Introduction
Throughout the past two decades, Japanese art has become increasingly dependent on unique self-expression opportunities and the mindful exploitation of Japanese cultural themes. Takashi Murakami is one of the best examples in this regard because of his skillful use of Japanese cultural symbols that he makes accessible to the international audience (Allen). Murakami used the increasing level of westernization to his advantage and ensured that contemporary Japanese art was acknowledged by viewers from across the globe. The structural issues and contradictions that are included in Murakami’s art are simplistic yet still genius because they provide the audience with a detailed outlook on the national cultural framework. Despite Murakami’s success being somewhat ironic from the point of view of the artist’s own westernization, the Japanese art sensation’s skillful use of culture is worth all the praise. The cruel logic of the art market and Murakami’s perfected means of self-promotion paid off and allowed him to establish a name for the superflat designs and their importance within the framework of contemporary art.
A Detailed Review of Murakami’s Painting Style
The first particular painting by Murakami that is worth attention when looking at the superflat style is The World of Sphere, which was created in 2003. It was one of the essential contributors to Murakami’s collaboration with Louis Vuitton, one of the biggest fashion brands in the world. The designs in The World of Sphere brought Murakami the long-awaited commercial success because he was able to re-appropriate Louis Vuitton’s monogram (de Sousa 9). Another element that makes the painting even more recognizable is the painter’s use of whimsical characters. The colorful background makes the painting stand out, as Murakami uses it to appeal to the audience with vivid imagery that makes the viewers think about what is the message that the painter conveys. In 2013, The World of Sphere was sold for slightly more than $2 million at Sotheby’s.
Another important art piece that is worth mentioning when talking about Murakami’s paintings is Vapor Trail. Created in 2004, Vapor Trail highlights the painter’s signature style but also recognizes him stepping away from the recurring motifs of multicolored flowers and psychedelic imagery (de Sousa 6). Instead, Vapor Trail features no disturbing visual elements in order to ditch the previous dichotomy and focus on the development of a cheerful atmosphere. Murakami did not contrast the joyful flora with skulls or psychedelic images in order to focus on colors and reach a wider audience. Vapor Trail rightfully possesses an iconic status among numerous other works painted by the Japanese genius, as candy-colored flowers appealed to many collectors across the globe. In 2007, Vapor Trail was sold at Sotheby’s for $2.1 million, reaching the mark of 250% above the high estimate.
The magnum opus of Murakami’s art is Tan Tan Bo, created in 2001. The Japanese painter was able to overcome his previous successes by composing a unique and complex image that stood out among his other works. The new level of intricacy that was added by Murakami at the turn of the millennium allowed him to render the figure of Mr. DOB using three large gold canvases (de Sousa 21). The early examples of Murakami’s smiling flowers can be found in the artifact near Mr. DOB’s right ear. Overall, it can be considered that the painter grounded Mr. DOB’s character on Mickey Mouse but added more volatility to it. Sometimes, it is considered that this artwork actually represents Murakami’s alter ego. In 2018, Tan Tan Bo was sold for $4.2 million at Christie’s.
One more representation of the superflat style popularized by Murakami is The Castle of Tin Tin, created in 2003. It is one of the most praised paintings in the Japanese artist’s huge catalog that was created in the style of DOB as well. In The Castle of Tin Tin, Murakami explores the possibility of showcasing the transformation of a cute, lovable character into a menacing monstrosity with a frightening smile and sharp teeth (Blanco). In a sense, Murakami’s intention is to uncover the duskier side of pop culture and deconstruct it for the audience. The Castle of Tin Tin became an art phenomenon that was sold at Sotheby’s for $3.7 million in 2012.
Even though Murakami mostly created superflat paintings, there is one more artifact that cannot be ignored when discussing the Japanese master’s legacy. The sculpture titled Panda was designed by Murakami as one of the additional collaborations with Louis Vuitton. There were three sculptures overall, with each of them containing several variations to make them unique and recognizable (Sotheby’s). One of the campaigns launched by Louis Vuitton featured Murakami’s Panda, made out of fiberglass. The Panda was auctioned twice, for $320,000 in New York in 2005 and for $2.3 million in London in 2008.
Conclusion
Over time, the superflat style became an iconic representation of the cultural history of Japanese art. It was conceptualized to include the nation’s flaws and cultural values, with Takashi Murakami becoming one of the key figures in the development of the movement. The societal changes that were disapproved by superflat artists quickly found their reflections in unique art pieces, such as The Castle of Tin Tin or The World of Sphere. Even though Murakami was never the sole Asian artist supporting the superflat design, it was his contribution to the industry that left the audience flabbergasted and craving for more superflat paintings and sculptures. The feeling of discomfort that Murakami includes in most of his images eventually reflects the importance of looking at Japanese society through the prism of westernization and commercialism. Even Murakami’s collaborations with Louis Vuitton hint at the developmental vector of the superflat movement.
One more important issue that has to be covered when concluding the review of Murakami’s works is that his contribution became the largest among other Japanese artists supporting superflat designs. Partially, this could have become possible due to the existence of a belief among superflat supporters that discipline and character could be considered significantly more important than success and finances. As a comparatively small part of Japanese history, superflat painting stands out because it defines the nation and hints at its flaws without being too aggressive or irrational. The inherent awkwardness of Murakami’s works extends this concept and helps the audience recognize the figurative difference between the good and the bad. The Castle of Tin Tin is a perfect, intense example of the Japanese painter’s unorthodox style that reaches the deepest corners of the viewers’ souls. Even though the next generations could surpass Murakami, his works will forever remain the pillars of the superflat style and contemporary Asian art.
Works Cited
Allen, Kealy. “Takashi Murakami’s Flowers: A Core Symbol of Pop Culture.” CULTED, 2022, Web.
Blanco, Ángeles. “Takashi Murakami: Biography, Works and Exhibitions”. Alejandra De Argos, 2020, Web.
Sotheby’s. Takashi Murakami – Panda. 2019, Web.
de Sousa, Ana Matilde Diogo. “Gaijin Mangaka: The Boundary-Violating Impulse of Japanized “Art Comics.” Mutual Images Journal, vol. 7, 2019, pp. 3-26.