POP CULTURE IN ARTS AND DESIGN

Posted: January 5th, 2023

POP CULTURE IN ARTS AND DESIGN

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Pop Culture in Arts and Design

Takashi Murakami is a Japanese artist who associates himself with animation (anime) and manga. His engagement with the two forms is evident such that he refers to himself as an expert in the two areas. Murakami is famous all over Japan, and gained much global fame at the beginning of the 21^st century when he formed the superflat theory, which he referred to as a postmodern art movement, and an art design exclusively attributed to him.[1] The artist claims that the division between high and low cultures is now almost disappearing. Instead, he thinks that a superflat culture has formed. Murakami contends that the various social, political, cultural, and historical contexts have increasingly become intertwined, and the relationship between high and low cultures have become more evident.[2] For instance, the Japanese and Americans now borrow much information and practices from each other, and the traditional and modern forms of art are now being intertwined more than ever. Murakami, like Murakami Haruki, believes that the interaction between both aspects provides room for the emergence of a superflat culture, which fuses art with commercial aspects of popular culture in Japan.[3] Superflat also refers to the genealogical and aesthetic interaction that Murakami finds between the modern portrayals of popular culture in Japan and the two-dimensional forms of Japanese paintings. Murakami’s superflat theory presents a chance for artists to explore mode diversified approaches in their production of artworks.

The Edo boom played key roles in facilitating Murakami’s production of the superflat theory. Steinberg describes the Edo boom that happened in Japan during the late 1980s and 1990s had a significant impact on refining art production.[4] The emergence had substantial impact on many artists and art consumers because the message was evident through various avenues, including critical theory, literature, manga, and TV. In addition, the connection between Edo and popular culture and imagination made the approach more appealing.[5] Steinberg also mentions that the boom served as a precursor and portrayal of postmodern present and consumerist society that is now a feature of the Japanese culture.[6][7] Specifically, the period was characterized by production and consumption of a wide range of artworks using paints, woodblocks, textiles, ceramics, and sculptures. It with the context of the Edo boom that Steinberg places Japanese curator and artist Murakami’s artwork, the superflat.[8]

Theory of super art served as a manifesto for the idea of a new form of art appearing from the creative descriptions developed in Japanese animations, graphic designs, video games, graphic models, and fashion. The exhibition that hosted the launching of the theory brought together other renowned artist, including Shigeyoshi Ohi, Yoshitomo Nara, and other emerging contemporary artists such as Aya Takano and Chiho Aoshima. The event also provided many local artists the chance to showcase their work, including Henmaru Machino, Hitoshi Tomizawa, and Masahiro Nakagawa among others.[9] All the artists present during the audition sought to be conversant with the superflat theory and was part of the reason why they attended exhibition in 2000. Other than showcasing the exhibition in the Parco Galleries of Nagoya and Tokyo, Murakami introduced the concept at the Museum of Contemporary Art in Los Angeles, and later at the Walker Art Center in Minneapolis. Participants in these events learnt that superflat is not only a theory in art, an exhibition’s title, or a depiction of the style Murakami uses to portray his work. The innovation also provides much information about the production and consumption of art within a given context of modern globalization processing. Thus, the theory depicts ways of deducing meaning within a widely described and encompassing international culture. The act of deducing meaning surpasses the restricted categories of producing and presenting art, traversing wider cultural groups in popular and commercial presentations, including a broader range of theoretical considerations that are made evident in modern art and cultural assessment.[10] Actually, the examination of the notion and the presentation of superflat theory show the capacity for diverse and intricate interpretations, which deviate from Murakami’s perception and understanding of the concept.

Murakami’s argument that the division between high and low culture is now almost vanishing and that a superflat culture is has emerged is true and convincing because other scholars have the view that the concept fuses practices from a broad range of backgrounds to build a larger and more in-depth meaning.[11] Parker asserts that in particular, superflat and the other works by Murakami can be perceived as expressions of intricate connection between commodity, cultural identity, and art in today’s cultural context in which they are created and consumed.

Nara’s Influence on Superflat

Other than Murakami who has achieved tremendous praise for his efforts towards developing the superflat theory, Yoshitomo Nara played key functions in developing and selling the concept.[12] Nara who has received numerous accolades for his exhibitions in Japan and other parts of the globe associates with the pop art culture that emerged in the early 1990s.[13][14] Steinberg compares Nara with Murakami and says that in terms of their popularity, prominence in media sources, and age, both artists are more of partners than mere work affiliates who pay attention to modern forms of production.[15] The two have come together in many instances, which provided them the chance to work as a team and develop the ideas that they think are appropriate for elevating artwork in Japan and the entire world. For example, both artists featured on the cover of Brutus, and have gotten the chance to speak on TV and conferences, and share a joint online platform called Narakami General Store where they sell some of their artistic productions. Nara who receives fame for his unique works[16] is also included in the Super Flat Catalogue, and has produced various artifacts in accordance with superflat theory. For example, Favell displays “Nara dog” placed outside Yoshii Brickhouse brewery, which adheres to the guidelines of the superflat theory.[17] Favell also places a photo showing a superflat art by Nara called “Nobody’s Fool” that stands at Asia Society in New York.[18] Moreover, his production of the book Slash With a Knife in 1998 where he displayed many aspects that Murakami later used to develop his superflat theory provided him fame among young people, particularly because of the appealing and informative poems and paintings. Moreover, the production persuaded Murakami that Nara was a right partner to build the superflat theory.[19]

Nevertheless, despite their closeness, and regardless of Nara’s engagement in developing the superflat theory Nara differs significantly with Murakami in his view on the connection between the latter’s art and Japan. Whereas Murakami maintains a cozy connection with the idea of a Japanese visual or artistic expression, Nara relentlessly refuses to see his productions strictly attached to Japanese productions and paintings.[20] Specifically, Nara claims that his works do not get much influence from nihonga, manga, or anime as it happens with most children’s books in Japan and other parts of the world. Instead, Nara’s work display a global childhood that is difficult to recuperate by either culture or nation. Nara says in an interview that while he studied art in Japan, he majored on Western Art History, but has since developed the perception that classification by region is not relevant, unless the practice is aimed at preserving particular cultural customs. Nara claims during the interview that for him, Eastern and Western art and their related histories are variations that existed in the past. Nara, just like Murakami, thinks that it is time the modern society finds another suitable name for what transpires now in the contemporary world. Nara argues that it would be incomplete to represent his works only in the context Asia and Japan, and says that it is possible to discuss them in the context of Western art.[21] Nara’s view on art production contributes towards the superflat theory that it is no longer necessary to stick to particular ways of production because that restricts the techniques one could use to develop their work.

The Contributions by Mariko

Mariko Mori is another artist whose contributions played key roles in developing the superflat theory. She gained fame and developed closer ties with Murakami and other like-minded artists because of her belief that borrowing concepts from other cultures and incorporating them into one’s works present a suitable chance to come up with more appealing productions.[22] Even though she pays attention to specific themes in her work, including transcendence, spirituality, and IT-related themes, she ensures that she borrows from other cultures as much as she can to come up with presentations that are acceptable across the globe.[23] For example, Mori’s work, Rebirth, shows how she deviates to traditional forms of productions that are solely based on Japanese ideologies and motifs to a more contemporary form that brings the concepts from various backgrounds together.[24] She still works closely with artists such as Murakami to promote the superflat culture, and to diminish the gap between high and low cultures.

Conclusion

The paper supports the notion that the gap between high and low cultures has diminished and that a superflat culture now dominates. It means that artists now adopt a more advanced way of looking at things, and developing their work. The theory permits artists to borrow from various cultural and social aspects, and to explore the concepts that they think are suitable for their productions. Various artists have come out to align their works with the theory, which reinstates the notion that the gap between the high and low culture has vanished and people now live in a superflat culture. Nara is a notable example who despite their differences in ideology in some aspects, supports the view that it is essential to break away from traditional aspects of producing art that could restrict how one appeals to audiences from other regions. Another notable example is Mariko who embraces a multidisciplinary approach in his production. The primary lesson that artists learn from the analysis is that employing concepts from multiple cultures and fields offers an opportunity to come up with artworks that can be applied over a larger context.

Bibliography

Bustamante, Isabella. “Yoshitomo Nara and Child as Hero.” FURJ, vol. 3, 2013, pp. 23-28.

Chapter 2. The Edo Period: Pre-conditions for Industrialization.

https://www.grips.ac.jp/vietnam/KOarchives/doc/EB03_EDJ/2EB03_Chap02-04.pdf

GalleriesNow. Yoshitomo Nara: All Things Must Pass, But Nothing Is Lost / Precious Days

            around Me, Sometimes Farther Along, Sometimes Under My Feet. GalleriesNow, 2021,

https://www.galleriesnow.net/shows/yoshitomo-nara-all-things-must-pass-but-nothing-is-

            lost-precious-days-around-me-sometimes-farther-along-sometimes-under-my-feet/.

            Accessed 1 April 1, 2021.

Goldstein-Gidoni, Ofra. “The Production and Consumption of ‘Japanese Culture’ in the Global

            Cultural Market.” Journal of Consumer Culture, vol. 5, no. 2, 2005, pp. 155-179.

Holland, Allison. Mori Mariko and the Art of Global Connectedness.” Intersections: Gender and Sexuality in Asia and the Pacific, no. 23, 2009, pp. 1-11.

Favell, Adrian. Before and After Superflat: A Short History of Japanese Contemporary Art 1990-2011. Hong Kong: Blue Kingfisher Limited, 2011.

Kaikai Kiki. “Drawings: 1988-2018 Last 30 Years Yoshitomo Nara. Kaikai Kiki Gallery, 2021,

            http://en.gallery-kaikaikiki.com/2018/01/yoshitomo-nara-drawings-19882018-last-30-

            years/. Accessed 1 April 1, 2021.

National Gallery of Art. Edo: Art in Japan – 1868. National Gallery of Art, 1998.

Nihei, Chikako. “The Productivity of a Space in-between: Murakami Haruki as a Translator.” Japanese Studies, vol. 36, no. 3, 2016, pp. 383-397.

Parker, Martin. “Super Flat: Hierarchy, Culture and Dimensions of Organizing.” 2012, doi: 10.1108/S0733-558X(2012)0000035011

Raubenheimer, Landi. “Flatness and Immersion in Mariko Mori’s Pureland: The Possibility of a Digital Sublime.” SAJAH, vol. 22, no. 3, 2007, pp. 150-167.

Sharp, Kristen. “Superflatlands: The Global Cultures of Takashi Murakami and Superflat Art.” Critical Perspectives on Communication, Cultural & Policy Studies, vol. 26, no. 1, 2007, pp. 39-51.

Steinberg, Marc. “Otaku, Consumption, Superflat Art and the Return to Edo.” Japan Forum, vol. 16, no. 3, 2004, 449-471.

Stearns, Peter. Oxford Encyclopedia of the Modern World. Oxford University Press, 2008.

Tokyo Beat Art. “Yoshitomo Nara “Drawings: 1988-2018 Last 30 Years”.” Tokyo Beat Art, 2021, https://www.tokyoartbeat.com/event/2018/2A11.en. Accessed 1 April 1, 2021.

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[1] Parker, Martin. “Super Flat: Hierarchy, Culture and Dimensions of Organizing.” 2012,

doi: 10.1108/S0733-558X(2012)0000035011, 202

[2] Goldstein-Gidoni, Ofra. “The Production and Consumption of ‘Japanese Culture’ in the Global Cultural Market.” Journal of Consumer Culture, vol. 5, no. 2, 2005, pp. 155-179.

[3] Nihei, Chikako. “The Productivity of a Space in-between: Murakami Haruki as a Translator.”

Japanese Studies, vol. 36, no. 3, 2016, pp. 384

[4] Chapter 2. The Edo Period: Pre-conditions for Industrialization. https://www.grips.ac.jp/vietnam/KOarchives/doc/EB03_EDJ/2EB03_Chap02-04.pdf, 22

[5] National Gallery of Art. Edo: Art in Japan – 1868 (National Gallery of Art, 1998), 4

[6] Steinberg, Marc. “Otaku, Consumption, Superflat Art and the Return to Edo (Japan Forum, vol. 16, no. 3, 2004) 449.

[7] Stearns, Peter. Oxford Encyclopedia of the Modern World. Oxford University Press, 2008, 4.

[8] Ibid, 450

[9] Ibid, 450

[10] Sharp, Kristen. “Superflatlands: The Global Cultures of Takashi Murakami and Superflat Art.” Critical

Perspectives on Communication, Cultural & Policy Studies, vol. 26, no. 1, 2007, pp. 40.

[11] Steinberg. “Otaku, Consumption, Superflat Art and the Return to Edo.” 450

[12] Kaikai Kiki. “Drawings: 1988-2018 Last 30 Years Yoshitomo Nara. Kaikai Kiki Gallery, 2021, http://en.gallery-kaikaikiki.com/2018/01/yoshitomo-nara-drawings-19882018-last-30-years/. Accessed 1 April 1, 2021.

[13] Bustamante, Isabella. “Yoshitomo Nara and Child as Hero.” FURJ, vol. 3, 2013, pp. 24

[14] Tokyo Beat Art. “Yoshitomo Nara “Drawings: 1988-2018 Last 30 Years”.” Tokyo Beat Art,

2021, https://www.tokyoartbeat.com/event/2018/2A11.en. Accessed 1 April 1, 2021.

[15] Ibid, 461

[16] GalleriesNow. Yoshitomo Nara: All Things Must Pass, But Nothing Is Lost / Precious Days around Me, Sometimes Farther Along, Sometimes Under My Feet. GalleriesNow, 2021, https://www.galleriesnow.net/shows/yoshitomo-nara-all-things-must-pass-but-nothing-is-lost-precious-days-around-me-sometimes-farther-along-sometimes-under-my-feet/. Accessed 1 April 1, 2021.

[17] Favell, Adrian. Before and After Superflat: A Short History of Japanese Contemporary Art 1990-2011 (Hong Kong: Blue Kingfisher Limited, 2011), 28

[18] Ibid, 28

[19] Ibid, 29

[20] Steinberg. “Otaku, Consumption, Superflat Art and the Return to Edo.” 461

[21] Steinberg. “Otaku, Consumption, Superflat Art and the Return to Edo.” 462

[22] Favell. Before and After Superflat, 31

[23] Raubenheimer, Landi. “Flatness and Immersion in Mariko Mori’s Pureland: The Possibility of a Digital

Sublime.” SAJAH, vol. 22, no. 3, 2007, pp. 152.

[24] Holland, Allison. Mori Mariko and the Art of Global Connectedness.” Intersections: Gender and

Sexuality in Asia and the Pacific, no. 23, 2009, pp. 1-11.