A Quote by Takashi Murakami
When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'
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"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
I have always felt the word 'advertising' is either a diminutive or derogatory term that kind of goes with stuff people don't like, and I always felt frustrated because I felt like I was a communication artist or a media artist. The best advertising is one of the art forms of our culture.
There is a small world of people who are very interested in contemporary art and a slightly bigger world of people who look at contemporary art. But then there is a much larger world that doesn't realise how influential art is on things that they actually look at.
But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.
I came up with the term 'mindfreak' because I didn't like the word 'magician.' I felt like I wanted to coin a term that would be basically the reaction to my art. It would be a mindfreak and so that's why I came up with that. But, many people say I'm really a student of humanity and psychology.
I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.
Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
Skateboarding has always been and continues to be creative and rebellious. Art and design are an extremely important part of skateboard culture, even if it's not recognized by the more elitist or pretentious members of the art world. Skateboarding itself requires creative adaptation to the streets and obstacles. My background as a skateboarder helped me to be a better street artist because I was already conditioned to look at the terrain opportunistically.
I'm a contemporary artist with a bit of an unexpected background. I was in my 20s before I ever went to an art museum. I grew up in the middle of nowhere on a dirt road in rural Arkansas, an hour from the nearest movie theater.
The visual world has blown up, the world of writing has blown up; there's so much text online. Anyone and everyone can express themselves. It's a lot to think about as an artist. Also, that the persona of the artist might actually be of some importance. When I came of age, it was important to be quiet and hang back and be mysterious. I knew artists who didn't even want to show up at their own openings. They never wanted to have their picture taken, didn't want to autograph a book, didn't want to answer a question. I came of age in a world where it was "Let the work speak for itself."
I came from this very traditional background and I benefited hugely from feminism. I felt privileged going to university and doing a PhD. Most people of my background don't get to do that.
Well, it has to do with very deep things, because it might be that imagining yourself as a girl is a diminishment. But it is something that when I made "The Devil Wears Prada" it was the first time in my life, 30 years of making movies, that a man came up and said I know how you felt. I know how you felt. I have a job like that. People understand.
I believe that it is important for the artist, painter, poet, dancer, etc. to keep in mind that it is the art that drives the art world and not the other way around. Artists and other people of intelligence have the power to bring deeper content to our culture.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
The finance world in general is very, very complicated and there are so many different things that need to be evaluated, but I think at the end of the day, the most important thing is how you want to invest your money - if you want to be a short-term, mid-term or long-term investor.
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