Relevant bibliographies by topics / Takashi Murakami

Academic literature on the topic 'Takashi Murakami'

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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 predstavio superflat kao spoj visoke umjetnosti i pop-kulture, no istovremeno i kao istraživanje kulturno i društveno definiranih interpretacija umjetnosti u Japanu koje je potrebno nanovo vrednovati i definirati. Njegova su djela bogati amalgam simbola i značenja, koja nam daju duboki uvid u šarolikost tradicionalne i moderne japanske povijesti umjetnosti i kulture. Kratko ću predstaviti život i ključna djela Takashija Murakamija i njegov umjetnički pravac superflat. Cilj je ovoga rada pokazati i utvrditi opseg i značaj utjecaja Murakamijevih likovnih predaka na razvoj njegova umjetničkoga identiteta i izraza. Predstavit ću stilske karakteristike pojedinih likovnih škola i umjetnika iz različitih razdoblja japanske povijesti. Te iste oblikovne karakteristike ću usporedbom pojedinih djela potražiti u Murakamijevu opusu i umjetnosti superflata.
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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 mangás, e as tendências da cultura otaku com as influências estrangeiras na sociedade japonesa do pós-guerra. Em outubro de 2015, após 14 anos de ausência da cena artística do seu país, Murakami decidiu voltar a expor em Tokyo, no Museu Mori. O resultado foi a exposição The 500 Arhats, uma série de novos trabalhos que têm como tema a arte, a religião, a morte e as limitações humanas. O título da exposição refere-se, em particular, a uma pintura de 120 metros de comprimento (uma das maiores já realizada na história da arte mundial), que foi originalmente produzida para o Estado do Qatar como forma pessoal de agradecimento do artista pelo apoio financeiro que o Japão recebeu daquele país após o Tsunami de 2011. A proposta deste artigo é analisar o significado e a importância da exposição de Murakami no contexto cultural do Japão de hoje, e, ao mesmo tempo, visa refletir sobre seu papel de artista e sua complexa relação com alguns aspectos da tradição cultural japonesa.
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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 subversive and critical dimensions of the word. This article investigates how artworks can offer an ethnographic account of kawaii as a sign of ambiguity and thus signify important social currents in Japanese youth culture in the decade before 'soft power' became the agenda for official Japan.
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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.
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.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?
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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 comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.
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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 pintura), das xilogravuras ukiyo-e e das padronagens dos quimonos, sendo por isso analisados tais elementos. Ainda, abordam-se as onomatopeias, característica peculiar da língua japonesa que se revelam como subsídios necessários para valorizar sensações e emoções na narrativa, mesmo quando o silêncio é proposto; acentua-se também o grafismo visual que as integram à cena. Por fim, são levantadas as características na construção dos personagens, como a forma dada a corpos e olhos e as expressões faciais, que têm forte semelhança com as figuras das xilogravuras ukiyo-e, das revistas ilustradas Jojô-ga e das desenhadas por Osamu Tezuka. O segundo capítulo põe em debate o boom do mangá, animê e da cultura otaku do pós-guerra, que se apresentam para os artistas japoneses, da década de 1990, como elementos importantes para a produção de suas obras: assim se inserem os trabalhos de Takashi Murakami e Yoshitomo Nara, em suas relações com o mangá e com as artes tradicionais. Mesmo com ideais distintos, esses artistas participaram do movimento Neo Pop japonês e da exposição Super Flat (2000), e repensaram suas produções a partir da catástrofe natural de 2011. Pela dificuldade em encontrar bibliografia, muitas das informações obtidas nesta pesquisa se basearam em textos de jornais, curadores e críticos de arte ocidentais e japoneses, bem como na visitação a exposições dos artistas no Japão. Soma-se a esse capítulo a estética kawaii cujo ideal revela um universo infantilizado, que influencia as artes, se fortalece pelo fomento da indústria pop nipônica, atravessa as fronteiras para o ocidente e por isso se configura como produto de identidade nacional. As obras dos artistas supracitados dialogam com essa estética e também com a estética basara, que ostenta aquilo que é exuberante e luxuoso.
In its first chapter, this study arises the discussion of the manga as an artistic expression. Its creation model is distinguished from other comics by the plurality and diversity of genres. It presents studies on the visual language of comics from Western and Japanese theories which correlates, such as how to design panel, balloons, gutter, motion lines, living lines and they characteristics of universal language. The lines, backgrounds and pages compositions establish relations with the Japanese traditional art of emakimono (paint rollers), ukiyo-e woodblock prints and kimonos patterns, and have, therefore, such elements analyzed. Furthermore, approach the onomatopoeia, a peculiar characteristic of the Japanese language that reveal as necessary support to value sensations and emotions in the narrative, even when silence is proposed; it also accentuates the visual graphics that are part of the scene. Finally, the features are lifted in the construction of the characters, as the form given to bodies and eyes and facial expressions, which have strong resemblance to the woodblock ukiyo-eimages, the illustrated magazines Jojo-ga and drawn by Osamu Tezuka. The second chapter puts on the manga boom debate, anime and otaku culture of the postwar period, which are presented to the Japanese artists of the 1990s, as important elements for the production of their artworks: thus are inserted the work of Takashi Murakami and Yoshitomo Nara, in its relations with the manga and traditional arts. Even with ideal distinct, these artists participated in the movement Neo Japanese Pop and exposure Super Flat (2000), and rethought their production from natural disaster 2011. The difficulty in finding bibliography, much of the information obtained in this study were based on newspaper texts, curators and critics of Western and Japanese art, as well as visits to exhibitions of artists in Japan. Added to this chapter kawaii aesthetic ideal which reveals infantile universe, which influences the arts, strengthened by foment Nipponese pop industry, crosses borders to the West and so is configured as national identity product. The artworks of the above artists dialogue with this aesthetic and also with basara aesthetics, which boasts what is exuberant and luxurious.
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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 a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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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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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 egentligen handlar om symboler i relation till andra symboler, där spänningen ligger i att Murakamis är beständiga/ fixerade medan de övriga är rörliga/ dynamiska. Utan Murakamis beständiga/ fixerade symboler som retar den så tillsynes naturliga harmonin i det rörliga/ dynamiska hav av övriga ekonomiskt knutna symboler hade jag definitivt inte förstått att dem är rörliga.

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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 characterized by appropriations and parodies of Western cultural icons. The idea of identity-as-essence is superseded by a vision of identity-as-performance - a conception of identity as a creative act, taking place within an immanent system of global exchanges. Whilst Morimura's work tends to reify difference, for Mori the opposite is true. Melding arcane scientific and religious ideas, Mori creates technological spectacles with which she fantasizes a vanishing of determinate identities and difference within the encompassing field of a culturally amorphous techno-holism. Murakami's 'superflat' art raises the possibility of resolving this tension between the reification and effacing of difference. In his work, 'Japan' and 'the West' are represented as discrete entities that, at the same time, emerge already entangled, as effects in a preexisting system of global exchanges.
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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.
M.F.A.
Department of Art
Arts and Humanities
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 with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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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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2

"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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3

"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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4

"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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5

"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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6

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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Abstract:
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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7

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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Abstract:
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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