Relevant bibliographies by topics / Takashi Murakami

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  2. Dissertations / Theses
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Academic literature on the topic 'Takashi Murakami'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Takashi Murakami"

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Rubin, Edward. "Takashi Murakami." artUS 2011???2012: The Collector's Edition 31, no. 1 (August 1, 2013): 102–5. http://dx.doi.org/10.1386/artus.31.1.102_1.

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주하영 and Sutton, Peter Anthony. "Brand Strategy of Artist, Murakami Takashi." A Journal of Brand Design Association of Korea 12, no. 4 (December 2014): 111–22. http://dx.doi.org/10.18852/bdak.2014.12.4.111.

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Silli, Stefani. "Utjecaj japanske likovne i kulturne tradicije na umjetnički izričaj Takashija Murakamija." Tabula, no. 16 (November 29, 2019): 161–74. http://dx.doi.org/10.32728/tab.16.2019.11.

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Suvremeni umjetnik Takashi Murakami devedesetih godina prošloga stoljeća se dokazao kao jedan od najprovokativnijih i najutjecajnijih japanskih umjetnika svojega vremena. Kult njegove osobnosti je već odavno prerastao granice domovine. U umjetničkome svijetu poznat kao inovator suvremene japanske umjetnosti, uspjelo mu je promijeniti način poimanja umjetnosti unutar granica vlastite države i pozicionirati estetiku i senzibilitet japanske umjetnosti na svjetski umjetnički trg kao odgovor na postojeće uvjete i težnje postmodernoga doba. To novo je umjetničko načelo nazvao superflat. Murakami je
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Marx Estarque, Maya. "Confluencia e Hibridación entre Arte y Moda en el Proceso Creativo de creadores Contemporáneos." deSignis, no. 32 (January 1, 2020): 145–52. http://dx.doi.org/10.35659/designis.i32p145-152.

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Este texto trata sobre la conexión entre los procesos creativos de creadores como Vanessa Beecroft y Viktor & Rolf, así como la colaboración entre marcas como Louis Vuitton, Takashi Murakami y Jeff Koons en un contexto de con uencia e hibridación entre arte y moda en la actualidad.
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Marley, Adele. "LITTLE BOY: THE ARTS OF JAPAN'S EXPLODING SUBCULTURE. Takashi Murakami." Art Documentation: Journal of the Art Libraries Society of North America 24, no. 2 (October 2005): 60–61. http://dx.doi.org/10.1086/adx.24.2.27949382.

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HATTORI, Michitaka. "Takashi MURAKAMI, Kita-Karafuto (Northern Sakhalin) Oil Concession 1925-1944." Russian and East European Studies, no. 33 (2004): 134–37. http://dx.doi.org/10.5823/jarees.2004.134.

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Farani, Donatella Natili. "Os 500 Arhats." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 222–54. http://dx.doi.org/10.26512/vis.v16i1.20486.

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Murakami Takashi é um dos mais celebrados artistas internacionais contemporâneos. As suas exposições, realizadas nos principais museus do mundo e em lugares famosos como o Rockfeller Center ou o Palácio de Versailles, têm atraído milhões de visitantes, alimentado a popularidade do artista e criado uma legião de admiradores dentro e fora do Japão. As obras de Murakami, cuja realização conta com o trabalho conjunto de centenas de pessoas, impressionam pelas dimensões, a qualidade e a utilização de mídias digitais. Por meio de sua arte, Murakami consegue fundir a iconografia tradicional com a dos
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Cornyetz, Nina. "Murakami Takashi and the Hell of Others: Sexual (In)Difference, the Eye, and the Gaze in ©Murakami." Criticism 54, no. 2 (2012): 181–95. http://dx.doi.org/10.1353/crt.2012.0012.

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Borggreen, Gunhild. "Cute and Cool in Contemporary Japanese Visual Arts." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 39–60. http://dx.doi.org/10.22439/cjas.v29i1.4020.

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Under the headline of 'Japan Cool', popular culture from Japan has gained a significant role in the global market within the last decade. One of the concepts related to 'Japan Cool' is kawaii, meaning cute and sweet, both as a style and a lifestyle. Kawaii can be seen as visual trademarks in fashion, manga, animé, and many other parts of popular culture, as well as in visual arts by neo-pop artists such as Murakami Takashi and his associates. However, kawaii as a critical concept, has been flourishing in Japan since the 1980s, and has been the topic of sociological research that stresses the s
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Chung, Shinyoung. "Necessarily Other: On the strategic application of ‘Otherness’ in the foreign expansion of Takashi Murakami and Cai Guo-Qiang." Journal of Art Theory and Practice 21 (June 30, 2016): 82–103. http://dx.doi.org/10.15597/17381789201621082.

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Dissertations / Theses on the topic "Takashi Murakami"

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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.<br>Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.<br>Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanes
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Lambertson, Kristen. "Mariko Mori and Takashi Murakami and the crisis of Japanese identity." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1244.

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In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and co
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Nakagawa, Simonia Fukue. "Apropriações de elementos constitutivos do mangá: investigando Murakami e Nara." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-10082016-101723/.

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Este estudo traz para a discussão, no primeiro capítulo, o mangá como expressão artística, cujo modelo de criação se distingue dos demais quadrinhos pela pluralidade e diversidade de gêneros. São apresentados estudos sobre a linguagem visual das histórias em quadrinhos a partir de teorias ocidentais e japoneses que se correlacionam, como a forma de desenho de quadros, balões, hiatos, linhas cinéticas, metáforas visuais e suas características de linguagem universal. As linhas, planos de fundo e composições das páginas estabelecem relações com a arte tradicional japonesa dos emakimono (rolos de
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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs
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Delpiano, K. María José. "Modernidad y modernización de las artes visuales en Japón — ecturas desde el concepto superflat de Takashi Murakami." Tesis, Universidad de Chile, 2010. http://www.repositorio.uchile.cl/handle/2250/101297.

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Shawky, Sharif. "Relationen mellan Takashi Murakami och den neoliberala ekonomin : konst som varor, varor som konst." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-841.

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<p>Med denna uppsats måste jag verkligen betona att jag ökat min förståelse för Takashi Murakami och hans konstnärskap. Gradvis tog jag mig in i hans konstnärskap. Till en början är det väldigt lätt att fastna vid spektakulära uttryck i hans konst och grubblerier kring hur hans varor blivit konst, men glappet däremellan är alldeles för stort för att sådana tankar skall kunna mynna ut i något fruktbart. Men genom att först försöka förstå sig på hans verksamhet mot ljuset av den ekonomiska kontexten framhävdes gradvis detaljerna kring hur hans varor blivit konst. Jag kom fram till att hans konst
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Khan, David Michael. "Questions of Cultural Identity and Difference in the work of Yasumasa Morimura, Mariko Mori and Takashi Murakami." Thesis, University of Canterbury. Fine Arts, 2007. http://hdl.handle.net/10092/973.

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This thesis explores the work of three contemporary Japanese artists - Yasumasa Morimura, Mariko Mori and Takashi Murakami - in relation to cross-cultural exchanges and differences between Japan and the West. In carrying out such an investigation, this study illustrates how these artists play with Japanese and Western cultural forms in the context of postmodern challenges to concepts of essence and authenticity, and in a technologically transformed world shaped by unprecedented global flows of information, people, products and capital. In Morimura's art-making, this play is characteri
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Steinruck, Thomas [Verfasser]. "Business Artists : Strategische Vermarkter im Kunstbetrieb ; Andy Warhol - Damien Hirst - Jeff Koons - Takashi Murakami / Thomas Steinruck." Heidelberg : arthistoricum.net, 2018. http://d-nb.info/1159968950/34.

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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.

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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.<br>M.F.A.<br>Department of Art<br>Arts and Humanities<br>Studio Art and the Computer MFA
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.

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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned wit
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Books on the topic "Takashi Murakami"

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Murakami, Takashi. Takashi Murakami. London: Serpentine Gallery, 2002.

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Murakami, Takashi. Takashi Murakami: Kaikai kiki. Paris: Fondation Cartier pour l'art contemporain, 2002.

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Bijutsu Shuppansha. BT/Bijutsu Techō Henshūbu, ed. Murakami Takashi kanzen dokuhon: Bijutsu techō zenkiji, 1992-2012 = Takashi Murakami : the complete BT archives, 1992-2012. Tōkyō: Bijutsu Shuppansha, 2012.

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1962-, Murakami Takashi, Matsui Midori, Friis-Hansen Dana 1961-, and Bard College. Center for Curatorial Studies. Museum., eds. Takashi Murakami: The meaning of the nonsense of the meaning. New York: Center for Curatorial Studies Museum, Bard College in association with H.N. Abrams, 1999.

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Murakami Takashi Ikōshū Henshū Iinkai. Ono ga hi o kazouru koto o oshie tamae: Kirisuto no shōnin Murakami Takashi. Kyoto-shi: Murakami Takashi Ikōshū Henshū Iinkai, 1987.

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éd, Chandès Hervé 1957, ed. Takashi Murakami: Exposition, Paris, Fondation Cartier pour l'art contemporain, 27 juin-27 octobre 2002 et Londres, Serpentine Gallery, novembre 2002-janvier 2003. Arles: Actes sud, 2002.

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Bungakusha no "kaku, Fukushima ron": Yoshimoto Takaaki, Ōe Kenzaburō, Murakami Haruki. Tōkyō: Sairyūsha, 2013.

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Postmodern, feminist and postcolonial currents in contemporary Japanese culture: A reading of Murakami Haruki, Yoshimoto Banana, Yoshimoto Takaaki and Karatani Kojin. New York, N.Y: Routledge, 2005.

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Collectif. Takashi Murakami. Kaikai kiki. Actes Sud, 2002.

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Edelstein, Susan. Kyozon: Mariko Mori, Takashi Murakami. Kamloops Art Gallery, 2002.

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Book chapters on the topic "Takashi Murakami"

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"3.2 EYE LOVE MONOGRAM: DIE MARKE TAKASHI MURAKAMI." In Ökonomische Ästhetik und Markenkult, 103–9. transcript-Verlag, 2011. http://dx.doi.org/10.14361/transcript.9783839416594.103.

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"3.3 KUNST VON TAKASHI MURAKAMI UND LOUIS VUITTON." In Ökonomische Ästhetik und Markenkult, 109–16. transcript-Verlag, 2011. http://dx.doi.org/10.14361/transcript.9783839416594.109.

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"Globalization as an Artistic Strategy: The Case of Takashi Murakami." In Situating Global Art, 289–300. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839433973-018.

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"The present situation and future problems of energy production in the Russian Far East: Takashi Murakami." In Politics and Economics in the Russian Far East, 128–37. Routledge, 2002. http://dx.doi.org/10.4324/9780203075951-17.

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"The commodification of the contemporary artist and high-profile solo exhibition: The case of Takashi Murakami." In Re-envisioning the Contemporary Art Canon, 255–67. New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315639772-23.

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Keaveney, Christopher T. "Game On: Encounters with the Magic of Baseball in Japanese Postmodern Fiction." In Contesting the Myths of Samurai Baseball. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455829.003.0006.

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Chapter 5 builds upon the foundation established in Chapter 4 by examining a particular approach to literature, Postmodernism, and describing how the postmodern literature that emerged in the 1980s and 1990s in Japan, indebted to postmodern baseball fiction in the United States, exemplifies the continuing appeal of baseball as a literary subject and of baseball’s capacity to adapt to cultural shifts. The chapter provides analyses of four baseball-themed works including fiction by the well-know postmodern novelists Murakami Haruki and Takahashi Genichirō, and more recent works by Nagao Seio and Enjō Tō, to demonstrate the possibilities that baseball fiction offers for avant-garde literary experimentation, possibilities exploited in American literature by writers from Philip Roth to Bernard Malamud. This chapter also charts how, ironically, Nagao Seio in his novel Shiki and Sōseki’s Big Game, achieves a remarkable pastiche in which one of the protagonists is none other than Masaoka Shiki with whom this survey of cultural representations of baseball in Japan begins.
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Levine, Gregory P. A. "The Look and Logos of Zen Art." In Long Strange Journey. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824858056.003.0005.

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What makes art “Zen” and Zen art “Art”? From where and when does it arise: Southern Song dynasty China (1127-1279), Muromachi period Japan (1333-1573), London in the 1920s, Manhattan or Japan in the 1950s and 1960s? How do we describe Zen art—including heirloom works such as Muqi Fachang’s Six Persimmons or the contemporary artist Murakami Takashi’s Daruma works—and why do we build description around particular religious terms, such as mushin, and seemingly timeless aesthetic qualities such as simplicity, spontaneity, abbreviation, monochromatic, abstraction, nothingness, and so forth? How do terms and sensibilities come to be normalized, and what sorts of Zen art might they exclude or repress, and why? What should we make of Hisamatsu Shin’ichi’s “Seven Characteristics of Zen art”? Why are the arts of Japan so often described as inherently or entirely informed by Zen? Beginning with writings from Zen campaigners and art historians in the 1920s, this chapter follows the lexical journey of Zen and Zen art, aesthetics to the present and suggests the discursive and ideological energies that propelled them toward the status of global “givens.”
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