Art Movements of 2000s: Superflat

Superflat is a postmodern art movement, founded by the artist Takashi Murakami, which is influenced by manga and anime. It is also the name of a 2001 art exhibition, curated by Murakami, that toured West Hollywood, Minneapolis and Seattle.

Superflat treatment of the Moe fetish, showing an idealized Miyazakian character greatly distorted (Illustration by Tatsuyuki Tanaka).

Description

Superflat is used by Murakami to refer to various flattened forms in Japanese graphic painting techniques, animation, pop culture and fine arts, as well as the “shallow emptiness of Japanese consumer culture.” A self-proclaimed art movement, it was a successful piece of niche marketing, a branded art phenomenon designed for Western audiences.

In addition to Murakami, artists whose work is considered “Superflat” include Chiho Aoshima, Mahomi Kunikata, Sayuri Michima, Yoshitomo Nara, Tatsuyuki Tanaka, and Aya Takano. In addition, some animators within anime and some mangaka are considered Superflat, especially Koji Morimoto (and much of the output of his animation studio Studio 4°C), and the work of Hitoshi Tomizawa, author of Alien 9 and Milk Closet.

Murakami defines Superflat in broad terms, so the subject matter is very diverse. Often the works take a critical look at the consumerism and sexual fetishism that is prevalent in post-war Japanese culture. One target of this criticism is lolicon art painting techniques, which is satirized by works such as those by Henmaru Machino. These works are an exploration of otaku sexuality through grotesque and/or distorted images. Other works are more concerned with a fear of growing up. For example, Yoshitomo Nara’s work often features playful graffiti on old Japaneseukiyo-e executed in a childish manner. And some works focus on the structure and underlying desires that comprise otaku and overall post-war Japanese culture.

Art Movements: New European Painting

New European Painting

Emerged in the 1980s and has clearly reached a critical point of major distinction and influence in the 1990s with painters like Gerhard Richter andBracha Ettinger whose paintings realistic have established and continue to create a new dialogue between the historical archive, American Abstraction and figurality, followed by painters like Luc Tuymans, Marlene Dumas and others. A third wave came with artists like Neo Rauch, Michaël Borremans and Chris Ofili.

Bracha Ettinger, Painting: Matrix - Family Album series n.3, 2001.

Neo-expressionism and other related movements in painting have emerged in the final two decades of the 20th century in Europe and in the United States, but this New Painting is not expressionist. Rather it is a renovative kind of abstraction and figuration that relates to the parallel practice of a turning into art of personal and historical photographic archives. The New European Painting relates to the post traumatic traces of war and it involves working oil painting techniques and drawings with new media like photography, xerox and digital media to create and develop a postmodern archive “fever”. This painting relates through this aspect to the post WW2 “archive” art with artists like Christian Boltanski and Jochen Gerz, and it is often a part of this tendency. Yet, though this painting has a clear figurative stroke it is strongly connected to Lyrical Abstraction and to contemporary reconsiderations of theSublime in art.

Art Movements: Photorealis

Photorealism

Photorealism is a painting technique based on using the camera and photographs to gather information and then from this information, creating a painting that appears to be very realistic like a photograph. The term is primarily applied to paintings from the United States art movement that began in the late 1960s and early 1970s.

History

As a full-fledged art movement, Photorealism evolved from Pop Art and as a counter to Abstract Expressionism as well as Minimalist art movements in the late 1960s and early 1970s in the United States. Photorealist use a photograph or several photographs to gather the information to create their paintings and it can be argued that the use of a camera and photographs is an acceptance of Modernism. However, the blatant admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s, despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.

The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inadequate to the photograph and many turned to photography as careers; within nineteenth and twentieth century art movements it is well documented that artists used the photograph as source material and as an aid—however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations; and through the photograph’s invention artists were open to a great deal of new experimentation. Thus, the culmination of the invention of the photograph was a break in art’s history towards the challenge facing the artist – since the earliest known cave drawings – trying to replicate the scenes they viewed.

By the time the Photorealists began producing their bodies of work the photograph had become the leading means of reproducing reality and abstraction was the focus of the art world.Realism continued as an on-going art movement, even experiencing a reemergence in the 1930s, but by the 1950s modernist critics and Abstract Expressionism had all but minimalized realism as a serious art undertaking. Though Photorealists share some aspects of American realists, such as Edward Hopper, they tried to set themselves as much apart from traditional realists as they did Abstract Expressionists. Photorealists were much more influenced by the work of Pop artists and were reacting against Abstract Expressionism.

Pop Art and Photorealism were both reactionary movements stemming from the ever increasing and overwhelming abundance of photographic media, which by the mid 20th century had grown into such a massive phenomenon that it was threatening to lessen the value of imagery in art. However, whereas the Pop artists were primarily pointing out the absurdity of much of the imagery (especially in commercial usage), the Photorealists were trying to reclaim and exalt the value of an image.

The association of Photorealism to Trompe L’oeil is a wrongly attributed comparison, an error in observation or interpretation made by many critics of the 1970s and 1980s. Trompe L’oeil paintings attempt to “fool the eye” and make the viewer think he is seeing an actual object, not a painted one. When observing a Photorealist art painting techniques, the viewer is always aware that they are looking at a painting.

Art Movements of 2000s: Stuckism

Stuckism is an international art movement that was founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting techniques in opposition to conceptual art. The first group of thirteen British artists has since expanded, as of May 2010, to 209 groups in 48 countries.

The Stuckists have staged shows and gained media attention for outspoken comments and demonstrations, particularly outside Tate Britain against the Turner Prize, sometimes dressed in clown costumes. They have also stated their opposition to the Charles Saatchi-patronised Young British Artists. After exhibiting mainly in small galleries in Shoreditch, London, they were given their first show in a major public museum in 2004, the Walker Art painting techniques Gallery, as part of the Liverpool Biennial.

Other campaigns mounted by the group include official avenues, such as standing in the 2001 general election, reporting Saatchi to the Office of Fair Trading to complain about his power in the art world (the complaint was not upheld), and applying under the Freedom of Information Act 2000 for Tate Gallery trustee minutes, which started a media scandal about the purchase of Chris Ofili’s work, The Upper Room and led to an official rebuke of the Tate by the Charity Commission.

For Real Artists: A Guide to Specialty Art Paper

Creativity is a tricky endeavor. To get the right look, you need the right materials. As any artist knows, anything can serve as a canvas, but for the truly exquisite look, you need something special. In this short guide, we’ll explain some of the art and craft products available and some possible applications for these products. 

Curious iridescent paper is certainly one of the oddest products on the market today. Normally, embossed iridescent paper is not so much a paper, but more like plastic or a thin, flexible and colorful metal, and as such, is well suited for sculpting and other crafts. Iridescent paper is often made by foil stamping and lasers on light-sensitive chemicals, and can only be used as a writing media with dry-erase or permanent marker. Curious iridescent paper, however, will absorb ink and can be used for any variety of projects from drawing, art painting techniques and writing to crafts such as collages, paper mache sculptures and scrapbooks with a little extra flair and texture.                                          

Vellum makes a unique, translucent, and slightly iridescent paper for accenting crafts. Originally made from animal skin for scrolls, vellum has remained in common use to this day, especially in England, where British Acts of Parliament are still printed on nothing but vellum paper. Most modern vellum imitation is made from acid free cotton and is perfect for calligraphy and other projects requiring an antique or rustic look. Thin vellum paper and glue make a beautiful laminate for crafts such as scrapbooks and leaf catalogues. 

One of the medium vellum cardstocks of note is Bristol paper, a smooth, heavy pasteboard of fine quality. Originally made from pasted rag paper in Bristol, England, this hard stock is often the choice paper for technical drawings, but offers intriguing creative possibilities. Bristol is unique in that it is thick enough to have two working surfaces “front and back” that will not interfere with each other and each side can serve as its own writing or drawing surface. Artists working with friction-based media, such as crayon, chalk, or charcoal will want to use a rougher texture board, while smooth finishes are generally more suited to other types of media, such as inks and painting colors. 

For a breathtaking and unique look, silk paper provides a strong yet soft alternative to more mainstream options. Silk crafters have been making paper since the 2nd century, B.C.E., and it has stood the test of time. Originally a product of China, it is the oldest of all luxury papers and is still in major use today throughout the world. It is truly amazing to witness the limitless creative uses artists and craft persons have found for silk paper. Machine embroidery, three-dimensional sculpture, jewelry, quilting, book coverings, collage, and mixed media are just a few of the possibilities, and the list is limited only by the artist’s imagination. 

Globalization and increased efficiency in paper production opens up a whole new world of possibilities to today’s artist. While at times the sheer bewildering array of new papers may seem overwhelming, for the professional artist or graphic designer who is willing to take the time to explore such oddities as McCoy silk papers, Curious iridescents, or Springhill vellum bristol, the results can be quite gratifying.