Yasumasa Morimura - Knowledge

680:, the work is a blend of historical and autobiographical references. During one of the film’s scenes, Morimura recreates the historic photograph of the meeting between Emperor Hirohito and General MacArthur but switches the original location from the American ambassador’s residence to his childhood home and parents’ tea shop. These scenes were intended to signify Morimura's understanding of the complex relationship between America's influence on Japanese culture and how it led to his internal conflict as to what it means to identify as “Japanese” in the 20th and 21st Centuries. During the live performance component, Morimura enters the stage wearing the same military uniform as Mishima and is armed with a scroll. Before the audience, Morimura reads a declaration that argues for the essentiality of art as a reference to the politically charged speech Mishima delivered on fascism at 332: 839:(2018) further pushes the boundaries on Morimura's first redesign of the Manet painting in which he now transforms Olympia into a Japanese woman with the accoutrements of a geisha, a historic Western stereotype and mythologizing signifier of Japanese womanhood. The black maidservant is replaced with a European man donning an elegant black top hat and matching gloves as he presents the geisha with a bouquet of flowers. The encroaching male behind the geisha interrogates the violent implications of the male gaze as both a literal objectification of women and a figurative raping of Japanese culture. 91: 311:(“beckoning cat” figure said to symbolize good luck). Morimura supplanting both the white and black female subjects with his male Asian body was significant for its subversion of a work considered a staple of the Western Art History canon. The photograph addresses the issues of the male gaze and objectification of the female body, and it simultaneously brings to light the ignorance toward nonwhite subjects in Art History. By occupying the roles of the two sole figures, Morimura renders himself unavoidable for viewers to observe. 103: 825:

differences between Western and Eastern cultures: Western civilization demonstrated masculine dominance for its massive military industrial complex and imperialist ambitions, whereas Asia was deemed powerless, poor, and weak, but viewed positively as exotic for its indigenous art, decoration, and fashion. Completed thirty years apart, Morimura's two versions of Edouard Manet's

239:(1984), is a vertical photographic composition in which a fork occupies the center plane as it leans against a conical glass with a light bulb inside of it. Morimura's careful arrangement of found objects grew more complex as seen in a photograph he took of a tall, slender tower made from dice, cut out letters, and a painted board. 445:

art's authenticity in a Japanese context. As a commentary on Mishima's vehement opposition to the perceived feminization of Japan in the Post-World War II era, Morimura decided to reinterpret the event from the polar opposite standpoint of a recognizably female subject and symbol of popular media consumption, Marilyn Monroe.

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at the Sagacho Exhibit Space in Tokyo led to his popularity within the Japanese art world. The exhibition's theme centered on Morimura's critique of the Art History canon in which he deconstructed Western notions of aesthetic beauty, and examined Japan's longstanding interest in Western culture. The

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in their Aperto section. The opportunity to participate in this prestigious international art fair rapidly catapulted Morimura's status to world art icon that soon led to his participation in dozens of group and solo exhibitions throughout Asia, North America, Europe, and Australia at the end of the

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in 1952, Morimura grew up in a generation that embraced Western values and cultural trends that came to define Japan's Post-World War II period. His continual exposure to Western, particularly American, socio-cultural customs in music, film, and fashion would later influence his artistic pursuits in

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As both a performance and appropriation artist, Morimura's art is defined by his assumption of the identities of famous artists, artwork subjects, historical figures, and popular culture icons. In order to evoke the identity of his respective roles, Morimura recreates these images through extensive

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series (2006) denoted a significant shift in the content of his self-portraits. With an embedded interest in Modern Japanese and world history, Morimura was attracted to specific historical figures and how their power and influence shaped their national surroundings. This marked a brief departure

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that occurred in the same auditorium on May 13, 1969. While Morimura admitted he did not research the event in great detail, he has continually referenced how Mishima's theatrically expressive opposition to the “cultural castration” and consumerism of Japan moved him to consider the importance of

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in which he was raised to act feminine during the Shogunate's rule but later adopted a more militaristic image and masculine personality once he ascended to the imperial throne. Morimura noted that the Emperor's sudden change in appearance signified that this is an example of how easily one can

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Through his continual engagement with the Art History canon, postcolonialism and the feminization of Asia are recurring themes that have persisted. The association of Japan and Asia as a feminized space was a 19th Century Euro-American perception that utilized gendered binaries to explain the

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through his adoption of personas that transcend national, ethnic, gendered, and racial boundaries. Across his photographic and performative series, Morimura's works explore a number of interconnected themes, including: the nature of identity and its ability to undergo change, postcolonialism,

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invited Morimura to create a design to be printed on garments from Miyake's first "Guest Artists" collaboration. Miyake's manifesto was to produce clothing offering an “interactive relationship between art and the person who admires it,” and Morimura provided Miyake with collages reproducing

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after he contemplated the precise nature of his Asian identity. Reflecting on the motivations behind this thematic approach, Morimura recalled the questions he raised at this moment: “Who am I? My face is Asian, but I am increasingly living in a western style? Can I say I am Japanese?”.

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will be referenced but that “... because Mr. Duchamp is of the opinion that absence is a testament to existence, he will not be joining us today”; in his place, Morimura inserts himself as both a character and the moderator of the meeting between the eleven artists.

767:(1889), Morimura's face is covered in splotches and remnants of golden yellow paint while his clothing contains mixtures of green and blue paint that complements the swirling blue-green curved forms behind him; this photographic staging echoes van Gogh's painterly 540:, he was selected as an artist-in-residence in which he was tasked with educating University-level visual arts fellows. The intent of the program was to foster a new generation of artistic production in Kyoto that could be shared with the rest of the world. 796:

Identity exploration is the main, overarching theme that predominates the scope of Morimura's art, and it encompasses an analysis of multiple identities that often intersect within works: ethnicity, nationality, gender & sexuality, race, etc. In his

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and computer editing software became more accessible and refined in the late-1990s, Morimura's works demonstrate greater visual complexity in his manipulation of composition, lighting, and the number of figures he portrays within a single artwork.

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Following graduation, Satow hired Morimura to work as a photography assistant. Through this employment experience, Morimura produced his first artworks which were black-and-white still life images mainly shot indoors. These encompassed his

525:(1888) in that it retains the exact same floral arrangement, color palette, and interior space from the original painting. However, Morimura digitally replicates his face to appear on each of the sunflowers’ heads at different angles. 307:. Morimura positions himself in the roles of both the reclining white Olympia figure and her black maidservant and he replaces part of the surroundings with distinctly Japanese attributes as seen in the golden crane bed linens and the 159:

Since the 1980s, Morimura's artistic process entails a rigorous system in which he transforms his entire body into a nearly identical replica of his designated subject through elaborate costumes, makeup, props, and set designs. Once

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work consists of vignettes in which each of the artists deliver a dramatic monologue on the nature of selfhood, identity, and how it relates to their artistry. As a humorous statement on self, Morimura expresses in the opening that

156:, marked the first of dozens of self-portraits Morimura completed in which he adopted the role of established artists, major historical figures, celebrated popular culture icons, and identifiable subjects from well-known artworks. 507:

Starting in the late-1990s, advancements in digital camera and computer technology permitted Morimura a broader range of creative tools to visually manipulate and alter his portrait compositions and subjects’ appearances such as

782:(1996) is regularly cited as an example of this characterization as Morimura wears a blonde wig and white dress that is visually reminiscent of Marilyn Monroe's hairstyle and wardrobe while he reenacts her famous scene from 471:(1996) that features Morimura as Marilyn Monroe. The film was screened in a classic-style theater venue contained within the museum's exhibition space to evoke the connections between Monroe and the filmgoing culture of the 374:

from 1994 to 1995. As the first historical survey of Post-1945 avant-garde Japanese art, Morimura's selection as a participant in this landmark exhibition attracted positive attention from arts & culture publications.

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Originally intent on channeling his creative energy into black-and-white still life photography, Morimura struggled to ascertain his identity and decided to visualize this inner struggle through self-portraiture. In 1985,

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in 1985. These photorealistic engagements with van Gogh's paintings marked the first instance of Morimura challenging the malleability of identity formation. Subsequently, Morimura participated with fellow artists

430:(who he refers to as “Actress M”) and proceeds to run around shouting and gesticulating before standing atop a desk at the front of the room. Morimura strikes a pose that mimics Monroe's famous performance in 168:

For the last two and a half decades, Morimura has brought his personas to life in short video, film, and live performances in which he expresses their thoughts through movement and scripted monologues.

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work that combines film and live theatrical performance. Morimura portrays a diverse set of characters in an assessment of how Japan’s identity is shaped by American culture following the end of the

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transform their identity instantaneously through different apparel. From here, Morimura began to question if a change in clothing could truly make a person feel like someone completely different.

821:, et al. This series challenged the notions of the male gaze as Morimura purposefully inserts his male Japanese identity into photographic recreations of world famous white, female cinema icons. 207:(1927–1990). Satow lectured on the Modern Western aesthetic ideals of photography and camera techniques, particularly as it was exemplified in the works of the French Humanist photographer 1840:

Kamiya, Yukie. “The Unbearable Obscureness of Being: An Introduction to Yasumasa Morimura.” Essay. In Yasumasa Morimura: Ego Obscura, 13. The Japan Society, 2018. Exhibition Catalogue.

588:, in 2016. Returning to the Art History-laden content of his work from the 1980s to the 2000s, Morimura embodies the roles of eleven distinguished artists from the Art History canon: 1807:

Kamiya, Yukie. “The Unbearable Obscureness of Being: An Introduction to Yasumasa Morimura.” Essay. In Yasumasa Morimura: Ego Obscura. The Japan Society, 2018. Exhibition Catalogue.

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Although Morimura's art has been the subject of dozens of group and solo exhibitions around the world since his public debut in the 1980s, the 2018 retrospective of his career at

835:(1988) degrades the Western male gaze through the portrayal of the white reclining Olympia and her black maidservant with that of a male Japanese figure in their positions. 464: 436:(1955). Although he was in character as a white, female American actress, the performance was both a reference to and an indirect recreation of the right-wing writer 283: 708: 2132:

Yamaguchi, Yumi, and Arthur Tanaka. “Yasumasa Morimura.” Essay. In Warriors of Art: A Guide to Contemporary Japanese Artists, 88–88. Kodansha International, 2007.

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from Morimura's typically female and Art History-rooted subjects in that he chose to portray masculine figures: Japanese right-wing writer and political agitator

1199: 695:(October 2018 – January 2019), was his first institutional solo exhibition in New York and was met with all-around praise by art critics and publications, from 1094: 754:

When he recreates subjects from paintings, Morimura replicates the precise surface details and brushstroke textures inherent in the original works. Based on

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Morimura, Yasumasa. “Morimura's Nippon Cha Cha Cha!” Essay. In Yasumasa Morimura: Ego Obscura. New York, NY: The Japan Society, 2018. Exhibition catalogue.

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makeup and props before situating them in settings with which they would be associated or locations that are completely foreign to their identity. In

204: 196:, where he received his Bachelor of Fine Arts in 1978. During his studies, an early interest in photography emerged after he took a course taught by 1912: 1146: 274: 1265: 343:

Although the 1988 Venice Biennale was responsible for officially launching Morimura's career on an international scale, his 1990 solo exhibition

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Friedman, Dan. “Morimura, Yasumasa.” Essay. In Encyclopedia of Twentieth-Century Photography, edited by Lynne Warren, 1082–84. Routledge, 2005.

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Friedman, Dan. “Morimura, Yasumasa.” Essay. In Encyclopedia of Twentieth-Century Photography, edited by Lynne Warren, 1083. Routledge, 2005.

426:'s Komaba campus as students sit at their desks and prepare for their professor's lecture. Unbeknownst to them, Morimura arrives dressed as 1387:

Sakurai, Motoatsu. “Foreword.” Essay. In Yasumasa Morimura: Ego Obscura, 7–7. New York, NY: The Japan Society, 2018. Exhibition Catalogue.

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In December 2012, a formal announcement revealed that Morimura was selected as the artistic director of the 2014 installment of the

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Adriasola, Ignacio. “Modernity and Its Doubles: Uncanny Spaces of Postwar Japan.” October Magazine, Winter, no. 151 (October 2015).

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series in which he portrays mid-20th Century American and European actresses and film characters situated in Japanese locales. In

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Yoon, Joonsung (November 2002). "SEEING HIS OWN ABSENCE: Culture and Gender in Yasumasa Morimura's Photographic Self-Portraits".

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Bell, Graham W. “ArtSeen: Yasumasa Morimura Ego Obscura & In the Room of Art History.” The Brooklyn Rail, January 18, 2019.

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Egea, Ana Vidal. “The Artist Who Becomes Van Gogh's Self-Portrait and Other Works of Art.” El Pais Semanal, January 16, 2019.

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Morimura, Yasumasa. “Why I Posed as Yukio Mishima, Or, The Relationship of 3 M’s: MacArthur, Mishima, Morimura.” Speech, n.d.

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https://www.studiointernational.com/index.php/yasumasa-morimura-ego-obscura-tokyo-2020-review-hara-museum-of-contemporary-art.

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series from the early-1980s. However, he incorporated an additional layer of creativity through his photographs of sculptural

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Gotthardt, Alexxa. “Why Yasumasa Morimura Places Himself in Art History's Most Famous Scenes.” Artsy, October 18, 2018.

456:(April 1996 – June 1996), Morimura was commissioned to appear in a short film as part of the show's focus on his recent 2051:

https://aboutjapan.japansociety.org/resources/content/6/3/3/0/documents/Japan-Society-Gallery-Benefit-Auction-Lots.pdf.

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was equally influential on the change in his creative focus. He has regularly cited the evolving lifestyle of the

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Cotter, Holland. “ART REVIEW: Japan's Avant-Garde Makes Its Own Points.” The New York Times, September 16, 1994.

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subjects to still photography as he breathed life into his roles through both live performance and a short film.

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https://www.artsy.net/artwork/yasumasa-morimura-sen-cun-tai-chang-barco-negro-on-the-table-collotype-portfolio.

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Bryson, Norman. “Yasumasa Morimura: Mother (Judith II).” Artforum International 32, no. 5, January 1994, 58.

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In 1995, Morimura had a video recorded in which the camera shows the massive Yasuda Auditorium classroom at

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Heinrich, Will. “What to See in New York Art Galleries This Week.” The New York Times, December 19, 2018.

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https://www.artandeducation.net/announcements/111652/the-international-research-center-for-the-arts-kyoto.

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There are multiple examples of works in which Morimura inserted his countenance onto non-human subjects.

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National Gallery of Modern Art (New Delhi, India), Metropolitan Museum of Manila (Contributors) (1998).

1817: 943: 135:, and live performance. He is known for his reinterpretation of recognizable artworks and figures from 2049:

The Japan Society. Japan Society Gallery Benefit Auction Lots. New York, NY: The Japan Society, 2018.

788:(1955) when her character embarrassingly attempts to hold down her dress as it blows above her knees. 738: 688: 353: 1863:

https://www.nytimes.com/2018/12/19/arts/design/what-to-see-in-new-york-art-galleries-this-week.html.

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https://www.centrepompidou-metz.fr/en/evening-9-yasumasa-morimura-nippon-cha-cha-cha-lecture-cin-ma.

1849:“Evening #9 - Yasumasa Morimura, Nippon Cha Cha Cha, (Lecture Cinema).” Centre Pompidou-Metz, 2018. 1544:

Morimura, Yasumasa. “Yasumasa Morimura on the Empty Center of Identity.” Artforum, October 19, 2018.

1936: 1913:"Ego Obscura: First NYC Institutional Exhibition Devoted to Postmodernist Master Yasumasa Morimura" 1016: 682:

Tokyo's Ground Self-Defense Force camp before he committed ritualistic suicide on November 25, 1970

412:(1976) while seated on a red stool in an urban Tokyo alleyway littered with packets of cigarettes. 117: 1875:

https://brooklynrail.org/2018/12/artseen/Yasumasa-Morimura-Ego-Obscura-In-the-Room-of-Art-History.

1462:“Japanese Art After 1945: Scream Against the Sky.” Asia Art Archive. Accessed December 2021, 1AD. 1212:

https://www.artsy.net/article/artsy-editorial-yasumasa-morimura-places-art-historys-famous-scenes.

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https://www.nytimes.com/1994/09/16/arts/art-review-japan-s-avant-garde-makes-its-own-points.html.

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Morimura's art attracted global attention after he was invited to exhibit his self-portraits for

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https://www.sothebys.com/en/auctions/ecatalogue/2014/contemporary-asian-art-hk0497/lot.870.html.

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Papadopoulou, Evi. “Daughter of Art History by Yasumasa Morimura.” Interartive, March 17, 2009.

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https://aaa.org.hk/en/collections/search/library/japanese-art-after-1945-scream-against-the-sky.

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series (1994 – 1996), Morimura depicted himself as a number of American and European actresses:

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2004–2006: Artist-in-Residence Fellow, International Research Center for the Arts, Kyoto, Japan

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Morimura presently lives and works in his native Osaka, and he is married to Toshimi Takahara.

449: 367: 1139: 831:(1863) both examine the legacies of postcolonialism and the historic view of Asia-as-female. 208: 1315: 1198:

Hasegawa, Kanae. “Yasumasa Morimura: Ego Obscura, Tokyo, 2020.” Studio International, 2020.

931: 2234: 935: 883: 8: 1610: 978: 784: 747: 658: 432: 384: 185: 161: 124: 2106: 2079: 2032: 1352: 1127: 755: 696: 562: 532:'s International Research Center for the Arts from 2004 to 2006. Alongside the artists 376: 737:(2004), the content is a faithful reproduction of the interior space and figures from 605: 495:. Another design showed the nude Morimura emerging from behind a life-sized cutout of 2083: 2075: 2036: 1956: 1688: 1356: 1348: 1183:“Yasumasa Morimura: Ego Obscura, Tokyo 2020,” 2020. Hara Museum of Contemporary Art. 907: 700: 669: 613: 461: 315: 1185:

http://www.haramuseum.or.jp/en/wp-content/uploads/2020/03/en_pr_Morimura_200608.pdf.

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Globalizing Japan: Ethnography of the Japanese Presence in Asia, Europe and America

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authorship, and the Western view of Japan – and Asia, more broadly – as feminine.

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Often, art historians and critics have described his self-portraits as a form of

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Michiko, Kasahara; Fritsch, Lena (2012). "Morimura Yasumasa—Portrait (Futago)".

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https://museemagazine.com/culture/art-2/features/yasumasa-morimura-what-a-drag.

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Brandes, Kerstin (2003). "Morimura/Duchamp: Image Recycling and Parody".

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A watershed moment in Morimura's career occurred in 1988 when he created

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in 1951 to father Nobuo (died in 2006) and mother Hiroko (died in 2016).

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Stevens, Mark. “Made in Japan.” New York Magazine, September 26, 1994.

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In tandem with these pressing questions, Morimura's understanding of

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Taste and Pursuits: Japanese Art in the 1990s (Exhibition Catalogue)

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Morimura created his first self-portraits in which he portrayed the

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Yasumasa Morimura: Appropriator of Images, Cultures, and Identities

665: 290:, where he first exhibited his van Gogh and Roulin self-portraits. 1983:“(#870) Yasumasa Morimura.” Sotheby's. Accessed November 9, 2021. 1022:

2014: Artistic director of the Yokohama Triennale, Yokohama, Japan

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in a three-person group exhibition at Kyoto's Galerie 16 in 1985,

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In tandem with his art, Morimura was appointed as a professor at

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was later revived in future exhibitions, most notably in 1999 at

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https://elpais.com/elpais/2019/01/09/eps/1547040988_121133.html.

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Yasumasa Morimura for Issey Miyake, printed polyester, 1996-97 (

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https://www.keenecenter.org/download_files/MorimuraSpeech.pdf.

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Select Museums, Galleries, and Arts & Culture Institutions

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Vermeer Study: A Great Story out of the Corner of a Small Room

1818:"Cinema @ the MFA - Egó Sympósion: Film by Yasumasa Morimura" 326: 178: 1291:"The many portraits of an artist as a young, and older, man" 999:

2007: Nominated for the Minister of Education for Fine Arts

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Yasumasa Morimura in his Osaka studio 1990; photograph by

1971:“Humancomedy.” Wall Street International Magazine, 2017. 1073: 1046:

Daughter of Art History: Photographs by Yasumasa Morimura

2171:"Yasumasa Morimura (Japanese, born 1951) (Getty Museum)" 1245:"Barco Negro on a table : Yasumasa Morimura | MEM" 172: 478:

For Fall-Winter 1996–7, the Japanese fashion designer

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The Sickness Unto Beauty – Self-portrait as Actress

1911:Gleichenhaus, Becca; Society, Japan (2018-11-27). 1689:https://interartive.org/2009/03/yasumasa_morimura. 1034:The Sickness Unto Beauty: Self-Portrait as Actress 996:2006: Nominated for the Kyoto Cultural Merit Award 1735:"yasumasa morimura: 'requiem for the xx century'" 2226: 1495:Landes, Nora. “Yasumasa Morimura: What a Drag.” 942:, Boston; National Museum of Modern Art, Osaka; 584:Morimura debuted his first feature-length film, 1888:"Best Of 2018 - Yasumasa Morimura: Ego Obscura" 1739:designboom | architecture & design magazine 1331:Michiko, Kasahara; Fritsch, Lena (2012-01-01). 1040:Morimura Yasumasa: Self-Portrait as Art History 1002:2011: Nominated for the 52nd Mainichi Art Award 360:Japanese Art After 1945: Scream Against the Sky 107:An Inner Dialogue with Frida Kahlo (Skull Ring) 2061: 1330: 1643:. Rhode Island School of Design Museum of Art 722: 1885: 415:However, Morimura did not only restrict his 400:Self-Portrait – Actress After Jodie Foster 2 2090: 1052:On Self-Portrait: Through the Looking-Glass 242:In 1985, Morimura shifted his attention to 214: 192:In the mid-1970s, Morimura enrolled in the 1732: 1637:"Pleats Please Guest Artist Series, no. 1" 950:, Queensland; UBS Art Collection, Zurich. 327:Career success and development (1988–2000) 1995: 1973:https://wsimag.com/art/31437-humancomedy. 1733:designboom, nate archer I. (2007-12-20). 1145:CS1 maint: multiple names: authors list ( 394:From 1994 to 1996, Morimura produced his 2008: 1947:Harumi Befu and Sylvie Guichard-Anguis, 1886:Photographie, L'Œil de la (2018-12-31). 1069:Yasumasa Morimura CV - Luhring Augustine 502: 402:(1996), Morimura fashions himself after 330: 101: 89: 2096: 1288: 974:2011: 24th Kyoto Artistic Culture Prize 362:was a traveling exhibition held at the 2227: 1313: 1568:Takashi Ito - 04 - Apparatus M (1996) 1552: 1550: 1371:"Morimura Yasumasa | Japanese artist" 1333:"Morimura Yasumasa—Portrait (Futago)" 1320:(MA). Bowling Green State University. 1092: 916:Hirshhorn Museum and Sculpture Garden 2250:Kyoto City University of Arts alumni 2014: 1194: 1192: 964:2011: The Order of the Purple Ribbon 727: 173:Early life and education (1951–1978) 1989: 1586: 880:International Center of Photography 13: 2055: 1822:Museum of Fine Arts, St Petersburg 1547: 932:Museo Nacional de Arte Reina Sofía 896:San Francisco Museum of Modern Art 530:Kyoto University of Art and Design 372:San Francisco Museum of Modern Art 14: 2271: 1996:Rosenberg, Karen (Jan 15, 2015). 1189: 1064:Yasumasa Morimura CV - Shugo Arts 1057: 622:Michelangelo Merisi da Caravaggio 109:, photograph by Yasumasa Morimura 68:Performance and Appropriation art 2076:10.2752/175613112x13445019280934 1349:10.2752/175613112X13445019280934 928:Los Angeles County Museum of Art 714: 566:(1940), Argentine revolutionary 383:lauded Morimura as a “star” and 323:1980s and throughout the 1990s. 2205: 2191: 2177: 2163: 2149: 2135: 2126: 2117: 2043: 1977: 1965: 1941: 1929: 1904: 1892:The Eye of Photography Magazine 1879: 1867: 1855: 1843: 1834: 1810: 1801: 1776: 1751: 1726: 1714: 1693: 1681: 1655: 1629: 1603: 1580: 1559: 1538: 1529: 1505: 1489: 1480: 1468: 1456: 1447: 1423: 1414: 1390: 1381: 1363: 1324: 1307: 1289:Larking, Matthew (2016-05-17). 1282: 1270: 1026: 912:Hara Museum of Contemporary Art 570:, and Chinese Communist leader 301:'s controversial 1863 painting 237:Tabletop City (Arch of Triumph) 2017:Journal of Visual Art Practice 1258: 1237: 1216: 1204: 1177: 1153: 1111: 1086: 904:Art Gallery of New South Wales 900:Whitney Museum of American Art 861: 842: 780:Self-Portrait: White Marilyn 2 693:Yasumasa Morimura: Ego Obscura 177:Yasumasa Morimura was born in 1: 2260:Japanese contemporary artists 1080: 969:Photographic Society of Japan 920:Institute of Contemporary Art 406:'s prostitute character from 2199:"Yasumasa Morimura · SFMOMA" 1617:. Metropolitan Museum of Art 194:Kyoto City University of Art 186:American Occupation of Japan 60:Kyoto City University of Art 52:Bachelor of Fine Arts (1978) 7: 1587:Itô, Takashi (1999-06-22), 10: 2276: 944:Philadelphia Museum of Art 892:Museum of Contemporary Art 888:Museum of Contemporary Art 723:Style, content, and themes 1224:"Yasumasa Morimura | MEM" 953: 791: 670:General Douglas MacArthur 389:Playing with Gods (Night) 354:Luhring Augustine Gallery 297:, a modern recreation of 184:Following the end of the 80: 72: 64: 56: 48: 40: 28: 21: 1788:www.yokohamatriennale.jp 1435:www.luhringaugustine.com 1314:Gorman, Caitlin (2013). 1017:Person of Cultural Merit 990:1996: Nominated for the 215:Early career (1978–1988) 1611:"Dress by Issey Miyake" 473:Golden Age of Hollywood 448:In preparation for the 350:Daughter of Art History 345:Daughter of Art History 288:Smile with Radical Will 252:Modern Japanese history 127:whose work encompasses 2245:Japanese photographers 948:Queensland Art Gallery 876:Honolulu Museum of Art 872:Carnegie Museum of Art 709:The Eye of Photography 487:'s 1856 nude painting 462:experimental filmmaker 450:Yokohama Museum of Art 368:Yokohama Museum of Art 340: 110: 99: 503:Career (2000–present) 334: 209:Henri-Cartier Bresson 105: 93: 2029:10.1386/jvap.1.3.162 1093:Dazed (2018-11-15). 936:Museum of Modern Art 918:, Washington, D.C.; 884:J. Paul Getty Museum 630:Louise Vigee Le Brun 235:One of these works, 125:appropriation artist 2213:"Yasumasa Morimura" 2185:"Yasumasa Morimura" 2157:"Yasumasa Morimura" 1998:"Yasumasa Morimura" 1784:"YokohamaTriennale" 1513:"Yasumasa Morimura" 1431:"Luhring Augustine" 1122:. Japan Foundation. 979:Osaka Culture Prize 940:Museum of Fine Arts 837:Une Moderne Olympia 785:The Seven Year Itch 748:The Art of Painting 651:Nippon Cha Cha Cha! 433:The Seven Year Itch 222:Barco negro na mesa 162:digital photography 154:Portrait (Van Gogh) 2255:Artists from Osaka 2064:Art in Translation 2002:The New York Times 1337:Art in Translation 1138:has generic name ( 1015:2013: Selected as 756:Post-Impressionist 697:The New York Times 649:’s filmic format, 626:Rembrandt van Rijn 579:Yokohama Triennale 563:The Great Dictator 517:Singing Sunflowers 377:The New York Times 341: 111: 100: 2143:"CMOA Collection" 1615:www.metmuseum.org 1375:Yasumasa Morimura 908:Denver Art Museum 898:, San Francisco; 833:Portrait (Futago) 778:. The photograph 728:Style and content 701:The Brooklyn Rail 689:The Japan Society 659:Allied Occupation 614:Leonardo da Vinci 385:New York Magazine 295:Portrait (Futago) 259:Emperor Mutsuhito 228:he designed from 114:Yasumasa Morimura 88: 87: 23:Yasumasa Morimura 2267: 2217: 2216: 2209: 2203: 2202: 2195: 2189: 2188: 2181: 2175: 2174: 2167: 2161: 2160: 2153: 2147: 2146: 2139: 2133: 2130: 2124: 2121: 2115: 2114: 2094: 2088: 2087: 2059: 2053: 2047: 2041: 2040: 2012: 2006: 2005: 1993: 1987: 1981: 1975: 1969: 1963: 1945: 1939: 1933: 1927: 1926: 1924: 1923: 1908: 1902: 1901: 1899: 1898: 1883: 1877: 1871: 1865: 1859: 1853: 1847: 1841: 1838: 1832: 1831: 1829: 1828: 1814: 1808: 1805: 1799: 1798: 1796: 1795: 1780: 1774: 1773: 1771: 1770: 1755: 1749: 1748: 1746: 1745: 1730: 1724: 1718: 1712: 1711: 1709: 1708: 1697: 1691: 1685: 1679: 1678: 1676: 1674: 1659: 1653: 1652: 1650: 1648: 1633: 1627: 1626: 1624: 1622: 1607: 1601: 1600: 1599: 1598: 1584: 1578: 1577: 1576: 1575: 1563: 1557: 1554: 1545: 1542: 1536: 1533: 1527: 1526: 1524: 1523: 1509: 1503: 1499:, June 9, 2015. 1493: 1487: 1484: 1478: 1472: 1466: 1460: 1454: 1451: 1445: 1444: 1442: 1441: 1427: 1421: 1418: 1412: 1411: 1409: 1408: 1394: 1388: 1385: 1379: 1378: 1367: 1361: 1360: 1328: 1322: 1321: 1311: 1305: 1304: 1302: 1301: 1286: 1280: 1274: 1268: 1262: 1256: 1255: 1253: 1252: 1241: 1235: 1234: 1232: 1231: 1220: 1214: 1208: 1202: 1196: 1187: 1181: 1175: 1174: 1172: 1171: 1157: 1151: 1150: 1143: 1137: 1133: 1131: 1123: 1115: 1109: 1108: 1106: 1105: 1090: 1074:Official website 946:, Philadelphia; 807:Marlene Dietrich 759:Vincent van Gogh 743:Johannes Vermeer 666:Emperor Hirohito 602:Johannes Vermeer 598:Vincent van Gogh 424:Tokyo University 280:Tomoaki Ishihara 271:Vincent van Gogh 244:self-portraiture 84:Toshimi Takahara 76:Contemporary Art 19: 18: 2275: 2274: 2270: 2269: 2268: 2266: 2265: 2264: 2225: 2224: 2222: 2220: 2211: 2210: 2206: 2197: 2196: 2192: 2183: 2182: 2178: 2169: 2168: 2164: 2155: 2154: 2150: 2141: 2140: 2136: 2131: 2127: 2122: 2118: 2095: 2091: 2060: 2056: 2048: 2044: 2013: 2009: 1994: 1990: 1982: 1978: 1970: 1966: 1946: 1942: 1934: 1930: 1921: 1919: 1909: 1905: 1896: 1894: 1884: 1880: 1872: 1868: 1860: 1856: 1848: 1844: 1839: 1835: 1826: 1824: 1816: 1815: 1811: 1806: 1802: 1793: 1791: 1782: 1781: 1777: 1768: 1766: 1757: 1756: 1752: 1743: 1741: 1731: 1727: 1719: 1715: 1706: 1704: 1699: 1698: 1694: 1686: 1682: 1672: 1670: 1661: 1660: 1656: 1646: 1644: 1635: 1634: 1630: 1620: 1618: 1609: 1608: 1604: 1596: 1594: 1585: 1581: 1573: 1571: 1565: 1564: 1560: 1555: 1548: 1543: 1539: 1534: 1530: 1521: 1519: 1511: 1510: 1506: 1494: 1490: 1485: 1481: 1473: 1469: 1461: 1457: 1452: 1448: 1439: 1437: 1429: 1428: 1424: 1419: 1415: 1406: 1404: 1396: 1395: 1391: 1386: 1382: 1369: 1368: 1364: 1329: 1325: 1312: 1308: 1299: 1297: 1295:The Japan Times 1287: 1283: 1275: 1271: 1263: 1259: 1250: 1248: 1243: 1242: 1238: 1229: 1227: 1222: 1221: 1217: 1209: 1205: 1197: 1190: 1182: 1178: 1169: 1167: 1159: 1158: 1154: 1144: 1135: 1134: 1125: 1124: 1116: 1112: 1103: 1101: 1091: 1087: 1083: 1060: 1029: 1007:Honorary titles 992:Hugo Boss Prize 956: 930:, Los Angeles; 894:, Los Angeles; 886:, Los Angeles; 864: 845: 815:Brigitte Bardot 794: 730: 725: 717: 606:Diego Velazquez 554:Charlie Chaplin 538:Tatsuo Miyajima 505: 329: 320:Venice Biennale 273:and his sitter 217: 205:Y. Ernest Satow 175: 57:Alma mater 36: 33: 24: 17: 16:Japanese artist 12: 11: 5: 2273: 2263: 2262: 2257: 2252: 2247: 2242: 2237: 2219: 2218: 2204: 2190: 2176: 2162: 2148: 2134: 2125: 2116: 2105:(1/2): 52–64. 2089: 2070:(4): 503–504. 2054: 2042: 2023:(3): 162–169. 2007: 1988: 1976: 1964: 1955:, 2003, p142. 1940: 1928: 1903: 1878: 1866: 1854: 1842: 1833: 1809: 1800: 1775: 1750: 1725: 1713: 1692: 1680: 1669:. 29 June 2012 1654: 1641:risdmuseum.org 1628: 1602: 1579: 1558: 1546: 1537: 1528: 1517:www.artnet.com 1504: 1488: 1479: 1467: 1455: 1446: 1422: 1413: 1402:www.e-flux.com 1389: 1380: 1362: 1343:(4): 499–512. 1323: 1306: 1281: 1269: 1257: 1236: 1215: 1203: 1188: 1176: 1152: 1110: 1084: 1082: 1079: 1078: 1077: 1071: 1066: 1059: 1058:External links 1056: 1055: 1054: 1048: 1042: 1036: 1028: 1025: 1024: 1023: 1020: 1013: 1004: 1003: 1000: 997: 994: 982: 981: 975: 972: 965: 955: 952: 874:, Pittsburgh; 863: 860: 859: 858: 852: 844: 841: 819:Marilyn Monroe 803:Audrey Hepburn 793: 790: 729: 726: 724: 721: 716: 713: 674:Marilyn Monroe 639:Marcel Duchamp 618:Albrecht Durer 581:art festival. 504: 501: 452:'s exhibition 428:Marilyn Monroe 381:Holland Cotter 328: 325: 299:Édouard Manets 284:Hiroshi Kimura 275:Camille Roulin 216: 213: 174: 171: 86: 85: 82: 78: 77: 74: 70: 69: 66: 65:Known for 62: 61: 58: 54: 53: 50: 46: 45: 42: 38: 37: 34: 30: 26: 25: 22: 15: 9: 6: 4: 3: 2: 2272: 2261: 2258: 2256: 2253: 2251: 2248: 2246: 2243: 2241: 2240:Living people 2238: 2236: 2233: 2232: 2230: 2223: 2214: 2208: 2200: 2194: 2186: 2180: 2172: 2166: 2159:. 2019-05-06. 2158: 2152: 2144: 2138: 2129: 2120: 2112: 2108: 2104: 2100: 2093: 2085: 2081: 2077: 2073: 2069: 2065: 2058: 2052: 2046: 2038: 2034: 2030: 2026: 2022: 2018: 2011: 2003: 1999: 1992: 1986: 1980: 1974: 1968: 1962: 1961:0-415-24412-9 1958: 1954: 1950: 1944: 1938: 1932: 1918: 1917:Hyperallergic 1914: 1907: 1893: 1889: 1882: 1876: 1870: 1864: 1858: 1852: 1846: 1837: 1823: 1819: 1813: 1804: 1790:(in Japanese) 1789: 1785: 1779: 1764: 1760: 1754: 1740: 1736: 1729: 1723: 1717: 1702: 1696: 1690: 1684: 1668: 1664: 1658: 1642: 1638: 1632: 1616: 1612: 1606: 1592: 1591: 1590:Gi-Souchi 'M' 1583: 1570: 1569: 1562: 1553: 1551: 1541: 1532: 1518: 1514: 1508: 1502: 1498: 1492: 1483: 1477: 1471: 1465: 1459: 1450: 1436: 1432: 1426: 1417: 1403: 1399: 1393: 1384: 1376: 1372: 1366: 1358: 1354: 1350: 1346: 1342: 1338: 1334: 1327: 1319: 1318: 1310: 1296: 1292: 1285: 1279: 1273: 1267: 1261: 1246: 1240: 1225: 1219: 1213: 1207: 1201: 1195: 1193: 1186: 1180: 1166: 1165:Cave Art Fair 1162: 1156: 1148: 1141: 1129: 1121: 1114: 1100: 1096: 1089: 1085: 1075: 1072: 1070: 1067: 1065: 1062: 1061: 1053: 1049: 1047: 1043: 1041: 1037: 1035: 1031: 1030: 1021: 1019:in Kyoto City 1018: 1014: 1011: 1010: 1009: 1008: 1001: 998: 995: 993: 989: 988: 987: 986: 980: 976: 973: 970: 966: 963: 962: 961: 960: 951: 949: 945: 941: 937: 933: 929: 926:, Jerusalem; 925: 924:Israel Museum 921: 917: 913: 909: 905: 901: 897: 893: 889: 885: 881: 877: 873: 869: 868: 857: 856:Ego Symposium 853: 851: 847: 846: 840: 838: 834: 830: 829: 822: 820: 816: 812: 808: 804: 800: 789: 787: 786: 781: 777: 772: 770: 766: 765: 764:Self-Portrait 760: 757: 752: 751:(1666–1668). 750: 749: 744: 740: 739:Dutch Baroque 736: 720: 715:Personal life 712: 710: 706: 705:Hyperallergic 702: 698: 694: 690: 685: 683: 679: 678:Yukio Mishima 676:, and writer 675: 671: 667: 664: 660: 656: 652: 648: 647:Ego Symposium 643: 640: 635: 631: 627: 623: 619: 615: 611: 607: 603: 599: 595: 591: 587: 586:Ego Symposium 582: 580: 575: 573: 569: 565: 564: 559: 556:as a parodic 555: 551: 550:Yukio Mishima 546: 541: 539: 535: 534:Hiroshi Senju 531: 526: 524: 523: 518: 513: 511: 500: 498: 494: 490: 486: 481: 476: 474: 470: 466: 463: 459: 455: 451: 446: 443: 439: 438:Yukio Mishima 435: 434: 429: 425: 420: 418: 413: 411: 410: 405: 401: 397: 392: 390: 386: 382: 378: 373: 369: 365: 361: 357: 356:in New York. 355: 351: 346: 338: 333: 324: 321: 317: 312: 310: 306: 305: 300: 296: 291: 289: 285: 281: 276: 272: 268: 267:Impressionist 263: 260: 257: 253: 248: 245: 240: 238: 233: 231: 230:found objects 227: 223: 212: 210: 206: 203:photographer 202: 200: 195: 190: 187: 182: 180: 170: 166: 163: 157: 155: 149: 146: 142: 138: 134: 130: 126: 122: 119: 115: 108: 104: 97: 92: 83: 79: 75: 71: 67: 63: 59: 55: 51: 47: 43: 39: 32:June 11, 1951 31: 27: 20: 2221: 2207: 2193: 2179: 2165: 2151: 2137: 2128: 2119: 2102: 2098: 2092: 2067: 2063: 2057: 2045: 2020: 2016: 2010: 2001: 1991: 1979: 1967: 1948: 1943: 1931: 1920:. 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