The controversial Japanese artist Takashi Murakami is best known for his ability to blur the line between high and low arts. His sculptures, prints and other fine art creations are simultaneously tacky yet poised. In 2001, Murakami published his “Superflat” theory in the catalogue for a group exhibition of the same name. The theory discusses the idea that there is a legacy of flat, 2-dimensional imagery which has existed throughout Japanese art history (such as wood-blocking) and continues today (in manga, hentai and anime). This style is wholly Eastern and emphasizes flat planes of color. His pieces represent an amalgam and synthesizing of Buddhist accents, highly sexual Japanese fetish art, psychedelic sixties iconography, satirical exaggeration and childish linear drawings. The highly commercial artist has collaborated with such renown brands and celebrities as Marc Jacobs, Louis Vuitton, Kanye West, Pharrel Williams and in floats for Macy’s Thanksgiving Day Parade, or as a game designer for Hasbro’s Monopoly.
A painting by Takashi Murakami, a Guy de Rougemont cocktail table, and a pair of Leleu bergères in the living room; Manuel Canovas fabric curtains.
Photography by William Waldron for Elle Decor. Serious and very fifth avenue, yet with a touch of humor.
Statement pieces by artists Bert Stern, Takashi Murakami, and Alex Katz line this jewel box living room giving it punch and power. The color play, vertical stripes and expertly mismatched patterns continuously draw the eye to new places.
Nigo’s Bedroom replete with Louis Vuitton bedsheets and Murakami Cushions on the floor. Eat your heart out pop culture, brand addicts. Image via The Ski Club.
Yours truly at the Takashi Murakami at the Palace of Versailles exhibition in 2010. When in doubt; floral, happy-face wallpaper and carpeting does the trick.
A funky brooklyn townhouse incorporates David Weeks lighting, contemporary prints (such as Murakami), a glossy white lacquered table, a Jason Miller Studio Antler Sconce and mid-century accents to create a bright and clean space.
This lounge space is half underground club and half secret treehouse. Painted over pressed metal walls, lucite chandelier, and Murakami print keep the relaxation space feeling fresh. Image via GummyGoose.
The Arne Vodder credenza, the 60’s Ecuador chair, the bright orange sofa, a cow skin rug, and the angular floor lamp have a midcentury, cowboy vibe, but the Takashi Murakami and the Kaws Sorayama figure on the Saarinen table make this room ultra modern. Image created by Pastolux using Ebay finds.
Miami-based interior design and architecture firm Errez Design‘s curated update of a 1910 cottage in Coconut Grove, FL, which belongs to a contemporary art collector. The client has an extensive collection of artwork, including pieces by Damien Hirst, Jeff Koons, Takashi Murakami, Banksy, Swoon, and David Bowie, as well as rare antique Biedermeier furniture, antique textiles, and crystal chandeliers. Images via Casa Sugar.
Design by Vicente Wolf. A Takashi Murakami painting dominates one corner of the living room. African masks rest on a Chinese-elm cocktail table, an African stool serves as a side table, and a Louis XVI console stands by the window; all are from VW Home. The armchairs are covered in an Edelman leather. Park Avenue apartment via Architectural Digest.
A space dominated by circular design: an oval print, an oblong sculpture, a rounded chair. Designed by D’Apostrophe, this Paris Mansion is friendly, organic and bright. Family room image via Houzz.
Who said contemporary art is only for grownups? Definitely not me. This kid’s room is airy and rainbow filled – no unhappy campers allowed. Design by Designed by D’Apostrophe for a Bond Street, NYC triplex. Image via Houzz. As they say in Japan, “Kawaii”!
A sneak inside Cordelia de Castellane’s artful Parisian home reveals a master bedroom painted with Farrow & Ball’s Light Gray. The four poster bed is kingly, almost stately, yet childish with it’s Murakami pillows. Photography by Roger Davies for Elle Decor.
A London home’s mantle provides a focal point for artwork and first-edition James Bond books. The painting above the fireplace is by Chen Ke, and sitting on the marble is also a hyper sexual nurse (or waitress?) sculpture by Murakami. Image via House to Home.
Dark navy exposed brick walls allow a white-bright Murakami piece to pop.
The bed, very seventies, surrounded by works of art: from left to right, a painting by Robert Delaunay, a vase by Ettore Sottsass for the Manufacture Nationale de Sèvres and a sculpture by Takashi Murakami. Image via Architectural Digest France.
Every March, like the migration of strange Monarch butterflies, artists, galleries, collectors, critics and curators from across the globe make New York their destination during Armory Arts Week. From March 7-10, 2013, stationed at the Chelsea Piers 92 & 94 overlooking the Hudson, a hangar’s worth of creativity bustles in the largest NYC art fair. The fair has changed locations since its inaugural 1913 debut – from the East Side to Chicago to the Cincinnati Art Museum to Amherst College – ultimately that its coming back to its roots. The piers at the Armory Show, now designated as Contemporary and Modern, are devoted to showcasing the most important, notorious, and emerging artworks of the 20th and 21st centuries.
My friends Max and Erica enjoy a Pain au chocolat, muffin, Diet Coke and Coffee in the VIP Lounge fitted by Roche Bobois.
The Hudson River on the West Side of the island was once central to to the city’s trade and transportation infrastructure. With the success of the auto industry, American’s reliance on waterways diminished and all-but-halted. Businesses at the piers closed down and many structures were left to decay. The desolate, vacuous spaces could be dangerous territory but also offered temporary homes to various artist projects, the most illustrious, perhaps, being Gordon Matta-Clark’s iconic Day’s End on Pier 52 in 1974.
Samsøn Projects of Boston had a booth arrayed with bongs, Carl Sagan and retail price tag fastener, featuring the works of Todd Pavlisko.
Peter Liversidge’s presented by Ingelby Gallery, London. Etc, 2011, neon. Remember the seen from The King and I? Etcetera, Etcetera, Etcetera!
Destined to be a new Penguin Classic: Love Kicked Me Down (Where I Belong) by Harland Miller.
The “Day’s End” Champagne Bar at the Armory Show Contemporary section. Little did you know that this Pommery Champagne bar is steeped in art history. The special light-bulb sculpture Day’s End, 2013, is site-specific installation by Peter Liversidge that references an eponymous work by Gordon Matta-Clarke on pier 52 from 1974-75; and Marcel Duchamp & Ulf Linde – Posterity Will Have a Word to Say, a special tribute to the 100th anniversary of the 1913 Armory Show, curated by Jan Åman. Drink up.
Cary Leibowitz’s installation from Invisible Exports was a little too on-the-nose with its pessimistic yet honest take on pie charts, cliches and children’s rhymes.
Kevin Harman, Forever, 2012, mirror, carved oak frames, padlock 137 x 88 x 26 cm. INGLEBY GALLERY.
James Hugging, Binary Rhythm (III), 2012, oil and wax on wood, 189.5 x 169 cm. INGLEBY GALLERY.
Brian Calvin, Can With A Landscape (Robin), 2009. The otherworldly, martian quality of the artist’s portraits is ominous. Alex Katz’s influence on Calvin seems obviously delightful.