.

Superflat [edit]

In 2000, Murakami published his "Superflat" theory in the catalogue for a grouping exhibition of the aforementioned name that he curated for the Museum of Contemporary Fine art, Los Angeles. The theory posits that there is a legacy of flat, 2-dimensional imagery from Japanese art history in manga and anime. This fashion differentiates itself from the western approach in its emphasis on surface and utilize of flat planes of colour. Superflat likewise served as a commentary on postwar Japanese society in which, Murakami argues, differences in social class and popular gustatory modality have 'flattened,' producing a civilization with fiddling distinction betwixt 'loftier' and 'depression'. The theory provided the context for his piece of work and he elaborated on information technology with the exhibitions "Coloriage" (2002, Fondation Cartier pour 50'art contemporain, Paris) and "Little Boy: The Arts of Japan's Exploding Subculture" (2005, Japan Society, New York), which was named after Petty Boy. These helped introduce Japan's lesser-known creative culture overseas and such curatorial projects would become an integral part of Murakami'due south multifaceted artistic exercise.^[1] In the past decade, Murakami's curatorship expanded to include Kazunori Hamana, Yuji Uedaa, and Otani Workshop at Blum & Poe, New York (2016) and Juxtapox 10 Superflat at Vancouver Fine art Gallery (2016).

In accordance with the Superflat concept, Murakami's practice involves repackaging elements usually considered "low" or subcultural and presenting them in the "high-art" market. He then farther flattens the playing field past repackaging his "high-art" works as merchandise, such every bit plush toys and T-shirts, making them available at more affordable prices.^[10]

Mill [edit]

In 1996, Murakami launched the Hiropon Factory, his production workshop, in society to work on a larger scale and in a more diverse array of media. His model inherits the atelier arrangement which has long existed in Japanese painting, printmaking and sculpture and is common to anime and manga enterprises, such equally Hayao Miyazaki'southward Studio Ghibli. In 2001, Hiropon Factory was incorporated as Kaikai Kiki Co., Ltd.^[8]

Collaborations [edit]

In 2002, at the invitation of designer Marc Jacobs, Murakami began his long-lasting collaboration with the fashion make Louis Vuitton. He began by contributing artwork which was used in the design of a series of handbags. The series re-envisioned the company's monogram and was a huge commercial success. Though he had previously collaborated with way designers such equally Issey Miyake Men by Naoki Takizawa, his work with Louis Vuitton made him widely known for blurring the line between 'high art' and commercialism. It also elevated him to glory status in his home country of Japan.^[10]

In 2007, Murakami provided the cover artwork for rapper Kanye Westward's anthology Graduation and directed an animated music video for Due west'due south song "Good Morning."^[11] He also provided cover artwork for Due west's 2018 collaboration anthology Kids Come across Ghosts with Kid Cudi.^[12]

For Graduation and "Skillful Morning", Murakami would later 're-appropriate' these projects by incorporating their imagery into his paintings and sculptures, farther blurring the boundaries between art and commercial branding and even questioning the existence of such a boundary.

Asked about straddling the line between art and commercial products, Murakami responded:

I don't think of information technology as straddling. I recollect of it equally irresolute the line. What I've been talking about for years is how in Japan, that line is less defined. Both by the culture and by the post-War economic state of affairs. Japanese people accept that art and commerce will be blended; and in fact, they are surprised past the rigid and pretentious Western bureaucracy of "high art." In the Due west, information technology certainly is dangerous to alloy the two because people will throw all sorts of stones. But that'southward okay—I'm fix with my difficult hat.^[13]

Murakami has also collaborated with a wide range of creators and industries in Japan, a prominent example beingness the image characters he created for the press relations campaign of the major urban existent estate development Roppongi Hills.^[10]

In 2009, music producer Pharrell Williams unveiled a collaborative sculpture with Murakami at Fine art Basel, which Williams stated "illustrates the metaphor of value."^[14]

Murakami and McG directed short Akihabara Majokko Princess, where Kirsten Dunst sings a encompass of The Vapors' 1980 song "Turning Japanese". This was shown at the "Pop Life" exhibition in London'due south Tate Modern museum from October 1, 2009, to January 17, 2010. It shows Dunst dancing around Akihabara, a shopping district in Tokyo, Nippon.^{[15] [16] [17]}

In May 2014, with Pharrell and Kz of livetune, Murakami created a music video for the remix of the Hatsune Miku vocal "Concluding Night, Skilful Night (Re:Dialed)". The squad was assembled by the YouTube channel The Creators Project, headed by Vice and Intel.^[18] The same twelvemonth, Murakami's anime-inspired illustrations from his get-go film Jellyfish Eyes, ^[19] likewise adorned a T-shirt past Billionaire Boys Guild, the brand co-founded by Pharrell and Nigo.^[20]

In 2018, Takashi Murakami collaborated with fashion designer Virgil Abloh on a series of artworks, bringing the fashion world to the art world but ultimately transcending both to create something more than.^[21] Takashi and Virgil discuss their careers and their collaboration at length in their interview for Cultured Mag'due south fall 2018 effect where they are featured on the encompass.^[21]

In March 2019, Billie Eilish released one of two official music videos for you should see me in a crown, one being directed and blithe by Takashi Murakami. Murakami stated in a press release that the anime-style video, which was animated using motion capture engineering, took eight months for him to create.^[22] The video opens with an blithe version of Eilish, dressed in a neon-green shirt and shorts, eventually morphing into a spider-similar monster that wreaks havoc on a miniature metropolis. The video features the "Blohsh", Eilish's signature logo, likewise as Murakami's flowers. The belatedly rapper Juice WRLD approached Murakami to practice a projection several weeks before his untimely death, as a consequence of which, the projected could never be completed.

In March 2020, J Balvin released his album Colores featuring anthology cover designs and artwork by Takashi Murakami.^[23] The Murakami-designed artwork was carried over to trade to gloat the release of his album.^[24]

In April 2020, Supreme released a Box Logo Tee featuring artwork from Murakami. All the proceeds went to Aid Us, in gild to support youth and families facing homelessness during the COVID-19 pandemic.^[25]

Current [edit]

From 2007 to 2009, Murakami's first retrospective ©Murakami traveled from the Museum of Gimmicky Art (MOCA) in Los Angeles (its multi-disciplinary approach to contemporary art),^[26] to the Brooklyn Museum of Art in New York, the Museum für Moderne Kunst in Frankfurt, and lastly the Guggenheim Museum Bilbao, Espana. Sarah Thornton tracks the early on stages of the exhibition'southward planning, including in-depth curatorial meetings between Murakami and prominent museum figures, in Seven Days in the Art World.^[27] The exhibition earned widespread attention for, among other things, including a fully operation Louis Vuitton boutique as one of the exhibits.

In 2008, Murakami was named 1 of Time magazine'south "100 Most Influential People", the only visual creative person included.^[28]

In September 2010 Murakami became the third contemporary artist, and first Japanese, to exhibit at the Palace of Versailles in France, filling 15 rooms and the park with his sculptures, paintings, a decorative carpet, and lamps.^[29]

On June 21, 2011, Google featured a doodle tagged as "First Twenty-four hours of Summer" which was created by Murakami. This was accompanied by a Winter Solstice doodle for the Southern Hemisphere.^[30]

In February 2012, Murakami opened an exhibition in Doha, Qatar. Titled Murakami-Ego, this showed around threescore former works alongside new ones designed peculiarly for the exhibition. Among the new ones, a 100-metre long wall painting depicting the suffering of the Japanese people after the Fukushima nuclear disaster.^[31]

In March 2013, livetune released a PV, directed by Murakami, for Redial, featuring Hatsune Miku.^[32]

In April 2013, Murakami's first feature film was released in theaters across Nippon. Jellyfish Eyes (originally titled "Me me me no kurage)^[33]) is a live-action movie featuring CGI characters designed by Murakami called Friend.^[34]

In 2019, Murakami was working on his own album of original folk songs, inspired by Japanese group Happy End (ring).^[35]

Fine art style [edit]

Murakami'south fine art encompasses a wide range of media and is by and large described as superflat. It has been noted for its use of color, incorporation of motifs from Japanese traditional and popular culture, flat/glossy surfaces, and content that could be described at one time as "cute", "psychedelic", or "satirical". Amid his best known recurring motifs are smiling flowers, Mr. DOB, mushrooms, skulls, Buddhist iconography, and the sexual complexes of otaku civilization. 1 of Murakami's most famous pieces known as 'Hiropon' brings to lite his embrace of otaku civilization. The sculpture that was created in 2001 is said to show the "otaku culture and its strange, shocking sexuality in total force".^[36]

In improver to big paintings such equally 727 (permanent drove Museum of Modern Art, New York) and Tan Tan Bo Puking – a.k.a. Gero Tan, he has as well produced sculptures, balloons, 'all-over' wallpaper installations, animated works, prints, posters, and contrasted merchandise.^[ten]

Strategic approach [edit]

Murakami has expressed since early on on a frustration with the lack of a reliable and sustainable fine art marketplace in postwar Japan. Largely for this reason, he formulated a strategy wherein he would first establish himself in the Western fine art world and so import himself back to Japan, building a new blazon of art market in the procedure.^[37] In guild to create something rooted in his ain Japanese civilisation and history but nevertheless fresh and valid internationally, he began searching for something that could be considered 'uniquely Japanese.' After concluding that elements of 'high' art were confounding at best, he began to focus on Japan'south 'low' culture, especially anime and manga, and the larger subculture of otaku. His artistic way and motifs (cute/disturbing anime-esque characters rendered in bright colors, flat and highly sleeky surfaces, life-size sculptures of anime figurines) derived from this strategy.^[37] This is demonstrated in his whimsical Cosmos Brawl from 2000, in the collection of the Honolulu Museum of Art.

Market value [edit]

On November 11, 2003, ArtNews has described Murakami's work equally existence in dandy need.^[38] Hiropon (1997), satirical sculpture, continuing a bit over 7 feet tall, of an anime character with oversized lactating breasts whose milk stream forms a jump rope made of fiberglass, sold for $427,500 at Christie's auction firm in May 2002.^{[39] [xl]} Miss ko2 (1996), a 6-pes-tall model of an anime-inspired blonde girl in a red and white maid outfit, was sold for $567,500 in 2003,^{[41] [38] [42]} and was put up for auction in 2010,^[42] where it sold for 22.9 meg HKD.^[43] In May 2008, My Lonesome Cowboy (1998), an anime-inspired sculpture of a masturbating boy whose semen stream forms a lasso, sold for $15.2 meg at Sotheby'due south, making it his nigh highly valued piece.^[44] Murakami's current cyberspace-worth is estimated to be around Us$100 million, and the value of his works continue to ascension in today'south market place.^[45]

Kaikai Kiki [edit]

Murakami has incorporated his operations every bit Kaikai Kiki Co., Ltd. in Japan (2001), Kaikai Kiki New York, LLC in New York (2001), and Kaikai Kiki LA, LLC in Los Angeles (2010). The proper name "Kaikai Kiki" (カイカイキキ) which ways "brave, potent and sensitive," was borrowed from a critic in the belatedly 17th century who used it to describe the paintings of Eitoku Kano.^[46]

Kaikai Kiki executes Murakami's wide range of artistic endeavors and consists of both offices and production studios. In add-on to handling the production and promotion of Murakami'southward artwork and projects, the company manages the careers of immature artists, organizes international art projects, produces and promotes merchandise, and handles the organization and functioning of the Geisai fine art fair.

Having earned success and recognition internationally, Murakami has devoted himself to nurturing and supporting the careers of a younger generation of Japanese artists. Likening the operation to that of a tape label, he offers both logistic back up and practical career advice. Through this effort, he as well seeks to build an original and sustainable art marketplace in Japan.^[2]

In 2008, Kaikai Kiki converted the basement space below its Tokyo role into an art gallery. Kaikai Kiki Gallery has held exhibitions not simply for the artists nether its management merely besides international names such as Mark Grotjahn and Friedrich Kunath. All exhibitions are curated past Murakami.^[47]

A second Gallery called Hidari Zingaro was opened in 2010 and has now expanded to include four carve up locations within the Nakano Broadway shopping mall in Nakano, Tokyo.^[48]

The company and its galleries correspond a number of prominent international artists including Takashi Murakami, KAWS, Mark Grotjahn, Anselm Reyle, Matthew Monahan, Seonna Hong, Aya Takano, Chiho Aoshima, ob, Mr., Virgil Abloh, Michael Rikio Ming Hee Ho, Kazumi Nakamura, Otani Workshop, Yūji Ueda, Chinatsu Ban, Rei Sato, and Friedrich Kunath.^[49] The company began in Saitama, Japan in Asaka Metropolis, and now has offices in Tokyo, Japan in the Moto-Azabu neighborhood and New York besides every bit affiliates in Berlin and Taiwan.^[50]

Geisai [edit]

From 2002 until 2014, Murakami organized a unique direct-participatory art fair called Geisai. Information technology was held once per year in Japan and once per year in a different city, such as Taipei, or Miami. Rather than give infinite to pre-screened galleries, the fair allowed artists to create their own booths and interact directly with potential buyers.^[51]

NFTs [edit]

Murakami has been active in the NFT world since Apr 2021. His first project, "Murakami.Flowers", withal, was suspended by the creative person presently afterward its release, due to the artist's concern about his trivial knowledge of the topic.^[52] In November 2021 he collaborated with Nike owned company RTFKT Studios on CloneX avatar projects.^[53] In January 2022 he appear he started working again on previously mentioned project "Murakami.Flowers".^[54]

Books [edit]

• Murakami, Takashi "Geijutsu Kigyoron"　ISBN 978-four-344-01178-6
• Murakami, Takashi "Geijutsu Tosoron" ISBN 978-4-344-01912-6
• Murakami, Takashi "Summon Monsters? Open The Door? Heal? Or Die?" ISBN 978-4-939148-03-3
• Murakami, Takashi "Superflat" ISBN 978-four-944079-20-9
• Murakami, Takashi "Little Boy: The Arts of Nihon's Exploding Subculture" ISBN 978-0-300-10285-7
• Cruz, Amanda/Friis-Hansen, Dana/Matsui, Midori "Takashi Murakami: The Significant of the Nonsense of the Meaning" ISBN 978-0-8109-6702-ane
• Schimmel, Paul "©Murakami" ISBN 978-0-8478-3003-9
• Le Bon, Laurent "Murakami Versailles" ISBN 978-ii-915173-72-vii

Exhibitions [edit]

1989

• Exhibition L'Espoir: Takashi Murakami, Galerie Ginza Surugadai, Tokyo
• New Works, Café Tiens!, Tokyo

1991

• Art Gallery at Tokyo National University of Fine Arts and Music, Tokyo
• Galerie Aoi, Osaka, Japan
• One Night Exhibition, Baronial 23 Röntgen Kunst Institut, Tokyo
• I Am Against Being For It Galerie Aries, Tokyo

1993

• A Very Merry Unbirthday!, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
• Gallery Nasubi, Tokyo
• A Romantic Evening, Gallery Cellar, Nagoya, Nippon 1992
• Wild Wild, Röntgen Kunst Institut, Tokyo
• NICAF'92, Shirashi Contemporary Fine art Inc., Yokohama, Japan

1994

• Fujisan, Gallery Koto, Okayama, Japan
• Which is tomorrow? - Autumn in dearest -, SCAI The Bathhouse, Shiraishi Contemporary Art, Inc., Tokyo
• Azami Kikyo, Ominaeshi, Gallery Aoi, Osaka, Japan
• A Romantic Evening, Gallery Cellar, Nagoya, Japan

1995

• Galerie Emmanuel Perrotin, Paris
• NIJI (Rainbow), Gallery Koto, Okayama, Japan
• Crasy Z, SCAI The Bathhouse, Tokyo
• Mr. Doomsday Balloon, Yngtingagatan 1, Stockholm, Suède

1996

• 727, Tomio Koyama Gallery, Tokyo
• 727, Aoi Gallery Osaka, Nippon
• Feature Inc., New York
• Gavin Brown's Enterprise, New York
• Galerie Koto, Okayama, Japan
• Konnichiwa, Mr. DOB, Kirin Art Plaza, Osaka, Nippon
• A Very Merry Unbirthday, To You, To Me!, Ginza Komatsu, Tokyo

1997

• Galerie Emmanuel Perrotin, Paris
• Blum & Poe Gallery, Santa Monica, California
• Galerie Koto, Okayama, Japan
• The Other Side of a Flash of Light, HAP Art Space, Hiroshima, Japan
• New York, Characteristic, Murakami: Hiropon, Project ko2 ^[55]

1998

• Hiropon Project KoKo_Pity Sakurako Jet Airplane Nos. 1-6, Feature Inc., New York
• Back Beat out : Super Apartment, Tomio Koyama Gallery, Tokyo
• My Lonesome Cowboy, Blum & Poe Gallery, Santa Monica, California
• Moreover, DOB raises his hand, Sagacho bis, Tokyo

1999

• DOB in the strange forest, Nagoya Parco Gallery, Japan
• Patron, Marunuma Art Park Gallery, Japan
• Second Mission Project KO2, Hiropon Manufacturing plant, Nippon
• Dob'south Adventures in Wonderland, Parco Gallery, Tokyo
• The Significant of the Nonsense of the Meaning, Middle for Curatorial Studies Museum, Bart College, New York
• Superflat, Marianne Boesky Gallery, New York
• Love & DOB, Gallery KOTO, Okayama, Nippon

2000

• 727 Blum & Poe Gallery, Santa Monica, California
• Second mission Project KO2, P.S.one Gimmicky Art Middle, New York
• Kaikai Kiki: Superflat, Issey Miyake for Men, Tokyo

2001

• Wink, Grand Central Station, New York
• Mushroom, Marianne Boesky Gallery, New York
• KaiKai KiKi, Galerie Emmanuel Perrotin, Paris
• Summon monsters? open the door? heal? or dice?, Museum of Gimmicky Fine art Tokyo, Tokyo
• Takashi Murakami: Made in Japan, Museum of Fine Arts, Boston, USA

2002

• Kawaii, Fondation Cartier pour l'fine art contemporain, Paris; Serpentine Gallery, London

2003

• Superflat Monogram, Galerie Emmanuel Perrotin, Paris
• Superflat Monogram, Marianne Boesky Gallery, New York
• Double Helix Reversal, Rockefeller Center, New York

2004

• Funny Cuts, Stuttgart Museum of Art, Stuttgart, Germany
• Takashi Murakami: Inochi, Blum & Poe Gallery, New York

2005

• Opening of Gallery Extension, Galerie Perrotin, Paris
• Trivial Male child: The Arts of Nihon's Exploding Subculture, Japan Society, New York
• Outdoor Banner Installation, Public Fine art Fund, New York

2006

• The Pressure Indicate of Painting, Galerie Perrotin, Paris

2007

• ©Murakami, Museum of Contemporary Art, Los Angeles, California

2008

• Davy Jone'due south Tear, Blum & Poe, Los Angeles, California
• ©Murakami, Brooklyn Museum, Brooklyn, NY; Museum für Moderne Kunst, Frankfurt, Germany
• Prints, "My Showtime Art Series", Kaikai Kiki Gallery, Tokyo

2009

• I Love Prints then I Make Them, ARKI Gallery, Taipei, Taiwan
• I Love Prints and And so I Brand Them, Kaikai Kiki Gallery, Tokyo
• Takashi Murakami Paints Self Portraits, Galerie Emmanuel Perrotin, Paris
• ©Murakami, Guggenheim Museum, Bilbao, Kingdom of spain

2010

• Solo Exhibition, Gagosian Gallery, Rome, Italia
• MURAKAMI VERSAILLES, Palace of Versailles, Versailles, France

2011

• Beyond Limits, Chatsworth, England
• Homage to Yves Klein, Galerie Perrotin, Paris
• A History of Editions, Galerie Perrotin, Paris
• Solo Exhibition, Gagosian Gallery, London

2012

• Ego, ALRIWAQ Doha Exhibition Infinite, Qatar^[56]

2013

• Arhat, Blum & Poe, Culver City, California
• Jelly Fish Eyes International Premiere: Anime Picture, Los Angeles County Museum of Art (LACMA) April 8, 2013

2014

• Deconstruction & Postmodernism - Session I, DOP Foundation, Caracas, Venezuela, Jan 2014 – March 2014

2015–2016

• The 500 Arhats, Mori Fine art Museum, Tokyo^[57]

2017–2018

• Murakami past Murakami, Astrup Fearnley Museet, Oslo, Feb x – May five, 2017^[58]
• The Octopus Eats Its Own Leg, Museum of Contemporary Fine art, Chicago, Jun half-dozen – September 24, 2017^[59]
• Under the Radiation Falls, Garage Museum of Contemporary Art, Moscow, September 29, 2017 – February 8, 2018^[60]
• The Octopus Eats Its Own Leg, Vancouver Art Gallery, Vancouver, February 3, 2018 – May 6, 2018^[61]

2019

• Takashi Murakami: GYATEI², Gagosian, Los Angeles, February 21 – April thirteen, 2019^[62]

2020

• STARS: Six Contemporary Artists from Japan to the World, Mori Art Museum, Tokyo, July 31, 2020 – January 3, 2021^[63]

References [edit]

1. ^ ^{a b} Hebdige, Dick (2007), "Flat Male child vs. Skinny: Takashi Murakami and the Battle for "Japan"", in Schimmel, Paul (ed.), ©Murakami, Museum of Gimmicky Art, Los Angeles/Rizzoli International Publications, Inc.
2. ^ ^{a b} Kaikai Kiki Co., Ltd., Kaikai Kiki Co., Ltd., archived from the original on September 7, 2006, retrieved August nine, 2011
3. ^ Schimmel, Paul (2007), "Making Murakami", in Schimmel, Paul (ed.), ©Murakami, Museum of Contemporary Art, Los Angeles/Rizzoli International Publications, Inc.
4. ^ A Bulletin: Laying the foundation for a Japanese art market, Kaikai Kiki Co., Ltd., retrieved August 9, 2011
5. ^ Crow, Kelly (November vi, 2014). "Takashi Murakami Brings His Darker Works to New York; The artist, known for smiling, anime-like characters, is bringing a newer, dark style to New York'due south Gagosian Gallery". Wall Street Periodical. p. i. Retrieved February 19, 2022.
6. ^ "CBS News/New York Times Monthly Poll, January 2008". ICPSR Data Holdings. September 16, 2009. doi:10.3886/icpsr25661.v1. Retrieved February 19, 2022.
7. ^ "My Lonesome Cowboy, 1998". Widewalls . Retrieved December 11, 2019.
8. ^ ^{a b} Yoshitake, Mika (2007), "The Meaning of the Nonsense of Backlog", in Schimmel, Paul (ed.), ©Murakami, Museum of Contemporary Art, Los Angeles/Rizzoli International Publications, Inc.
9. ^ "Asian Cultural Quango — Murakami, Takashi". www.asianculturalcouncil.org.
10. ^ ^{a b c d} Rothkopf, Scott (2007), "Takashi Murakami: Company Man", in Schimmel, Paul (ed.), ©Murakami, Museum of Contemporary Fine art, Los Angeles/Rizzoli International
11. ^ Lu Stout, Kristie (January 11, 2013). "Interview with Japanese Artist Takashi Murakam". CNN. Turner Broadcasting Organization. Retrieved May 23, 2017.
12. ^ Kim, Michelle (June 6, 2018). "Kanye and Kid Cudi Unveil Cover Art for New Anthology Kids See Ghosts". Pitchfork . Retrieved June 6, 2018.
13. ^ Magdalene Perez (June ix, 2006), The AI Interview: Takashi Murakami, Artinfo, retrieved April 24, 2008
14. ^ Interview with Pharrell Williams Fine art forty Basel 2009, archived from the original on December 22, 2021, retrieved July 15, 2014
15. ^ Schuker, Lauren A.E. (Oct 2, 2009). "The Artist and the Director". The Wall Street Journal. Archived from the original on February 1, 2010. Retrieved Feb 22, 2010.
16. ^ Bunz, Mercedes (February 25, 2010). "Viral Video Nautical chart: Kirsten Dunst turns Japanese and a pigeon takes the train". The Guardian. U.k.. Archived from the original on March i, 2010. Retrieved February 26, 2010.
17. ^ "Pop Life: Fine art in a Material World, explore the exhibition, room 17". Tate Modern. Archived from the original on May 31, 2015. Retrieved March 12, 2015.
18. ^ Creators (May xiii, 2014). "Last Night, Good Dark (Re:Dialed) - Pharrell Williams Remix". Archived from the original on December 22, 2021. Retrieved June 27, 2017 – via YouTube.
19. ^ Gamerman, Ellen (May 8, 2014). "Takashi Murakami'due south First Film, 'Jellyfish Optics,' Opens in the U.S." Wall Street Journal. ISSN 0099-9660. Retrieved October 22, 2016.
20. ^ Babcock, Gregory (May 3, 2014). "JELLYFISH Eyes and Billionaire Boys Club Bring the Superflat World to Real Life". Complex UK . Retrieved October 22, 2016.
21. ^ ^{a b} "VIRGIL ABLOH AND TAKASHI MURAKAMI ARE CHANGING THE Chat ONE COLLABORATION AT A Fourth dimension". www.culturedmag.com.
22. ^ Acevedo, Angelica (Apr xviii, 2019). "Billie Eilish Debuts Bewitching Animated Video for 'You Should See Me in a Crown'". Billboard.
23. ^ Sawyer, Jonathan (February 28, 2020). "J Balvin Reveals Takashi Murakami-Designed Album Cover for 'Colores'". Highsnobiety. Highsnobiety. Retrieved March 21, 2020.
24. ^ "J Balvin släpper merch designad av Takashi Murakami". Dopest. Dopest. March 20, 2020. Retrieved March 22, 2020.
25. ^ "Supreme ten Takashi Murakami Box Logo Tee Raised Over $one Meg". Highsnobiety. May 4, 2020. Retrieved June 19, 2021.
26. ^ "Home". www.moca.org . Retrieved October 16, 2020.
27. ^ Fifty.), Thornton, Sarah (Sarah (November 2, 2009). Seven days in the fine art world. New York. ISBN9780393337129. OCLC 489232834.
28. ^ Jacobs, Marc (May 12, 2008). "The 2008 TIME 100 - TIME". Time. ISSN 0040-781X. Retrieved February 13, 2018.
29. ^ Takashi Murakami at the Palace of Versailles Guardian.co.united kingdom, September x, 2010
30. ^ Adetunji, Jo (June 21, 2011). "Summer solstice commemorated with Google doodle past Takashi Murakami". The Guardian.
31. ^ Hundred-metre dash in the Economist, Feb 18, 2012
32. ^ livetune feat. 初音ミク「Redial」Music Video, March xx, 2013
33. ^ Jellyfish Eyes Japanese website Archived April xv, 2016, at the Wayback Auto, June 23, 2013
34. ^ Jellyfish Eyes English language website, June 23, 2013
35. ^ Lee, Giacomo (Nov 22, 2019). "Takashi Murakami reveals his undercover to 25 years of success". Digital Arts . Retrieved September 14, 2021.
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External links [edit]

gregorydession.blogspot.com

Source: https://en.wikipedia.org/wiki/Takashi_Murakami

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