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Takashi Murakami: The Meaning of the Nonsense of the Meaning

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TMNM presents a recent exhibition of the work of Takashi Murakami, a rising star in the Japanese art world. His work uses a wide range of media, including huge latex balloons, hypersexual life size sculptures and even merchandise produced in his Warhol-like Factory. His artistic style combines elements of surrealism, vibrant pop, and the irrepressible energy of manga (comic books and films characterized most recognizably by the large eyed women, giant robots, and high levels of detail provided in exchange for halting, sequential rather than fluid movement.) TMNM provides a good introduction for americans catching their first glimpse at this formidable talent. The book consists of two halves, the first features essays by Amanda Cruz, Midori Matsui, and Dana Friis-Hansen which attempt to interpret if not explain Murakami's works. While all were very thorough, each relied heavily on obuse art-speak, fine for those with some experience in the field but it may prove too much at times for casual appreciators of the arts. The second half features a series of high quality full color prints of the artist's work. The photographer does an amiable job of presenting the three dimensional installations, providing detail shots where neccesary, however at least one plate (DOB in the Strange Forest) is too dingy in some places and while in others the lights bouncing off the sculpture's surface further obscure fine detail. The book overall is quite good, and an excellent addition to the collection of anyone who appreciates pop art or anime.

short and sweet, showcases lots of popular works from Murakami. the book is well made, prints are glossy and high quality. this is a MUST for anyone into the twisted, yet quaint world of Murakami

Takashi Murakami has become one of the icons of today's international art scene. Credited with successfully merging traditional and contemporary Japanese art forms into a style he coined "SuperFlat" (for, among other things, its extreme two-dimensionality), his works now populate eminent Japanese and American museums and auction houses. This didn't happen overnight, of course. Murakami and his staff at Hiropon Factory have been churning out gigantic creations since the 1990s. Modeled after Andy Warhol's Factory, it has become a center of both art and commerce. It produces work that crosses the no longer taboo line of artistic merit and commerciality. Not only does it produce massive paintings and sculptures, but also action figures, toys, and games. The former sell in the millions, the latter, mercifully, for much less. And it sells in droves. Murakami has stepped firmly into the realm where art and product merge. As such, he embraces commercial culture while simultaneously examining its effect on those consigned to consumption. His famous quote "I express hopelessness" also offers clues to Murakami's cute twisted art.

"The Meaning of the Nonsense of the Meaning" was published in 2000 following the 1999 exhibit of the same name put on by the Center for Curatorial Studies at Bard College. The book's forward claims that the show was "the first comprehensive survey of the work of Takashi Murakami." Comprehensive it is, because the work surveyed dates back to 1991 and extends right up to the then present day of 1999. At that time, Mr. DOB was the center of attention. The book also predates the KaiKai KiKi characters and Murakami's collaborations with Louis Vuitton. So by today's standards it is not comprehensive (as of this writing the mega-book "@Murakami" stands as the most inclusive survey). Nonetheless, it offers incredible photos, some with gatefold views, of a wide range of works. The entire book also glows with color schemes that shine, contrast, and compliment the art. "Eye candy," and not in a derogatory sense, probably best describes the experience. The book is simply a pleasure to gaze at. Some of Murakami's most famous works fill full pages: the enigmatic, sensual, but intimidating "Hiropon," the equally multifaceted "My Lonesome Cowboy," "The Castle of Tin Tin," and "Mr. DOB in the Strange Forest." Many early works such as "Kasu Taishuu," "Polyrhythm," and one of Murakami's first notable forays into Manga, "Bakabon Project," get presented chronologically, which helps facilitate developmental study. These photos and their presentation justify the book alone.

Three essays also accompany the photos. They explore Murakami's development and the potential meanings behind his art. All three are written in curatorial style so newcomers to museum speak may need a cognitive map for full comprehension. The third essay by Dana Friis-Hansen is the longest, but also the most accessible. The book probably should have started with this piece, as it gives a great introduction to the subject matter as well as intriguing interpretations of Murakami's seemingly impenetrable work. Nonetheless, all of the essays help to explain why Murakami has reached the summit of his field, even if he wasn't quite there at the time. Overall, "The Meaning of the Nonsense of the Meaning," though a little dated now, provides an enjoyable introduction to the work of one of contemporary art's most visually appealing and fun artists.

Murakami wants soooooo badly to be Andy Warhol a father of a Genre, so he picks obvious young people to promote who will never overshadow his image with a little content and abilities. One artist who acctually had some content Makoto Aida has essentially been eliminated from this flawed controlled discourse for fear of disclosing that there are many ideas abounding in actual contemporary Japanese art. See MIWA YANAGI, TSUKASA YOKOZAWA, RYOICHI MAJIMA, NAOYA HATAKEYAMA, SHINKO OKUHARA, TADASHI KAWAMATA...