Takashi Murakami
Installation view
© Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Takashi Murakami
Installation view
© Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Takashi Murakami
Installation view
© Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Takashi Murakami
Installation view
© Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Takashi Murakami
Installation view
© Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Takashi Murakami, That I may time transcend, that a universe my heart may unfold, 2007
Acrylic and silver gold leaf on canvas mounted on board, 3 panels: 95 ½ × 111 inches (242.6 × 281.9 cm)
© 2007 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved
“Tell me,” the emperor of China asked Daruma, “What is the first principle of Buddhism?”
“Vast emptiness, nothing holy!” Daruma replied.
“Who are you?” the emperor demanded, thoroughly perplexed.
“I don’t know!” Daruma announced, departing as suddenly as he had arrived.
Gagosian is pleased to present an exhibition of new paintings by Takashi Murakami. This is Murakami’s first exhibition with the gallery.
Beneath its bright and playful appearance, Murakami’s art is at work challenging established dichotomies. In his approach, high art and popular culture, East and West, present and past, humor and gravity, skepticism and belief are all sides of the same coin. Visually, his work merges the dystopic worlds of popular contemporary Japanese anime and manga cartoons with the ultra-refined techniques of traditional Japanese art. Operationally, he combines the work of the factory and production studio with that of the guild, resulting in a staggering body of work ranging from rare masterpieces to inexpensive, mass-produced commodities.
Bridging the digital and the physical realms, the three-part presentation of paintings and sculptures that make up Takashi Murakami: An Arrow through History at Gagosian, New York, builds on the ongoing collaboration between the artist and RTFKT Studios. Here, Murakami and the RTFKT team explain the collaborative process, the necessity of cognitive revolution, the metaverse, and the future of art to the Quarterly’s Wyatt Allgeier.
The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).
Takashi Murakami writes about his commitment to the work of Japanese ceramic artists associated with the seikatsu kōgei, or lifestyle crafts, movement.
Hans Ulrich Obrist interviews the artist on the occasion of his 2012 exhibition Takashi Murakami: Flowers & Skulls at Gagosian, Hong Kong.
In a conversation recorded at the Los Angeles County Museum of Art, Takashi Murakami describes the process behind three major large-scale paintings, including Qinghua (2019), inspired by the motifs painted on a Chinese Yuan Dynasty porcelain vase.
Join us for an exclusive look at the installation and opening reception of Murakami & Abloh: “AMERICA TOO”.
Following their artistic collaboration in London, Takashi Murakami and Virgil Abloh, the recently appointed Louis Vuitton menswear designer, spoke with Derek Blasberg about how they met, their admiration for each other, and the power of collaboration to educate and impassion new audiences.
From 2009 to 2011 the eminent art historian Nobuo Tsuji and Takashi Murakami engaged in a reimagined e-awase (painting contest). In this twenty-one-round contest, newly published in Battle Royale! Japanese Art History, Tsuji selects historical works and Murakami responds creatively. Round 6 centers on the Edo Eccentric painter Soga Shōhaku and his monumental Dragon and Clouds (1763).
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
