Authenticity in the art of Takashi Murakami's: identity politics and the commercialism of art
The public has long been divided regarding the works of prolific contemporary Japanese artist, Takashi Murakami. His oeuvre of works is extensive and varied, ranging from cheap mass produced shokugan (toys sold with snacks), keychains, plushies, to what is publicly recognised as "high art"...
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| Format: | Final Year Project |
| Language: | English |
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Nanyang Technological University
2023
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| Online Access: | https://hdl.handle.net/10356/166361 |
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| Institution: | Nanyang Technological University |
| Language: | English |
| Summary: | The public has long been divided regarding the works of prolific contemporary Japanese artist, Takashi Murakami. His oeuvre of works is extensive and varied, ranging from cheap mass produced shokugan (toys sold with snacks), keychains, plushies, to what is publicly recognised as "high art"—works of monumental scale that are exhibited within the pristine confines of museums and sell for exorbitant prices at auctions. His works have continued to be debated for their critical value within the realms of high art: can they be deemed authentic works of art if they were made to be mass produced commodities? Can they be considered authentically Japanese if they seem to pander so much to an international audience? Through an examination of a select few of Murakami's works including 727 which features the iconic Mr. DOB, this paper briefly explores these ideas to demonstrate how these questions raised don't dispute the credibility of his artworks but rather contribute to their inherent authenticity according to Murakami's ambitions. |
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