A comprehensive volume—overseen by the artist himself—on one of the most renowned living artists today, Takashi Murakami. Takashi Murakami is celebrated the world over for his deft blurring of high and low art. In this volume, accompanying a major exhibition of his work and the first in the Middle East, readers are immersed in the unique way Murakami channels the ecstasy and anxiety of contemporary culture. Conceived by the artist as a self-portrait in the guise of a cartoon, Murakami – Ego illuminates the role of the artist as a cipher and critic of pop phenomena as well as a mirror of global networks of consumerism, interpretation, and exchange. The book features some of the artist’s most celebrated series, including Kaikai Kiki Lots of Faces and Pom and Me. Murakami has conceived of the exhibition itself as a work of art, creating new modes of display that include sculptural pedestals with digital animation, a circus tent that doubles as an indoor cinema, and an impressive 300-foot-long painting, all of which are featured in the book. In addition to an interview by curator Massimiliano Gioni, Murakami will contribute writings on various works.
It's Published by Rizzoli, one of the finest and most prolific Artbook Producers in North America, and is beautifully designed. It features a 'puffy' cover, which is a standard hardcover wrapped in plastic with a cotton or fibre-glass gauze in between... which is convenient for any narcoleptic episodes flipping through it might trigger, or insanely disproportionate fits of rage that involve beating people to death with art-books. It's printed on high-quality paper and the reproductions look amazing. Being the multi-media-master that Murakami is, this book includes not just his 'Superflat' paintings, although there are many on display, but also his prints and sculptures and videos, etc. Based on a huge retrospective of the same name, this is the perfect monograph for new Murakami fans, with enough substance to appeal to older fans as well. I particularly liked the huge fold-outs that display his longest paintings, which are just several feet tall but hundreds of feet long. Details like that are what make a great artbook. Though I'm not the biggest fan, preferring art that doesn't so gleefully embrace mass production and dozens of assistants who do most of the actual painting, I can appreciate Murakami on a certain level, at certain times. Nevertheless, an excellent book.
A beautifully produced book, overseen by Murakami himself, that surveys his work as of 2012. Although I have some reservations over the mass-produced aspect of his work, the sheer fun that it conveys wins me over, along with its grounding in Japanese popular culture. It won't persuade anyone who doesn't already like Murakami, but those who do will appreciate this quality volume.