Yayoi Kusama Biography

 yasumasa Morimura is a japanese artist known for his large scale self -portraits that were often superimposed on art historical image or picture of iconic individuals.Yasumasa painted self -portraits with an inner Dialogue with Frida Kahlo (collar of Thorns),in 2001. and its inspirational companion piece, which was originally painted by Kahlo, entitled Self-Portrait .His  faces the viewer with her head and shoulders taking up much of the space.  He s surrounded by brighten with lively yellow leaves of similar size and shape with one orange  leaf behind her head.

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

Yasumasa Morimura is an internationally respected and controversial Japanese artist who through his art, represents social changes in Japanese culture, such as Western influences, politics and gender values. Morimura explores how Japan interacts with the World through the lens of the artist and how the artist creates an identity within his culture and the global community.

Most pieces of art have a deeper meaning than what is simply expressed on the surface. Through emotions, symbols, and motifs, an artist can portray a unique story; however, despite the use of creative symbols, distinct stories can show a similar theme. Two such examples are the short film Destino by Salvador Dali and Walt Disney and The Great Gatsby by F. Scott Fitzgerald, which share the common theme of “the struggle of obtaining dreams”. Based on what is shown in these works of art, it is a challenge to attain dreams.

The position of US Poet Laureate is an exceptionally prestigious and challenging position to achieve, as any aspiring poet within the country is eligible. To quote the Library of Congress, the poet laureate “serves as the official lightning rod for the poetic impulse of Americans” (“About the Position”), which means that their duty is to increase the widespread national appreciation of the reading and writing of poetry, specifically those imbued with American themes. These duties as laureate are perfectly suited for Yusef Komunyakaa, who embodies all of the necessary qualities. Through jazz-infused poetry and personal experiences, Komunyakaa truly captures within his poetry what it means to be an American, and he continues to leave an impact on the world of literature both

This piece was created during a time of political and social change. Increased political awareness and a focus on celebrity demanded art that was more

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

The post modern era is one in which things were twisted, changed and critiqued. Some people questioned the ways and ‘rules’ of society, rebelling against conformity and the usual ideas of what was ‘right’ or ‘allowed’. Artists were largely in this group. Marcel Duchamp and Yasumasa Morimura are examples of artists who appropriated other people, things and paintings in their work, to change their meanings, and either rebel against the norms of society, make a statement about issues affecting them and their culture, or to add humour to a once serious piece.

In the fifty years between the JFK assassination and a Kardashian selfie breaking the internet, two women — representing different cultures, races, times, and attitudes — created two individual pieces of art that became living commentary on the power dynamics at play in their world. In 1964, Yoko Ono challenged both societal convention and the artist/audience relationship in her exhibit Cut Piece, and decades later Kara Walker’s Sugar Subtlety, 2014, challenged preconceived notions of racial symbolism and societal convention on a historical level. For both creators, the idea of “The Gaze” is explored and even featured, a term that addresses the controlling power a dominant group holds through visualization and often through sexuality. However, the ways in which this term is explored are different between the two women. While Ono’s work highlights and even proves the Western male domination involved in the idea of “The Gaze”, fifty years later and a difference in culture sees Kara Walker’s work create an artistic and intellectual revolution against the very power “the Gaze” tries to maintain, turning the concept on its head.

The innovative and passionate presence in both Jackson Pollock’s and Wassily Kandinsky avant-garde paintings exemplifies the redefinition of boundaries throughout their art making practices. Both artists challenged traditions both materially and conceptually using innovative and diverse approaches to materials and techniques when painting. Wassily Kandinsky goes against traditions and academies to create vivid, sensual and symbolic large-scale semi abstract expressionist oil paintings in a heightened state of mind. Many artworks of his convey bright and cheerful spontaneous colours that make the audience fully consumed within his works due to hypnotic and distorted semi realist shapes. Consequently, Jackson Pollock also goes against

Beginning in the 1950s, Kahlo mostly painted still lifes of fruits she took from her garden or a country market; these fruits were placed on a table next to her bed, as she was confined to her house and bed because of her deteriorating health. The objects in Kahlo’s still lifes during this period (Figures 13, 14) were painted larger than the ones in her works from the 1930s and 1940s (Figures 15,16); the background was also kept to a minimum. As such, anyone who sees her paintings can feel that the object of love and desire she wished to portray closely captures a thematic expression of being studied very up close, nearly touching one’s nose and eyes All she could truly feel while bedridden and living in a confined life were things within her arm’s reach. The important observation of her still lifes is that the fruits in her paintings are beautifully ripe and have attractive colors. However, a flaw exists somewhere on them, like Kahlo herself.

My analysis of how successful and how did this artwork affect the society and culture as its target

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

Art History is the study of objects of art in their historical development and stylistic contexts. The history of art, we feel, can sometimes be confused with art criticism. However, Art History is concerned with finding the value of the artistic piece in respect with others in the same category of art or movement, and art criticism is more of an evaluation of art. The art examined best represents the culture during the time period, visions the artist imagined, and history behind an event. It also represents society in a specific area, beliefs the people may have, writing that tells a story, the natural world and environment, conflict between people and areas, and the human body. With these representations, artwork overall represents the life in which we live (d). Each piece has its own genre, design, format and style to it. This makes each piece extremely different, yet pleasing to the eye. They also vary between paintings, sculptures and architecture. These different types also make a variety of artwork to be seen by all people. The art pieces that I chose, Jar, Bottle and Glass by Juan Gris, The Persistence of Memory by Salvador Dalí, and Starry Night by Vincent Van Gogh, seemed interesting to me and I believe to best represent the context in which they were created, along with the major artistic movements of the time. I went on to research them more thoroughly to better understand the history behind them,

Overall, despite the criticism and controversies about his business strategies, ambition and artistic style, we cannot deny Murakami’s contribution to the modern art world. As a businessman and brand manager, he completely devoted himself to the art viewers as customers and provide undeniable high production quality in his masterpiece. He also clever with business strategies as he exploited fact that the Japanese subculture has a fascination with the West and creatively sophistry his works to put on the market. However, what makes Murakami a successful international artist is not based on how much his artworks worth in numbers but how he was able to transform ‘cuteness’ element of a subculture into his “Superflat” movement and reached the highest