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硕士课程论文格式样本:Pop Art style jewellery-Research Project

论文价格: 免费 时间:2011-03-30 10:45:40 来源:www.ukassignment.org 作者:留学作业网

Module 3 Research Project

Pop Art style jewellery


Catalogue

Introduction …………………………………………………………………………03
Main body ……………………………………………………………………………04
Pop Art over view ………………………………………………………………………04
Color application …………………………………………………………………………06
The repeating or restructuring elements…………………………………………
The link with popular or fashion industry ………………………………………
Conclusion………………………………………………………………………………
Reference ………………………………………………………………………………
Introduction:

With the mutual integration of variety field of modern art, the contemporary jewellery has absorbed a range of different artistic styles. Appeared in the late fifties of the twentieth century, during over half century development, Pop Art has been widely applied in various industries, such as fashion industry. As a part of the fashion industry, Pop Art style also has gradually added into contemporary jewellery. In this essay, how I think about Pop Art will be introduced. Under the research of those Pop Art artists’ work, I divided my own Pop Art style into 3 parts: color application, the repeating or restructuring elements and the link with popular industry or fashion industry. It will be introduced one main artist for each part. According to these researches, it is supposed to enhance my own work and give me a clue to find the way of how to be an independent artist.

 Pop Art overview

Today’s paper and electronic media are filled with items about pop music, pop stars, pop icons. In our increasingly global society, pop personalities and styles have no national borders. They are recognized all over the world. However, something or someone described as “pop” usually has a short shelf life: here today, gone tomorrow.#p#分页标题#e#

Not so with Pop Art, a pivotal modern art movement of the late 1950s and 1960s, that continues to exert influence today. It is the most powerful, the most popular, most widely spread and most influential art form in 20th century Post Modemism. Pop Art is an anti-modernist movement, opposed to the modernist which is focus on function, rationality and rigorous and rigid. Pop art attempted to overthrow the abstract expressionist art, and turned symbols, trademarks and so on as mass culture with the theme.

The word “Pop Art”, now we known, is suggested by art critics Laurence Alloway in 1956. And then in 1st July 1957, British artist Richard Hamilton gives a definition of Pop Art - “popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, Big Business, stressed its everyday and commonplace values.” The work of him Just what is it that makes today's homes so different, so appealing (Picture 1) has been seen as the first work of Pop Art. He finished this work as a collage. He combined all kinds of elements, style and principle which he thought that is Pop Art. In this work, the artist use perspective and incorrect color which make the whole work shows a strange atmosphere. Presented in this collage which includes both men and women exaggerated sexual behavior, popular entertainment culture, comic books, Hollywood movies, and new technology and so on. Also, because the men in this picture is holding a lollipop with the printed words “pop”, then this kind of art style named Pop Art.

Pop Art style is not a simple, consistent style, but a mix of various styles. It pursued under mass, popular taste and against the lofty pretentious modernism. It emphasized the novelty and unique and bold to use gaudy colors. Pop Art focused on everyday objects rendered through an adoption of commercial art techniques. In so doing, artists availed themselves of images and ideas culled from popular culture — i.e., movies, comic books, advertising, and especially, television — faithfully reproduced in all their mass produced glory. By making use of what had been dismissed as "kitsch" by the art establishment, Pop artists whose works were displayed in museums effectively thumbed their collective noses at the distinctions between "highbrow" and "lowbrow" art. With Pop Art, the distinction between the “high” art of galleries and museums, and the “low” art of common commercial images, disappeared.

All pop art draws upon modern images of cultural icons, consumer products or modern conveniences, no matter what the message or nature of the art piece is. A piece of pop art may be assignment格式样板an oversized spoon and a cherry, a print of an altered picture of a movie star or a collage depicting people from advertisements using modern day products in unusual ways. In all cases, the art will refer in some way, shape or form to kitschy or commercial modern images commonly seen in movies, comic books, commercials and billboards.#p#分页标题#e#
Personalized pop art makes use of pictures of real people, or items or images specifically chosen to honor a person or celebrity. These images or photographs are mixed with abstract art or other images. Pop art takes its inspiration from the everyday images we see as we live our lives.

Color Application

One of Pop Art’s symbols is diversified splendours of the color application. bright and pure color. Different artists have different color sense, some of them like to use the bright color, some of them like to use the pure color, for example, as known as the father of Pop Art, Andy Warhol’s work. In his masterpiece, Marilyn Monroe(Picture 2), the Andy used a lot of simple and bright colors, to try to cause the viewer infinite curiosity. As a young art form, bright colorful colors more contrast out of Pop Art’s vitality. The strong color Pop Art work like an adult overnight, returned to his childhood, life is full of playful element. A symbol of precision, serious and responsible artistic designer the shuffled around the adult world and rigid rules of the game a bit for a living, an increase of color, a sub-humorous, very warm.
Diversified colorful Pop Art has always stressed ignore reason and logic. This kind of bold, selfhood and contempt for the rules’ combination lead us to reflect. Pop Art re-emerging becomes a link of the life and art. Life provides inspiration for artistic creation, on the contrary, art adds to life in a luxurious color.

Talking about incredible color sense, It has to be mentioned the artist Yayoi Kusama. Yayoi Kusama, born 22nd March 1929, is a Japanese artist. Her paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. Her work shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She describes herself as an "obsessive artist". Kusama is also a published novelist and poet, and has created notable work in film and fashion design. She has long struggled with mental illness. On 12th Nov 2008 Christies New York sold a work by her for $5,100,000, a record for a living female artist.
————————————————————————————这以上都是我写完的~没时间可以不用改~
后面的就按照我提纲里的把资料整合起来就好

Red, green and yellow dots are the symbol of Yayoi Kusama’s work. These three colors’ dots are represented the sun, the Earth and the moon. She uses these repetitive dots by her own way to communicate with the world. She is a great user of the high-saturation contrast dot as patterns to fill over her paintings, soft sculpture, performance art and installation art.#p#分页标题#e#

She said, “The Earth is nothing but one of dots of more than one million dots." She use the dots to change the form of the inherent sense of the things that create continuity between the deliberately to create an infinite extension of space. Her works can exposure to which the audience cannot determine the true the border between the world and fairyland. These are all representative of her life.
  

我从小在看物品时就一直会产生幻觉,感觉物体周围是迷离发光的,我就开始写生,画一些密集的小圆点,那是基于对事物想象的开始;有一天我座在椅子上看着红色桌布上的纹理、花色,并开始寻找我的周围是不是还有同样的纹理,从窗户、墙壁、天花板到房间的每一个角落,到我的身体。在寻找得过程当中,感觉自己被逐渐的侵蚀、陨灭,时间与空间不停的旋转着,自我变的微不足道。就在那一刹那间,我意识到这并非只是一种幻觉,也是现实生活的一种存在,我被这真实的幻觉给吓坏了,我对红色桌布和上面的纹理产生了强烈的恐惧……我夺路而逃,台阶却在我脚下散落,我从台阶上摔了下来,手和脚腕都被跌伤了;世间万无都是一个圆点,它是最基本的元素,地球是千万个圆点当中的一个,这当然也包括我的身体。因此,不但思想,身体也就成了进行创作的一部分。
作为一个东方艺术家,作品或多或少的都会受到东方文化的影响。我创作了大量以网状为基本特征的作品,网的本身结构是极富神秘感的,它象征了生命的无限广袤和不可预知性。分与聚,增与减,在它们当中蕴含着经验与感知以及不可言及的神秘……
关于现代艺术,我们都受到点艺术野史的粗浅启蒙,似乎精神病和天才只一步之遥,比如梵高。但抛弃精神病的大众传播点,这是感受力错置的绝佳例子──风景画和静物画却投射着艺术家对于生命的理解。
如果一个人的视觉疯了,她的世界是什么样的?那几乎是艺术的先天奖赏。因小时的疾病,看世界蒙着一层圆点网纹,这种视觉经验成为草间弥生的强迫症症候──要把世界所有都转化为圆点世界。这不是简单的复制,实际上每件作品仍然需要直觉、想象力和童真之心这些艺术之核的无限转动。圆点墙是视觉平面的最直接展现。圆点空间装置制造了三维体验。圆点花和圆点南瓜是同种属之间充满喜悦的灵犀呼应。无限的圆点意味着分裂和繁殖,所以会自然有镜子的引入,来营造分裂和繁殖的异次元空间。看草间弥生常有一种原始的美感,就像知觉复古,感受到草履虫的二维世界。上面图中,那些像眼睛、细胞、单细胞生物、受精卵、海洋微生物、女阴的圆点衍生物加上像鞭毛、血管的条状物再加上海洋蓝和鲜血红,几乎展现了生命的无限秘密和美!#p#分页标题#e#

草间弥生既单纯又复杂,复杂到很难归类。
她将圆点视为生命基本元素,视为宇宙和自然的信号。“地球也不过只是百万个圆点中的一个。”用纯粹形式来体现宇宙秩序,这种野心近似于康定斯基和蒙德里安的抽象派。
她将形式赋予自我表现,这是不折不扣的表现主义。但她的表现主义缺乏德国式的痛苦,反而洋溢着童年的欢欣。
既抽象又表现,那应该是抽象表现主义了。但又不像波洛克那样,带有书法性的、意在笔端的挥洒。她显得不那么即兴,一个个圆点老老实实的描绘,只能说她丰富了抽象表现主义的范畴。
她的圆点的复制性和鲜艳的色彩,很具有流行艺术的波普特征。事实上,她在纽约的时期的确深刻地启发了安迪沃霍儿。
她利用圆点制造新空间的野心,让人想到契里柯孤绝的梦中广场。而无意识联想,这是超现实主义经典手法。
就不必说她的女性主义特征了。

而草间弥生的自我评价却是“精神病艺术家”。是的,最好的艺术动机,很少来自于批判和所谓“反映时代画卷”的济世,而往往是自我的疗伤。童年障碍,又一次成为造就艺术家的经典神话。上文的前三张图:花卉与植物肯定来自于小女孩的童年经验,而爱丽丝奇境式的巨大花朵和缤纷斑点,也制造了类似于儿童游乐园式的迷幻空间。
 草间在相当早的创作时期就发展出了自己的特色,她善用高彩度对比的圆点花纹加上镜子,大量包覆各种物体的表面,如墙壁、地板、画布、家里会出现的物品(还有裸体的助理)。她自己的打扮往往也与作品有很高的同质性,并以短上衣和非常强烈的眼影妆闻名。草间曾说明这些视觉特色都来自于她的幻觉,她认为这些点组成了一面无限大的补捉网(Infinity nets),代表了她的生命。
  此外,草间也发展出自己独特的“繁殖”特色,她有许多作品都以蕈类聚生的造型出现。在1990年代之后,草间加入了商业艺术的领域,与时装设计界合作,推出了带有浓厚圆点草间风格的服饰,并开始贩卖许多艺术商品。

The repeating or restructuring elements

Kusama has said that these visual features are derived from the illusion of her. She said when she grew up watching when items have been produces hallucinations, feeling light-emitting object is surrounded by blurred. I began to paint and draw a number of intensive small dots, which is based on the start of things to imagine. One day she watched the chair seat red tablecloth on the texture, color, and began looking around me is still the same texture, from the windows, walls and ceilings to every corner of the room, to my body. Looking for was the process, feel that they have been gradually eroded, fall from the sky, time and space not stop spinning, self-change negligible. Just in that instant, I realized that this is not just an illusion, but also the existence of a real life, I was terrified that the illusion of reality, and my red table cloths and above texture produced a strong fear of ... ... I Duolu fled, steps are scattered at my feet, I fell off the steps, hands and ankles were falls in; earth 10000 is a non-dot, which is the basic element, the earth is 10 million among a bullet, which of course includes my body. Thus, not only the mind, body and thus, became a part of creation.She considered these points build up an infinity nets.#p#分页标题#e#
Margaux, would you describe your work for us?
My Plastic Body Series is art jewelry made with sterling silver, Barbie dolls and epoxy resin. It is an examination and celebration of my own, as well as our culture’s, relationship with Barbie.

What kind of training did you have which helped you achieve your current level of artistry?
I was first introduced to jewelry making in my high school (Lake George, NY) which was and still is, very fortunate to offer jewelry courses to its students. I’ve been a studio jeweler for the past six years since graduating college (The Maryland Institute College of Art, Baltimore, MD May 2001) I was a General Fine Arts major and took a variety of courses in various mediums until I decided to concentrate on jewelry. For me jewelry was a way of getting art off the wall and on to the body so it could be shared, experienced and quite literally felt.
After college I took an epoxy resin workshop with art jeweler Susan Kasson Sloan at Haystack Mountain School of Crafts that forever changed the techniques I utilize in my metalwork and has enabled all sorts of exploration with color.
While it is my fine art background that has given me the foundation necessary for conceptual exploration in my jewelry work, it is personal experience (i.e.: my childhood spent obsessed with Barbie and her miniature world) that I credit for the success of this series. Barbie was immensely important in fueling my creative life as a child, not to mention developing my nimble hands and dexterity, skills imperative to the art of jewelry making. I love that what I adored as a child has become the focus of my career as an adult.
How did you first get the idea to make jewelry out of Barbie dolls?
Barbie made her debut in my artwork in high school. I once did a project where I took a bunch of Barbie dolls and delicately painted on their plastic bodies, transforming each of them to look like something else. One was made into a carrot, another a zebra, etc. I even painted one with a suit and tie, a beard and a moustache to look like a man. Later in college I did a series of drawings: self-portraits of myself holding Barbie dolls, balancing her on my head, sitting her on my shoulder, in a sense wearing her. I was interested in combining alternative materials and/or found objects into my metalwork so it was really only a matter of time before she became a part of my jewelry.
Jewelry seemed the best form for my art in exploring the subjects I was interested in. It made sense to address issues involving women and the body through jewelry, (a form of adornment predominantly associated with females) using Barbie, the ultimate female icon. The queen of accessorizing became the accessory!

What is your creative process like? How do you go about designing a piece?
Sometimes there’s a storyline to my pieces and I’ll have a particular idea I wish to explore (depending on the doll parts being used) and that will serve as the concept that shapes the piece. Other times it’s purely about design and arranging shapes and patterns within multiple elements. And sometimes it’s both, where I start out with a pattern or design in mind and by the end a concept has evolved. My design process varies a lot from piece to piece.#p#分页标题#e#
I usually tend to work in smaller time segments throughout the week but aim for at least 15-20 studio hours total per week. The business end of my jewelry ends up requiring a lot more time away from my studio than I ever imagined it would: spending time on the computer with emails, my website, blog, etc.
I also currently have part-time outside employment as well to help make ends meet. Unfortunately at this point in my career it’s a necessity but I’m confident that it won’t always be. That’s what I’m working towards: successfully making a living off my art!
Is there a tool or material that you can’t imagine living without?
Barbie and Ken!
What inspires you to create?
Humans are especially what inspire me to create. Bodies. Faces. Popular culture. Barbie. And other artists and art jewelers who make fabulous work. I’m drawn to art that employs multiples of something, patterns, work that plays with our sense of scale and art made out of found, unexpected or unusual materials.
What inspires you to keep going when the work gets frustrating or tough?
The people who appreciate and support my work are what keep me going through the tough times. It’s important to have a support system. I’m very fortunate to have a few amazingly supportive artist friends. Also, when I get emails from people saying how much they love my jewelry or share stories of their Barbie experiences, I feel such a sense of accomplishment and it reminds me of what I love about art: it’s ability to connect on a personal level.
One of the biggest joys for me has been the way others receive my jewelry. It continues to amaze me the range of responses I get regarding what I do with Barbie. Some people respond to its humor and wit and think it’s pure fun, or it feeds a sense of nostalgia for them. Others weigh in on the feminist edge and relate to its statement. Some are creeped out and think it’s dark and disturbing to see “body parts” cut up. Others think it’s just simply bizarre. I love that everyone brings his or her own baggage and reaction to the work, indicative of their own relationship with, or feelings about, the iconic plastic princess as well as what defines “wearable jewelry.” One of my biggest goals has been to create art that people can relate to. I believe I’ve been successful with this.

What is your best piece of advice for those who would like to rise in their level of artistry?
Pay attention to your “voice.” Everyone has one that is uniquely their own and it’s hard to uncover at times. (Especially with the influence of teachers, mentors, fellow artists, friends, or family who sometimes offer resistance or persuade you away from your own true voice or vision.) Strive to unearth not only your personal strengths and talents but also that which gives you a deep sense of satisfaction and you will find yourself excelling naturally.
Also, and this is hugely important, surround yourself with positive people: those who support and encourage you to do what you love. It can be painful and difficult to weed out those who bring you down, but sometimes it’s crucial to your personal and professional growth.#p#分页标题#e#
Got it yet? Yes, it’s a boob pendant. A pendant made from boobs. Plastic boobs. Barbie boobs! Aaaand we think we may just have answered the question from the headline there, but you, of course, may find these super-cute, in which case you’ll want to know that the boob pendant is the creation of Margaux Lange , who sells her work on Etsy, and that there’s lots more where that came from. More pics under the jump, visit Margaux’s store here for even more.
I enjoy the funny juxtaposition of wearing the body, on the body. Barbie has become the accessory instead of being accessorized. I take pleasure in the contrast and contradiction of something mass-produced being transformed and revealed as a unique, handmade, wearable piece of art.
Margaux Lange
I found Margaux’s work online a while ago – and was delighted to come across her new and updated website the other day. What I especially like about her work is it’s sense of playfulness, it’s ingenuity. I love that Margaux is using something iconic and turning it on its head…adding to and exploring the cult of Barbie, issues of recycling and adornment. I also really enjoyed seeing an insight into her process {and a peek into her work environment – as a jeweller myself, this is always interesting!} via her blog…
I have always personally loved Barbies, having played with them all the time as a child – making my own clothes and hats for them, giving them hair-cuts {eek}…and so found it really interesting at art school when they were discussed in such depth during lectures and debates for their design status.
Many people now see Barbie as a bad role-model for girls – but this was something I absolutely did not identify with, and do not subscribe to the idea that this iconic doll influences young childrens ideal of the perfect woman {I never wanted to look like Barbie}. I see her as an excellent outlet for creativity and roleplay…something essential in a childs development.
I am so glad, as an adult, to see these positive notions continuing – in such a wonderful and beautifully executed way – through Margaux’s jewellery.
I can’t wait to see the collection evolve!

The link with popular or fashion industry
國際知名的日本當代藝術家村上隆的公仔在拍賣會上創天價!村上隆於一九九八年製作的一尊名為「我的寂寞牛仔」裸男公仔,在紐約蘇富比拍賣會上以一千五百一十六萬美金(約台幣四億七千多萬元)得標,創下他個人公仔作品的最高標紀錄.
作品融合了浮世繪、漫畫、卡通等日本藝術特色,風格奇異的公仔更是不斷在拍賣會上創下現代美術作品的最高價。村上隆與知名品牌LV的合作,開發色彩繽紛的櫻花包、五彩包等皮包飾品大大轟動,也就是他自稱為拋棄所謂藝術家的羞恥心,為創造出藝術的附加價值,更讓村上隆的名聲如日中天。#p#分页标题#e#
村上隆成立公司,以工廠大量複製其符號,以商業手法經營藝術的方式,雖備受爭議,但卻大受歡迎。他的畫風雖不失可愛,但在可愛之餘,卻又帶點分裂、黑暗,甚至於神經質的特質

香港的Yvonne Wang认为商业化的艺术,尤其是大规模生产的商品让她反感。村上隆的作品反映出在金钱社会里可达到的最高真实性消费。
Has been called “the Japanese Andy Warhol” Takashi Murakami, he is good at breaking the art and commerce, the high culture, popular culture and the barriers between the sub-culture. Takashi Murakami's work not only promote the Japanese comic and popular culture of art, but also breaks the Eastern and Western’s own aesthetic standards. Therefore his works are also very popular in the West.

43-year-old Takashi Murakami is one of the most popular Japanese artists, also he is one of the most internationally well-known Japanese artists. His works have not only got the universal ability and market ability, but also have got provocative temperament. Takashi's works generally regarded as Japan's manga culture of extreme performance, not only in quantity expansion of comic reading culture, but also qualitatively demonstrated ability to consummate style. In the art market, art market, the single open a new authority than Andy Warhol Takashi Murakami art foreseen the commercial potential of, and farther than modern art theorist Clement Greenberg on "The tacky (kitsch)> influence理解.
今年四十三岁的村上隆是日本最广受欢迎的艺术家,也是日本艺术家中最具国际知名度者。他的作品不但具有普遍性和市场性,也有挑衅气质。村上隆的作品算是日本普遍的漫画文化之极至表现,不但在量上扩充漫画阅读文化,也在质上表现出精湛的造型能力。在艺术的市场化、市场的艺术化上独开新局,村上隆超过安迪沃荷所预见的艺术的商业潜力,更远超过现代艺术理论家Clement Greenberg对<俗气(kitsch)>影响力的理解。

Takashi Murakami has a PhD graduate of the University of Tokyo National University of Fine Arts and Music, with traditional painting techniques. His doctoral thesis rather nothingness temperament: "the meaning of meaningless』. " But it seems from his artistic creations to read out the meaning of vague. Takashi Murakami is now shuttling between New York, Tokyo, Paris, engaged in creation and display, exhibition intensive curatorial itself in 2001, the California "super-flat (Superflat)> curatorial him much attention. The exhibition will not only let the world know the characteristics of Japanese comics culture, but also with the European art tradition Perspective confrontation.
拥有博士学位的村上隆毕业于国立东京大学美术及音乐系所,具有传统绘画技法。他的博士论文题目颇具虚无气质:「『没意义』的意义」。但这似乎能从他的艺术创作中隐约读出意涵。村上隆现在穿梭于纽约、东京、巴黎间从事创作和展出,展览密集,本身也策展,2001年在美国加州的<超扁平(Superflat)>策展让他备受瞩目。这个展览不但让世人认识日本漫画文化的特质,也是与欧洲艺术之透视法传统的对质。#p#分页标题#e#
His works not only in many of the world famous museums on display, in the business, he is also a hot figure, had achieved impressive results. Not only in New York, Christie auction sold for 567 thousand U.S. dollars at the sky-high price of the blonde beauty Ko2 cartoon Miss (glass fiber, high-about 2 meters); let the world women are also frequently sought after LV cooperate with him, decorative has his designs for LV handbags, each priced as high as 5,000 U.S. dollars. Mr. DOB's image has also been printed on T-shirts and balloons on a large number of sale has become popular among youths, the tide of popular products ...

★ If Andy Warhol was to commodity into an art, that Takashi Murakami is to goods and works of art should be the zone between the interrupted.
他的作品不僅在全世界許多著名博物館中展出,在商業上他也是個炙手可熱的人物,曾取得了令人驚歎的業績。不僅有曾在紐約克利斯蒂拍賣會上拍出了56.7萬美 元天價的金髮卡通美女Ko2小姐(玻璃纖維製,高約2米 );讓全世界女性追捧的LV也頻頻與他合作,裝飾有他設計圖案的LV手袋,每只售價高達5000美元。Mr. DOB的形象也曾被印在T恤衫和氣球上大量發售,成為深受年輕人喜愛的潮流品…

★如果安迪沃荷是把商品變成藝術,那村上隆應該就是把商品與藝術品之間的地帶打斷。
Takashi Murakami's works can be said to be "size nothing, Yi Shi IKEA, inside and outside decent" suit made of household products, toys, decoration, also suitable for amplification into public art. Takashi Murakami art can be made into a variety of products, suitable for handheld and appreciation to the small form doll, mouth-watering bright color, without modesty, show off lovely, thorough bright innocent big eyes, is enough to put it down to the Takashi Murakami products.村上隆的作品可说是「尺寸不拘、宜室宜家、里外得体」,既适合做成家居产品、玩具、装饰,也适合放大成公共艺术。村上隆的艺术能做成多种产品,适合掌上玩赏的小造型玩偶、令人垂涎的鲜艳配色、毫不谦虚地卖弄可爱,透彻明亮的无辜大眼,足以让人对村上隆产品爱不释手。
And fashion, to let the marketability of Takashi Murakami to new heights. 2002 Louis Vuitton designer Marc Jacobs for spring designed to invite Takashi Murakami handbags, shoes and other accessories. Takashi Murakami to the main point of the law of small flowers, on the one hand into the rules of exquisite Japanese style Patterns, on the one hand to create a sweet temperament, with spending power to attract young girls. LV spring 2003, and the simultaneous advent of Takashi Murakami exhibition, but also received complementary effect. The combination of art, fashion, brand name and examples of idols, even if the "artistic autonomy" of the defenders candidly admit defeat.
和时尚的合作,让村上隆的市场性更上层楼。2002年Louis Vuitton 的设计师Marc Jacobs邀请村上隆为春季设计皮包、鞋子等配件。村上隆以规律的细花点为主,一方面融入日本风味的规则精致的图纹,一方面创造甜美气质,吸引具消费实力的年轻女孩。2003年LV的春装和村上隆的展览同步问世,更收相得益彰之效。这些结合艺术、时尚、名牌与偶像的例子,即使「艺术自主」的捍卫者都甘拜下风。#p#分页标题#e#
Takashi Murakami is not just bent on the pursuit of commercial artist, he just does not exclude the market. Takashi Murakami, however, on social issues, especially for the many phenomena of Japanese society are critical to maintain the position. Although his style seems to be the comic world of convergence with the real world, let's eyes and ears of Chen submerged in superficial, smooth style of a romantic, but his aesthetic from social observation in mind. From the Japanese general sense of powerlessness and a sub-culture observations, Takashi Murakami from his interest groups - otaku (otaku) - those who would isolate itself from the network world, the exchange of fantasies of young people. Takashi Murakami, this has been discriminated against ethnic groups in Japanese society dreamed up by the image, including those filled with passion to do the specific shape of illusions in the hope that his art can comfort those eccentric people. Online and isolated, was comforted by the consumer, idol worship, Takashi Murakami grasp the truth of modern life, nature can also operate their own clever marketing, this is Takashi Murakami to successfully trace and follow-up art and commercial barriers between the clear key.
村上隆并非一心只追求商业化的艺术家,他只是不排斥市场。然而村上隆对社会议题,特别是对日本社会的诸多现象都是保持批判立场的。尽管他的造型似乎是用漫画世界衔接真实世界,让我们耳目陈浸在表面化、光滑化的浪漫造型中,但他的美学是从社会观察出发的。出自对日本人的普遍的无力感和对次文化的观察,村上隆从他关心的族群—御宅族(otaku)—那些将自己孤立在网络世界里,交换幻想的年轻人。村上隆将这个被日本社会歧视的族群幻想出来的形象、包括充满情欲幻觉的造型具体做出来,希望他的艺术可以安慰这些孤僻的人。Online而孤立、藉消费获得安慰、偶像崇拜,村上隆掌握了当代生活的真相,自然也能巧妙操作自己的市场,这正是村上隆成功地捣覆艺术与商业之间分明壁垒的关键。
 任何文化的出现都不会是偶然:社会的高速发展,科技的日新月异,网络的平民化普及,御宅一族的产生,平面视觉自然而然就成了最快捷最时尚的表达方式。尽管Superflat在日本被认为是街头的次文化,或者只是玩耍的一种把戏,但是村上隆把他带到西方的展览馆里,更多的观众认为这是一种疯狂的艺术。Superflat不只是取当代文化现象切片做为展览的主题,而是深入了整个日本在二次战后所形成的价值观、生活观以及社会发展现象,它不只反映地域文化特质,更重要的是展现了全球化时代世界各地的彼此交错和牵动,以及呈现出商业和娱乐的力量无所不在。
  村上隆自己也说过,“我在寻找一种介乎艺术与娱乐之间的交集,在欧美学到的关于艺术场景里的运作,如何在代表精英文化的美术馆,用大众文化的方式吸引到更多的受众。将日本流行文化和次文化直接摆到所谓高级艺术(high art)的范畴中来探讨,不只是重视这股力量,其实也在试图探测着大众艺术与纯艺术之间的界线,以及在艺术与商业之间寻找的新的融合可能性。更重要的是,观众喜欢。”#p#分页标题#e#
  他十分坦率::“...日本文化,你知道,自从二次大战之后就是模仿美国的东西、欧洲的东西和西方文化,不是吗?每回,他们就制造一个膺品,膺品,膺品,膺品,膺品,膺品...膺品的历史,到现在,它变成了原创。我想这就是一种偶像文化。在美国,他们还在找真正有天份的人,像鲍伯˙迪伦(Bob Dylan)或类似的人。我虽不懂音乐场景,但是我们不需要找真正有天份的人,我们只要炒作伪天份,那就成了。”
  现在的当代艺术展览已不再是艺术家试图诠释或批判流行或商业文化,而是流行及商业文化的制造者就是艺术家,这使得“艺术家”的角色定位受到极大的冲击,仅管他们对身处的文化现象有所(或没有)反思或批判,他们本身都还是场景中的一份子,不是旁观者。这同时也可以看作是村上隆对于日本“扁平”文化的诠释。
 可以说,他的艺术从形式到内容都瓦解了精英文化与通俗文化之间的隔阂,使自己摇身变成制造流行及商业文化的人,并在不断寻找艺术与商业之间新的融合可能性

村上隆有一个工厂,叫做“Kaikai Kiki”,有120名正式员工和其他100名自由职业者,在纽约和东京都开设有办事处,工厂不仅仅生产绘画、雕塑、动画电影,与知名公司进行设计合作,并且经营毛巾、钱包、毛绒玩具等一系列相关产品的生产销售活动。
业务运作看起来十分巨大,但是村上隆担心它变得过于庞大。“我们从艺术作品中获得了大量利润,但是我雇佣了这么多人。我不得不经常考虑如何在商业社会中生存。达明赫斯特创造了一种艺术产业,我追随了他的道路,这是一条生存之路,但是现在市场正在流失,我们想要新的创意,通过时尚、电视等等。有多种可能性。”
日本明星藝術家村上隆昨(4)日表示,「藝術就是要跟有錢人打交道才會紅」,藝術如果沒有和商業結合,就無法生存下去。
村上隆昨天來台舉行「我愛版畫,所以我作版畫」個展,並出席在台北「築空間」的開幕儀式,這是他首度在日本以外的亞洲地區舉行展覽,文建會主委盛治仁也到場致意。
本展共展出84件版畫作品,除了最為人熟知的LV「SUPER LAT Monogram」、「櫻桃」、「小花朵」系列之外,還有充滿禪意的新作「達摩」等。
設計櫻桃包圖案
村上隆指出,過去幾年東方藝術過度以西方藝術形式為中心,直到這幾年才逐漸改變。隨著網路發達,藝術已經變成每個人追尋自我的歷程,他的作品裡想傳達的就是自我探索,例如在傳統的印花上變化圖案,或是佛陀坐在蓮花裡。
一砲打響村上隆知名度的代表作,是2005年替法國精品品牌LV推出的Monogram櫻桃包,他將LV傳統圖案改裝為一顆顆鮮豔的櫻桃,因此很多人介紹他是以「設計櫻桃包圖案」的人當開場白。#p#分页标题#e#
村上隆不諱言,藝術從來就不會和商業化有所衝突,人活在世界上就是為了生活,藝術家賣畫就是要維生。例如過去單純只是書籍的漫畫市場,如今已延伸出龐大的產業商機,就是成功將藝術與商業結合的例子。
日本画家高野绫,出身自村上隆搞的“SUPERFLAT”活动,97年就加入其负责的艺术组织“KAIKAI KIKI”。2000年就推出自己的第一本画集《HOT BANANA FUDGE》。高野绫在村上隆的护航下发展十分顺利。
高野绫的画风非常迷幻,而且大玩BODY、SEX,但画内的女性都是“平胸女性”,十分特别。在日本大受欢迎,在2003年更为英国乐团FEEDER的最新大碟《COMFORT IN SOUND》设计封套。

 

 

 


Conclusion

 

 

 

 

 

 


Reference
British Council --- Teaching methods and study support
Chinese Education Information
Davey•G, (2008), The International Student’s Survival Guide, The Cromwell Press Ltd, Trowbridge,
Euro education.net
Experiences of Higher Education in China: Report from the Sino-UK Leadership Development
Network Program (2007)
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Graham Jones (1981) Guide to students life away from home,David & Charles Ltd,
USA
Jarvis,P. , Holford, J and Griffin, C.(2003) The Theory and Practice Of Learning, Kogan page, London
Lan Lewis (2001) the student experience of higher education,Croom Helm Australia Pty Ltd.,Great Britain
Ling Wu (2008) PhD Candidate, Institute of Education, University of Warwick, Coventry,
Westmidland, UK.
Mao Lin•L (2007) Half happiness and worried of UK Higher Education, China,
(access date 06/09/2009)
McCulloch•G(2005) The Routledgefalmer Reader in History of Education, MPG Books Ltd,
Bodmin.
Ronald Barnett, Institute of Education, London (2007)
The Economy & the Meaning of Higher Education (03/02/2009)#p#分页标题#e#
http://dantesvirgil.blogspot.com/2009/02/economy-meaning-of-higher-education.html
(access date 07/09/2009)
The UK Higher Education System (2009), England & Wales and Scotland
University of Nottingham Students' Union
(access date 07/09/09)
http://www.ukassignment.org/  Xingen Zhu (2008) On the distribution of power and school education in the context of Chinese
and Western cultures.
Zhang Wei (2008) Compare the number of Chinese and British governments funding and funding methods on higher education
 

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