Preview

Superflat

Powerful Essays
Open Document
Open Document
5789 Words
Grammar
Grammar
Plagiarism
Plagiarism
Writing
Writing
Score
Score
Superflat
Word List

Bijutsu
Fine art
Kindai Bijutsu
Modern art
Manga
Manga are comics and print cartoons, in Japanese and conforming to the style developed in Japan in the late 20th century.
Otaku
Known as a mass media product presenting Japanese Culture, anime, has gained an increasing exposure and acceptance overseas during the 1990s. The term otaku, which was coined in 1982 and came into popular usage by 1989, is usually translated as ‘geek’ or ‘aficionado,’ and refers to a group of people who ‘take refuge in a world of fantasy, drinking in the images supplied by the modern media – usually from television, magazines and comic books, but also computer images or video games’ (Baral 1999: 22). The etymology of "otaku" was drawn upon the work of Volker Grassmuck in his seminal otaku-studies article:

"I 'm alone, but not lonely": Japanese Otaku-Kids colonize the Realm of Information and Media, A Tale of Sex and Crime from a faraway Place.

Superflat art

“The world of the future might be like Japan is today – Superflat. Society, customs, art, culture: all are extremely two-dimensional. It is particularly apparent in the arts that this sensibility has been flowing steadily beneath the surface of Japanese history … [Superflat] is an original concept that links the past with the present and the future.” (Murakami, 2000: 9)

Superflat is a concept and theory of art created by the contemporary Japanese artist, Takashi Murakami. The Superflat (2000) exhibition in Tokyo marked the launch of this new aesthetic which took contemporary Japanese art and identity into a globalised milieu of critical thought. The exhibition, which was curated by Murakami and subsequently travelled to the United States, featured the work of a range of established and emerging artists drawn from art and commercial genres in Japan. As an essential part of Murakami’s political strategy, Superflat was always designed to travel globally. An elaborate, bilingual catalogue Super Flat



Bibliography: Allison, A. (2000). A Challenge to Hollywood? Japan character goods hit the U.S. Japanese Studies, 20 (1), 67–88. Ang, I. (2003). Cultural Translation in a Globalised World. In N. Papastergiadis (Ed.), Complex Entanglements: Art, globalisation and cultural difference (pp. 30–41). London: Oram Press. Appadurai, A. (1996). Modernity at Large: Cultural dimensions of globalization. Minneapolis: University of Minnesota Press. Barthes, R. (1982). Empire of Signs (R. Howard, Trans.). New York: Hill and Wang. Baudrillard, J. (1983). Simulations. New York: Semiotext(e). Befu, H. (2001). Hegemony of Homogeneity: An anthropological analysis of ‘Nihonjinron’. Melbourne; Portland: Trans Pacific Press. Conant, E. P. (1991). Refractions of the Rising Sun: Japan’s Participation in International Exhibitions 1862–1910. In T. Sato & T. Watanabe (Eds.), Japan and Britain: An aesthetic dialogue, 1850–1930 (pp. 79–92). London: Lund Humphris. Craig, T. J. (Ed.). (2000). Japan Pop!: Inside the world of Japanese popular culture. Armonk, N.Y.: M.E. Sharpe. Drohojowska-Philp, H. (2001). Superflat. Retrieved Oct 13, 2008, from the World Wide Web: http://www.artnet.com/Magazine/features/drohojowska-philp/drohojowska-philp1-18-1.asp> Evett, E. (1982). The Critical Reception of Japanese Art in Late Nineteenth Century Europe. Ann Arbor: UMI Research Press. Field, N. (1997). Somehow: The Postmodern as Atmosphere. In M. Miyoshi & H. D. Harootunian (Eds.), Postmodernism and Japan (pp Fisher, J. (2003). Towards a Metaethic of Shit. In N. Papastergiadis (Ed.), Complex Entanglements: Art, globalization and cultural difference (pp. 69–84). London: Oram Press. Gluck, C. (1998). The Invention of Edo. In S. Vlastos (Ed.), Mirror of Modernity: Invented traditions of modern Japan (pp. 262–284). Berkley: University of California. Guth, C. (1996). Art of Edo Japan: The artist and the city, 1615–1868. New York: H. N. Abrams. Hall, S. (1991). The Local and the Global: Globalization and ethnicity. In A. D. King (Ed.), Culture, Globalization, and the World-system: Contemporary conditions for the representation of identity (pp Hall, S. (1995). New Cultures for Old. In D. B. Massey & P. Jess (Eds.), A Place in the World?: Places, cultures and globalization (pp. 175–213). Oxford; Milton Keynes: Open University; Oxford University Press. Hardt, M. & Negri, A. (2000). Empire. Cambridge, Massachusetts; London: Harvard University Press. Held, D., McGrew, A., Goldblatt, D., & Perraton, J. (1999). Global Transformations: Politics, economics and culture. Cambridge: Polity Press. Hendry, J. (1993). Wrapping Culture: Politeness, presentation, and power in Japan and other societies. New York: Oxford University Press. Ivy, M. (1995). Discourses of the Vanishing: Modernity, phantasm, Japan. Chicago: University of Chicago Press. Iwabuchi, K. (1994). Complicit Exoticism: Japan and its other. Continuum: Journal of Media and Cultural Studies, 8 (2), 49–82. Iwabuchi, K. (2002). Recentering Globalization: Popular culture and Japanese transnationalism. Durham: Duke University Press. Jameson, F. (1991). Postmodernism or, the Cultural Logic of Late Capitalism. Durham: Duke University Press. Kaikaikiki Co. Ltd & Museum of Contemporary Art Tokyo (Eds.). (2001). Takashi Murakami: Summon monsters? open the door? heal? or die?. Tokyo: Kaikaikiki Co. Ltd. Karatani, K. (1997). One Spirit, Two Nineteenth Centuries. In M. Miyoshi & H. D. Harootunian (Eds.), Postmodernism and Japan (pp Kelmachter, H. (2002). Interview with Takashi Murakami. In Takashi Murakami Kaikai kiki (pp. 72–105). Paris: Foundation Cartier pour l’art contemporain. Kinsella, S. (2000). Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu: University of Hawaii Press. Kristen, S. (2007) The Global Cultures of Takashi Murakami; Critical Perspectives on Communication, Cultural & Policy Studies; Volume 26, Issue 1; 2007; Lane , R Lamarre, T. (2002). From Animation to anime: Drawing movements and moving drawings. Japan Forum, 14 (2), 329–367. Matsui, M. (2001). New Openings in Japanese Painting: Three faces of minor-ity. In M. Piranio (Ed.), Painting at the Edge of the World (pp. 46–77). Minneapolis: Walker Art Center. McGray, D. (2002). Japan’s Gross National Cool. Foreign Policy, (May/June), 44–54. Mitchell, T. (2000). Kylie Meets Misato: Bridging the gap between Australian and Japanese popular culture. In I. Ang (Ed.), Alter/Asians: Asian-Australian identities in art, media and popular culture (pp. 183–200). Sydney: Pluto Press. Miyoshi, M. & Harootunian, H. D. (1997). Postmodernism and Japan. Durham: Duke University Press. Morley, D. & Robins, K. (1995). Spaces of Identity: Global media, electronic landscapes, and cultural boundaries. London; New York: Routledge. Murakami, T. (2000). Super Flat. Tokyo: Madra. Robertson, R. (1995). Glocalization: Time-space and homogeneity-heterogeneity. In M. Featherstone, S. Lash, & R. Roberston (Eds.), Global Modernities (pp. 25–44). London: Sage. Said, E. W. (1995). Orientalism. London: Penguin. Schodt, F. L. (1986). Manga! Manga!: The world of Japanese comics (Updated pbk. ed.). Tokyo; New York: Kodansha International. Screech, T. (1996). The Western Scientific Gaze and Popular Imagery in Later Edo Japan: The lens within the heart. Cambridge: Cambridge University Press. Shimada, Y. (2002). Afterword: Japanese pop culture and the eradication of history. In F. Lloyd (Ed.), Consuming Bodies: Sex and contemporary Japanese art (pp. 186–191). London: Reaktion Books. Seinberg, M. (2004) Otaku comsumption, superflat art and the return to Edo; Japan Frum16(3) 2004:449-471 Tamamushi, S Tobin, J. J. (1992). Re-Made in Japan: Everyday life and consumer taste in a changing society. New Haven; London: Yale University Press. Tsuji, N. (1970). kiso* no keifu [Lineages of Eccentrics]. Tokyo: Bijutsu Shuppansha. Tsuji, N. (2002). On Kazari. In N. C. Rousmaniere (Ed.), Kazari : Decoration and display in Japan, 15th–19th centuries (pp. 14–19). New York; London: Japan Society; H. N. Abrams; British Museum Press. Virilio, P. (1991). The Lost Dimension. New York: Semiotext(e). Yi, O. (1991). The Compact Culture: The Japanese tradition of ‘smaller is better’. Tokyo: Kodansha International. Yoda, T. (2000). A Roadmap to Millennial Japan. The South Atlantic Quarterly, 99 (4), 629–668.

You May Also Find These Documents Helpful

  • Better Essays

    Brown, D. 1993. The Cambridge History of Japan Volume 1: Ancient Japan. [e-book] Naoki Kōjirō, Felicia G. Bock. pp. 221-267. Available through: Cambridge Histories Online…

    • 1955 Words
    • 8 Pages
    Better Essays
  • Better Essays

    Samurai William

    • 1724 Words
    • 7 Pages

    In Giles Milton’s novel, Samurai William, the reader is taken to the other side of the globe to experience the history of old world Japan. Though out the book, Milton provides reason for complex historical events and actions, while still communicating the subtleties and mysterious customs of the Japanese. The novel also closely examines the wide range of relationships between different groups of Europeans and Asians, predominantly revolving around the protagonist, William Adams. The book documents the successes and failures that occur between the two civilizations, then links them back to either the positive or negative relationship they have. As the book goes on, the correlation is obvious. Milton shows us the extreme role that religion, etiquette and trade played in establishing positive relations between visiting Europeans and the Asian civilizations.…

    • 1724 Words
    • 7 Pages
    Better Essays
  • Powerful Essays

    Gregory Smith in his essay, “Shaking up Japan: Edo Society and the 1855 Catfish Picture Prints”, focuses on the state of political consciousness among the Edo commoners in 1855, which is when the Ansei Earthquake struck Japan. The author explains the social and political devastation the Japanese society experiences. The traumatic event led to a Japanese Urban Society politically and socially weakening. Subsequently, within the following twelve years, caused a social awakening and proto-nationalism: the Meiji Restoration. Under the Tokugawa Shogun and Bakufu, social class with principles indistinguishable…

    • 1832 Words
    • 8 Pages
    Powerful Essays
  • Good Essays

    | The influence of the Japanese female and male has reconstructed gender stereotype in Japan.Female artists yield hope for Japanese women to redefine their gender roles and even embrace the…

    • 583 Words
    • 3 Pages
    Good Essays
  • Good Essays

    he Laguna Art Museum is a museum located in Laguna Beach, California, on Pacific Coast Highway.…

    • 878 Words
    • 4 Pages
    Good Essays
  • Good Essays

    The United States of America and Japan have not always had the relationship that they share today. With deep rooted history of war and violence between the two nations, the trust we now share is the foundation of our relationship into the future. Political movements, cultural representations, and images that we have investigated in this unit have led to the stable relationship we share with Japan today. Today our relationship is built upon mutual respect and correlating interest for the betterment of our nation's. This once foe, is now a major key to the economic success of the United States for years to come.…

    • 1085 Words
    • 5 Pages
    Good Essays
  • Powerful Essays

    Moran, J.F. (1993). The Japanese and the Jesuits: Alessandro Valignano in sixteenth-century Japan. New York: Rutledge-Taylor and Francis Group.…

    • 2678 Words
    • 11 Pages
    Powerful Essays
  • Good Essays

    Art in the Renaissance era was very influential; this period experienced changes in art, new forms of artistic entertainment were introduced, and new techniques were developing. In Japan, a new style of artwork was beginning to blossom and grow in popularity: Ukiyo-e, “Pictures of the floating world.” Typical Ukiyo-e portrayed images of the earth and the arts. One artist, Toshusai Sharaku, was part of this movement, and he was active for less than a year. He created over four-hundred Ukiyo-e prints of Kabuki characters and courtesans.…

    • 796 Words
    • 4 Pages
    Good Essays
  • Good Essays

    Before the existence of airplanes, the internet and a global economy, the world was much less culturally homogenized. Nowadays, America and Japan are two nation states in what historians call The Modern Era. Both countries are hyper-industrialized and have stable constitutional governments. It is obvious that somewhere between an undefined “then” and “now” the lines between “east” and “west” have blurred significantly. Considering this, where does Japan derive its sense individuality? This is the question that Eiko Ikagami seeks to answer in her book The Taming of the Samurai. Romanticized samurai are ever-present in western conceptions of foreign Japan. Katana wielding warriors in elaborate armor have been featured endlessly in American and Japanese entertainment alike. Are the samurai, as we know them, simply a vestige of a now dead culture? Are the Japanese clinging to an outdated old mascot from their past? Ikagami doesn’t think so. The development of the samurai class is one of the most important features of Japanese History. The Samurai were not a group of ruthless warriors, as they are often portrayed; in actuality, Samurai were an elite group whose ideologies and actions have significantly influenced Japan’s political and cultural development. Eiko Ikagami’s The Taming of the Samurai dissects the history of the samurai class. The samurai, over the course of the book, prove to be key figures in the formation of modern Japan. From a western perspective, the book helps to eliminate and in some cases explain western preconceptions about Japan. Beyond that, I find that the values and ideals that Ikegami attributes to Japanese society illuminate many problems with western society and serve to elaborate on the east-west dichotomy debate. In this respect, The Taming of the Samurai defines Japanese culture just as successfully as it critiques western perceptions.…

    • 961 Words
    • 4 Pages
    Good Essays
  • Better Essays

    Samurai Warrior

    • 2889 Words
    • 12 Pages

    Cited: Gaskin, Carol. and Hawkins, Vince. The Ways of the Samurai. New York: Byron Preiss Visual…

    • 2889 Words
    • 12 Pages
    Better Essays
  • Better Essays

    O’Connell, Michael. 1999. “A Brief History of Anime.” The Anime/Manga Web Essays Archive. Online. Available: http://www.corneredangel.com/amwess/papers/history.html…

    • 1220 Words
    • 5 Pages
    Better Essays
  • Best Essays

    Photo, circa 1910, in Andrew Gordon, A Modern History of Japan, New York: Oxford University Press, 2003.…

    • 2414 Words
    • 10 Pages
    Best Essays
  • Good Essays

    Kleiner, Fred. Gardner’s Art Through the Ages, Non-Western Perspectives, 13th ed., Chapter 6 – Japan After…

    • 367 Words
    • 2 Pages
    Good Essays
  • Better Essays

    This enactment had intriguing implications on Japan’s art Culture, which already had a unique style prior to this policy, isolation only made this more defined and pronounced. In terms of mediums “by the end of the seventeenth century, three distinct modes of creative expression flourished” ink paintings coming from craft schools, performing and visual arts which would give rise to Kabuki theatre, and lastly Japans well known ukiyo-e woodblock prints. The impact isolation had on subject matter within these modes led the Japanese to delve back into history, looking towards ancient literature for insperation and refining their own styles. An example of this is seen in Nagasawa Rosetsu’s set of folding screens titled, Landscape and Chinese Figures. The set consists of two sequential paintings which were made from six folding panels, the paintings depict an images from Chinese literature which Rosetsu pulled inspiration from.…

    • 1344 Words
    • 6 Pages
    Better Essays
  • Best Essays

    The Real Harajuku

    • 1943 Words
    • 8 Pages

    Craft, Lucille. “Tokyo Becomes a Trailblazer for Trendy Fashion and Culture.” World & I 20.12 (2005): 26.…

    • 1943 Words
    • 8 Pages
    Best Essays