PRINTILLUSTRTED:
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017,color illustrated, p. 24, no. 24
Yayoi Kusama Prints 1979-2017, Abe Publishing Ltd., Tokyo, 2017,color illustrated, p. 24, no. 24
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Mt. Fuji
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1983 Screenprint, edition no. 72/75 49 x 60 cm Signed lower center Yayoi Kusama in English, titled Mt. Fuji in Japanese, numbered lower left 72/75, and dated 1983 |
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Estimate
300,000 - 400,000 78,000 - 104,000 10,000 - 13,300
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Sold Price
600,000 156,250 19,987
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Inquiry
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Catalogue Note:
YOSHITOMO NARA
PURE YET REBELLIOUS THOSE SHOUTS OF CHILDHOOD MEMORY
When we think of Yoshitomo Nara, those expressions so angry at the world and rebellious girls holding knives while giving us the side-eye are the images that spring so vividly to mind. These deeply impressive, candid images so full of childishness have accompanied an unknown many of us as we have grown into adults; they take their place in that long awkward phase of youth. Yet Yoshitomo Nara’s depth is not limited to the childish glee that brings a smile to one’s smile; his introverted, ineloquent self and the healing atmosphere of his works, often full of warm colors and able to touch the inner corners of our hearts, help us forget the pain and unhappiness in life. From “Girl in a Box” and “Cosmic Girl Eyes (Close/Open)” we gain a glimpse of understanding. The girl with huge eyes in each of the pictures comes from the artist calling up childhood, projecting those memories of being a child and growing up into the image.
If we were to describe Yoshitomo Nara as a cartoon character, there would be no better comparison than to Peter Pan, so lithe and eternally fascinated by the world. Casual graffiti (which resulted in being arrested in New York and held for two days in a detention facility) is, to Yoshitomo Nara, like being Peter Pan: Never growing up; living unrestrained in Neverland; roaming freely and carelessly. Because he always lives in the moment, this kind of graffiti by instinct, where “I feel like painting, so I’ll paint”, carries supremely valuable meaning for the artist’s creative career. Drawn on paper and an envelope, respectively, “Pal” and “Untitled” are two highly finished, small yet delicately colored sketches. Although they might seem to have been casually made, the feeling and personal investment the artist has put into the works lose nothing to his larger pieces.
ROCK N’ ROLL CULTURE KEEPS THE CREATIVITY GOING
Historical culture and Western music have always been Yoshitomo Nara’s inspiring sources. He became a fervent fan of rock music in middle school; but also, when he heard those intense sounds, it brought up a great desire in him to pick the brush and paint. This became the background in space and time for the “long-haired singer”. In addition, revisiting the historical aesthetic traditions of the past and the idea of creating a re-expression of visual aesthetics for Japanese culture as a whole has given rise to his desire to recreate ukiyo-e. “Goldfish (In the floating world)” expresses the artist’s deep feeling that this world is too extravagant and shallow, and a desire to cast it all away and be like a goldfish, living without cares. The geisha of the original ukiyo-e piece with a head full of hair becomes in an instant a girl looking askance with a head full of nails. From this we can clearly see Yoshitomo Nara’s pranksterish attitude and challenging sense of humor.
“No Nukes! Love and Peace”, whether through its message of the 70-year long post-WWII message of “No War!”, or perhaps a thoroughgoing stance demanding “No Nukes”, seems to be conveying the message that the old cannot necessarily see the truth, yet the young, with no platform on which to stand, can get directly at the truth with their childish words. “The girl Mori”, with her various slogans, has become an iconic figure, widely known, for Yoshitomo Nara. Not all of it is invective against social phenomena; sometimes it conveys the artist’s views on life, or owing to myriad difficulties and causes, words that can be hard to say. “Don’t Wanna Cry” and “Poindexter” are of this type, soothing and praising while also expressing resentment. Inscribed in soundless words, the words are made manifest for all to see.
PURE YET REBELLIOUS THOSE SHOUTS OF CHILDHOOD MEMORY
When we think of Yoshitomo Nara, those expressions so angry at the world and rebellious girls holding knives while giving us the side-eye are the images that spring so vividly to mind. These deeply impressive, candid images so full of childishness have accompanied an unknown many of us as we have grown into adults; they take their place in that long awkward phase of youth. Yet Yoshitomo Nara’s depth is not limited to the childish glee that brings a smile to one’s smile; his introverted, ineloquent self and the healing atmosphere of his works, often full of warm colors and able to touch the inner corners of our hearts, help us forget the pain and unhappiness in life. From “Girl in a Box” and “Cosmic Girl Eyes (Close/Open)” we gain a glimpse of understanding. The girl with huge eyes in each of the pictures comes from the artist calling up childhood, projecting those memories of being a child and growing up into the image.
If we were to describe Yoshitomo Nara as a cartoon character, there would be no better comparison than to Peter Pan, so lithe and eternally fascinated by the world. Casual graffiti (which resulted in being arrested in New York and held for two days in a detention facility) is, to Yoshitomo Nara, like being Peter Pan: Never growing up; living unrestrained in Neverland; roaming freely and carelessly. Because he always lives in the moment, this kind of graffiti by instinct, where “I feel like painting, so I’ll paint”, carries supremely valuable meaning for the artist’s creative career. Drawn on paper and an envelope, respectively, “Pal” and “Untitled” are two highly finished, small yet delicately colored sketches. Although they might seem to have been casually made, the feeling and personal investment the artist has put into the works lose nothing to his larger pieces.
ROCK N’ ROLL CULTURE KEEPS THE CREATIVITY GOING
Historical culture and Western music have always been Yoshitomo Nara’s inspiring sources. He became a fervent fan of rock music in middle school; but also, when he heard those intense sounds, it brought up a great desire in him to pick the brush and paint. This became the background in space and time for the “long-haired singer”. In addition, revisiting the historical aesthetic traditions of the past and the idea of creating a re-expression of visual aesthetics for Japanese culture as a whole has given rise to his desire to recreate ukiyo-e. “Goldfish (In the floating world)” expresses the artist’s deep feeling that this world is too extravagant and shallow, and a desire to cast it all away and be like a goldfish, living without cares. The geisha of the original ukiyo-e piece with a head full of hair becomes in an instant a girl looking askance with a head full of nails. From this we can clearly see Yoshitomo Nara’s pranksterish attitude and challenging sense of humor.
“No Nukes! Love and Peace”, whether through its message of the 70-year long post-WWII message of “No War!”, or perhaps a thoroughgoing stance demanding “No Nukes”, seems to be conveying the message that the old cannot necessarily see the truth, yet the young, with no platform on which to stand, can get directly at the truth with their childish words. “The girl Mori”, with her various slogans, has become an iconic figure, widely known, for Yoshitomo Nara. Not all of it is invective against social phenomena; sometimes it conveys the artist’s views on life, or owing to myriad difficulties and causes, words that can be hard to say. “Don’t Wanna Cry” and “Poindexter” are of this type, soothing and praising while also expressing resentment. Inscribed in soundless words, the words are made manifest for all to see.