This thesis examines Murakami Takashi’s Superflat theory and exhibition as well as the ramifications of its success. Developed through the 1990s and the early 2000s, Murakami’s Superflat theory attempts to prove a direct connection between the aesthetics of Edo period (1603-1868) and contemporary Japanese art. Murakami built his own production studio and branding devices as an attempt to further codify Superflat as a unique movement in Japanese art. As a result of Murakami’s tactics and the popularity of his theory in North America and Europe, many of his contemporaries are frequently analyzed through the lens of Superflat. Yet, the totalizing effect of the Superflat theory does disservice to the majority of Japanese contemporary artists whose work has very little in relation to Murakami’s pop aesthetic.To explore how Murakami achieved this result, this thesis first analyzes the art historical claims made in the Superflat theory. This is followed by an examination of the impetus for and contextualization of the creation of Superflat. As an example of the effect of Murakami’s discursive dominance over conversations of Japanese art in North America, the thesis concludes with an analysis of David Elliott’s 2011 Japan Society exhibition titled "Bye Bye Kiity!!! Between Heaven and Hell in Japanese Contemporary Art." The thesis concludes with the assertion that we must fundamentally re-evaluate the ways in which Japanese art is represented, particularly within the United States.
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Re-evaluating Murakami's Superflat: toward a contextualized interpretation of contemporary Japanese art
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