Yasumasa Morimura - The Art of Self-Portaiture in a Post-Modern Global Japan Page history last edited by PBworks

3 years ago Yasumasa Morimura by JC Brew

Yasumasa Morimura is an internationally respected and controversial Japanese artist who embodies and displaces societal currents in Japanese culture, such as Western assimilation, capitalism, and gender values. He follows the spirit of wabisabi by drawing beauty from the rifts of Japan's connection with the global community and its connection with its own past. As a master of self-portraiture, Morimura is the androgynous outsider peering at the audience or the crowd, with the absent identity of a Noh performer, yet the piercing gaze of the Western critic. Like a wabi sabi ceramic, Morimura is wildly unpredictable and unable to pin down. GOAL OF WIKI: To explore 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. Background Yasumasa Morimura has achieved fame as a contemporary international artist due largely to his provocative interpretations of a unique subject matter: himself. Morimura appropriates iconic images from Western culture in his photographic selfportraits, including series in art history paintings, American leading actresses from the mid-twentieth century, and more recently, controversial historical world leaders. Morimura was born in Osaka, Japan, in 1951. His artistic training occurred at the Kyoto City University of the Arts, where he graduated in 1978. He has shown internationally in countless solo shows and many larger group exhibitions.. Some interpret the incessant self-portraits as a form of megalomania and selfaggrandizement, in order to gain wealth and prestige, yet this does not account for the risks that he takes as an artist. http://www.luhringaugustine.com/index.php?mode=artists&object_id=75&view=bio Exhibition History

selfportraits deny not only photography itself but the 20th century as an era as well. Modernization has been called the process of reproduction leading to a hybrid imitation. there is a great amount of Post-modern wabi sabi.. has has taken on 300 different faces or characters. He does not want a hybrid. If it is a hybrid imitation. it is full of perforations that allow the viewer to absorb an art capable of shattering. or flexing and delivering new light.an inevitable phenomenon at the end of the 20th century.. Morimura also explores his own identity behind the lens. and charts an evolution with his characters. whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait. And does Morimura have greater understanding in Japan? Do they enjoy his satirical message on Western invasion? Do they like that his fame is enjoyed largely in international markets? In this confusion. or confusing. and although global art has gained wide acceptance. It is a process of relinquishing individuality and self. in the work.Self-Portraiture "Taking photographs is generally an act of 'looking at the object." . In addition to achieving a high level of lookability. that avoids strict definition. and he wants it to exist in a new world that calls upon what our world is facing. Critics in Paris and throughout Europe might find the work intellectually delighting yet offensive to their great masters.. Morimura's ressamblements create a dangerous mix of elements without firm footing.. For the duration of its existence. he wants the original essence of the subject. post-modern artist must also be examined. and releasing the identity of the other into a new sphere of interpretation. Postmodern works frequently call the viewer to the author's presence.Yasumasa Morimura Morimura claims that over the course of his career. International audiences do not know how to react to Morimura. Yasumasa Morimura's flow chart for beauty: Recollection-->Commotion Within-->Enthusiasm for Expression-->Beauty Postmodern Artist The question of what is an international. Morimura is clearly beyond the modernizing process. but that forces a guttural response. to any global context. art on the edge by an illusive creator. in the gallery. the study of art history has maintained a grounding on Western works. .

Asian identities. Yet it is difficult to conceive of Morimura as being fully political." infiltrating our Western heritage of beauty. and to heal ripples in the past. and "the iconic metaphors of beauty. Globalization occurred as a second wave of the Western invasion following World War II. Morimura has worked through his work to interpret Western myths about success and celebrity.Morimura is both buried in the history and aesthetics of his work and gazing out to create an uncomfortable edge. The most striking way Morimura achieved this affect was by playing with the common signifiers of gender. How? After watching Star Wars. perhaps through the art of perversion Some critics interpret the body of Morimura's work as a call towards dewesternization and reclaiming local. his face implanted in Van Gogh's sunflowers. His work was postmodern in that its images rearranged signifiers unique to original cultures. Conclusion Yasumasa Morimura's work transcends the art world by becoming a form of communication for shifting values. He frequently breaks taboos through his performance and challenges both his culture and himself to form new identities. From that point. Clearly Morimura's work is successful because of themes of globalization and a recurring awareness of the "other" and the "orient." "as they were. not divide. Morimura was taught western art history at his art school in Japan. His . even in his portrayals of dictators. Japanese culture molded with the West as it idolized Western celebrities. hiding in Western canvases. and inequities in cultural conglomeration into the future." was gone. Morimura." Globalization Japanese and Western Art has a long history of influencing each other. He is out to mix cultures. Yasumasa Morimura realized that the twentieth century had come to end at the end of the 1970's. can be seen as the emerging Asian presence in a succombing Western heirarchy. images would be reconstructed. he knew that the "era of images. almost like meeting the performer in makeup following the performance of a play.

recent political work shows a desire to reconcile and memorialize the twentieth century and come to terms with those forces that could lead to catastrophe in the next century. . Morimura achieves uncommon expression and beauty. By harnessing these waves of commotion and probing cultural divisions that defy definition.

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