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Superflat is a term of Takashi Murakami's creation which refers to a tendency towards two-dimensionality in Japanese visual art, animation, graphic design, and fashion. This book was published on occasion of the exhibition held at Parco Gallery in Tokyo and Nagoya in 2000. Japanese and English text.
- Sales Rank: #168362 in Books
- Published on: 2000-11
- Number of items: 1
- Binding: Paperback
- 172 pages
Most helpful customer reviews
5 of 5 people found the following review helpful.
Good
By G. Eckard
Superflat is composed of about one-half essays, mostly by Murakami, and one-half pictures of art and pop culture images. There is a 'manual' to the images with a few paragraphs on each artist, which is helpful for the layperson. The layout is excellent on the images, and I found them fascinating. The essays are all a little heavy, but rewarding if you put in the time to read them closely. If you're interested in looking at or understanding Japanese art today, I would highly reccomend this book.
2 of 2 people found the following review helpful.
As Art Books Go, Just 3 Stars; As An Art Manifesto 4 Stars!!!
By Zendicant Pangolin
A bit late to the game here, but finally got 'round to reading this pamphlet/manual/journal after years of it gathering dust atop a cabinet.
Not in a hurry to read it because this sort of thing tends to make my hackles rise anticipating that it will, like the overwhelming number of such manifestos, amount to so much codswallop.
I'm unsure whether to be pleased, relieved, or disappointed that this book makes a coherent, if incomplete, argument in favor of the artist's theory.
A different reviewer described the physical layout of this catalogue such that little needs to be added other than that the reproduction quality leaves much to be desired: Many images are teeny tiny thus difficult or impossible to parse, and all of them suffer from the granular fuzziness that printing upon what amounts to construction paper causes.
The meat and bones of Murakami's argument is that certain contemporary eccentric Japanese artists are Super-Flat. He makes his argument using famous examples of quintessentially Japanese artworks (Note the critical common element Murakami calls attention to is eccentricity), from as early as the 12-13th centuries up to the recent past and ties them into contemporary examples of Super-Flatness.
Murakami describes the element of eccentricity as a construction or way of seeing; in artworks, the way they present to the viewer. The idea is that a distinct Japanese point of view was developed over centuries to emerge Super-Flat.
His proposition somewhat unfairly has the effect of changing how one looks upon the reproductions he presents because one is coerced into viewing them in the way he describes.
Also, there is a problem with relegating 3-dimensional ceramic objects either to the canon of Japanese Academic Art or to the category of Handicraft thus taken out of consideration for Super-Flat analysis, because this conveniently allows him to avoid any discussion of them. Likewise, ignoring those artifacts of dress and personal decor that are undeniably Japanese (netsuke, inryo, among others) and which scream eccentricity is essential because including them opens the argument up to a discussion of Japaneseness and Otherness. In fact, Murakami anticipates this objection by declaring that even his 3D figures are Super-Flat thus ironically making my argument for me.
Discussions similar to this have taken place throughout Japanese History. The conceit of uniquely Japanese is well-trodden, pungent territory.
Also, by fitting Hiromix, the Fishmans, and other of his contemporaries into his grand view Murakami unwittingly reinforces the point that Super-Flat equates Super-Japanese.
Among the articles included in this book is a Hiroki Azuma essay which employs the likes of Lacan and Derrida to consider the tenets of Super-Flatism and it is absolutely brilliant and inspirational. That and the other articles make parsing this booklet fun.
Murakami's consideration of the act of making animated figures, the actual production of them, as political fascinates me.
Murakami is very Hegelian, I think, but Japanese, and Super-Flat.
5 of 7 people found the following review helpful.
Super Flat
By Chris
Murakami is an interesting character and his work and manifesto is a must read for those interested in contemporary art, Japanese or otherwise. This book is beautifully printed and will be of great interest especially to those with a Japanese art history back ground. No matter if you agree with his views or not.
seer "Japna" must be a very bitter person to think he/she has the corner on Japanese art. I would ignore that cap's filled rant...
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