'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...
The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...
On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...
Yasumasa Morimura, Self-Portraits through Art History (Van Gogh's Room) (2016). Color photograph. 57 × 86 inches. © Yasumasa Morimura; Courtesy the artist and Luhring Augustine, New York.
Yasumasa Morimura's practice is about blurring boundaries. His intricate tableaus hover in the interstitial space between painting and photography and are admired for their inquiry into the construction of gender and identity. Two exhibitions, In the Room of Art History at Luhring Augustine Bushwick and Ego Obscura at the Japan Society, make clear the artist's penchant for blending and transcending media to achieve technically masterful and conceptually rigorous results. Widely-known for his reenactments of art historical sources, it is refreshing to see political works and two recent video works that extend beyond art historical mimicry.
Yasumasa Morimura (森村 泰昌) is known for his photographic self-portraits in which he either disguises himself as iconic figures from popular Western culture or uses digital tools to superimpose his own likeness into art-historical images. Using elaborate staging, props, costumes, make-up and prosthetics to embody well-known and usually female characters, Morimura not only challenges cultural and gender stereotypes and traditional notions of beauty, but also satirises celebrity, portraiture and idolisation.
Morimura graduated from Kyoto City University of Arts with a Bachelor of Fine Arts in 1978 and started exhibiting in the early 1980s. His early hybrid self-portraits include the widely acclaimed Portrait (Van Gogh) (1985)—a brightly coloured photograph of Morimura as Van Gogh with a bandaged ear, smoking a pipe.
Since then, he has constructed at least 300 self-portraits and has embodied art historical figures including the Mona Lisa (Mona Lisa in its Origin ), Frida Kahlo (An Inner Dialogue with Frida Kahlo [Collar of Thorns] ), all the characters of Velázquez's Las Meninas (1656) (In Praise of Velázquez: distinguished ones in confinement ) and Pablo Picasso (A Requiem: Theatre of Creativity/Self-portrait as Pablo Picasso ), as well as political figures such as Ché Guevara, Adolf Hitler and Chairman Mao. He also has convincingly impersonated numerous leading ladies from the silver screen, including Audrey Hepburn (Self-Portrait/After Audrey Hepburn 1 ), Ingrid Bergman (Self-Portrait/After Ingrid Bergman ), Marilyn Monroe (Self Portrait no. 56 [After Marilyn Monroe] ), and Greta Garbo (Self-Portrait—After Greta Garbo 1 ), demonstrating just how malleable identity can be.
Morimura's images also subtly subvert the male gaze. In Vermeer Study: Looking Back (Mirror) (2008), Morimura presents himself in place of The Girl with a Pearl Earring (1665), dressed as a gender-ambiguous model and—as the title suggests—using the opportunity to upset the standard narrative of the male artist observing a female subject. In Mona Lisa In Its Pregnancy (1998), Morimura not only refers to the famous smiling lady as gender-neutral, but creates a physical hybrid of the sexes by transposing his angular face and muscular arms onto a woman's naked torso with swollen breasts and a heavily pregnant stomach.
Despite being criticised as little more than humorous imitations, Morimura's images take complex historical Western references and retell them from an Asian perspective, often incorporating traditional Japanese detailing within the compositions. For example, in Portrait (Futago) (1988), Morimura presents himself as Manet's famous Olympia (1863), reclining nude on a traditional kimono next to a maneki-neko cat figure, and wearing a blonde version of a Geisha headdress. In doing so, he takes the mystery, desire and allure underlying the original and presents his own alternative, encouraging the viewer to reflect on the ideas of beauty and desire within the western art canon and consciousness.
Morimura's work is held in both private and public art collections including the Museum of Contemporary Art Chicago, the J Paul Getty Museum in Los Angeles, and the Whitney Museum of American Art in New York.
Selected exhibitions include Criticism and the Lover, Mohly Gallery, Osaka (1989); Daughter of Art History, Sagacho Exhibit Space, Tokyo (1990); Options 44, Museum of Contemporary Art Chicago (1992); The Sickness Unto Beauty—Self-portrait as Actress, Yokohama Museum of Art (1996); Self-Portrait as Art History, Museum of Contemporary Art Tokyo (1998); Self-Portraits: An Inner Dialogue with Frida Kahlo, Luhring Augustine, New York (2001); My Life through a Looking-Glass, Reflex Amsterdam (2007); Theatre of the Self, The Andy Warhol Museum, Pittsburgh (2013); In the Room of Art History, Luhring Augustine, Brooklyn (2018); and Ego Obscura, Japan Society, New York (2018).
Morimura lives and works in Osaka.
Chen Chieh-jen's exhibition at Lin & Lin, After the Financial Crisis and Automated Production, featured a selection of his old and recent works exploring ways in which Taiwanese have been affected by neoliberal capitalism and technological developments. The show revealed how Chen's approach to these themes has changed since the 1990s.
'In the end, what is history? And what is historical truth? These are questions that do not have ready answers,' Japanese artist Yasumasa Morimura asks in egó sympósion', the preface he pens in the catalogue for Ego Obscura, a 30-year retrospective of photographic work in which he transforms iconic works of art and pop culture into self-portraits.
Three decades after Andy Warhol's death, he remains one of America's most provocative artists. His influence on popular culture is so pervasive that each emerging art movement after him has had to grapple with Warhol's focus on surface perfections and his singular celebrity. Despite their complicated feelings, many contemporary artists say they...
I FIRST STARTED making self-portraits in 1985, using prosthetics, cosmetics, and sets to assume the roles of figures who signify more than themselves—individuals or works that have become archetypes, including old masters' paintings, Albrecht Dürer's Self-Portrait, Leonardo da Vinci's Mona Lisa, Édouard Manet's Olympia, Andy Warhol, Marilyn...
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