Giant Robot Store and GR2 News
It's always an honor to be featured in a publication. In our world of noise spouting from every direction, it's special to occupy space in the finite medium of print. SFAQ International Arts and Culture is a publication I've seen...
Continue reading
...
Continue reading
In a small crowded area in downtown LA, Takashi Murakami said, “It’s like when I first saw Giant Robot magazine in New York.” It’s been years since I’ve spoken with Murakami who in between our last meetings, has gone from superstar to megastar, from world wide artist and now filmmaker. I’m not sure which is greater, but he’s the bigger one. Takashi Murakami was the subject of a Q and A at the Orpheum Theater in Los Angeles. The brightly lit marquee spelled out his name as if he were a movie or a band. A line of many recognizable art fans formed outside an hour early. Over 1400 tickets were sold to see him speak with Pico Iyer, an author of ten books who has lived in Japan for decades. It’s part of the Broad series of talks which features interviews with artists and is a powerful set up for their own up-and-coming museum in downtown LA across from MOCA. Pre-talk, I got to go to the upstairs vip area. Mark Ryden, Eli Broad, Murakami, Tim Blum and a crew of artists I’ve had the pleasure to work with, hang out. Takashi appeared with his mini convoy. Translator, photographer, and perhaps assistant. It was nice to catch up with Takashi, and it went into a blur. It was a conversation about our lives. It was nice to see him continue his hustle and still be chill. He’s obviously hit that mark where he can be an otaku and a goofy guy wearing a plush pink hat. He can say what he feels, do what he wants, and still be part of art history. He’s wise enough to know that he doesn’t have to care so much. Do people need to love him, do people still think he’s a heel, does it matter? No. I don’t think so. Joanne Heyler Curator of the Broad Hug photos-don’t like them, but this one works, maybe because it’s blurry. These days, he makes giant art pieces including one that’s 100 meters long. His studio is still gigantic, he still has tons of minions, and he’s still hard working. He’s splitting art time with cinema, which is obvious after seeing his short pieces like the Inochi interstitials and his Louis Vuitton animation. The talk spanned his personal history, his work with the art establishment in Japan, Fukushima and his own giving back to art. It barely scraped the surface on topics that can be extrapolated into hour long conversations. He mentions that his helpers basically say “fuck you” when a project is done and they’re disgruntled and leaving his “factory”. He mentions that his job is to say “no” and not be satisfied which is basically buying him time to perhaps say “yes” after everything is done and each possible avenue is explored. It’s that drive that makes him Murakami. Most won’t understand, and that’s for the better. Talks like this often go too fast, and the fella who held up the 5 minutes...
Continue reading
It’s nice to see a special preview for art. Takashi Murakami blows his art up to epic spaces with his exhibition Arhat. It’s frankly fit for a museum and it’s pretty much at one at Blum and Poe Gallery in Culver City. Three spacious rooms, plus, it’s a great place to see art. Preview night is private and the big opening is saturday. I wish I could go to that too. The work is impressive and massive, even his small pieces are epic. For those of you who are curious, the subject matter includes some Kaikai and Kiki and the self portrait of Murakami, himself, but the newer pieces include what look like yokai, religious imagery, and plenty of influence from Japanese great of the past, Ito Jakuchu. That’s a portrait of myself with Luke Chueh. The pieces we’re reflected in is a beautiful metallic sculpture. Yes it has KAWS like eyes. Maybe they really are KAWS eyes, but it would be funny if it’s Murakami doing a KAWS, right back at him.
Continue reading