In what has been described as its most monumental exhibit to date, downtown Austin art gallery West Chelsea Contemporary is celebrating some of the most inno
Curated by Eugenie Tsai
THERE IS A TRADITIONAL BELIEF in Japanese households that deceased parents, siblings, and children linger close at hand, remaining nearby as members of the family and a comfort to the living. Newer, more eclectic sects hold that even departed pets stay with their owners as reassuring companions. The artist Brian Donnelly, known by his teenage graffiti handle KAWS, created his signature character and virtual alter ego, Companion, in the late 1990s at the invitation of Tokyo toymaker Bounty Hunter. There being the obvious antecedent of Takashi Murakami transforming the characters that populate his art into more modest collectibles in three dimensions, Donnelly’s vinyl figurine dressed in the buttoned shorts, white gloves, and oversize shoes of Mickey Mouse distinguishes itself by being dead.
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When Vans cofounder Paul Van Doren died last week at age 90, one particular shoe a slip-on sneaker with a waffle-bottom sole and a black-and-white-checkerboard canvas upper took centerstage.
This is understandable; it’s the shoe that almost singlehandedly make that singlefootedly set the company on its way to becoming a multibillion-dollar action sports brand and it’s as instantly identifiable as a piece of branding as Nike’s swoosh is. It also does a disservice to the handful of silhouettes, and countless pop-culture collaborations in the last 55 years, that have earned the Costa Mesa-based, VF-owned brand a place in the hearts and shoe closets of millions of fans around the globe.
Takashi Murakami Curates Monumental Super-Rough Exhibition Presenting a large-scale presentation of sculptures.
Takashi Murakami has been tapped by Outsider Art Fair organizers to curate a monumental presentation of sculptures in New York City. Murakami will lend his curatorial talents for an immense exhibition featuring artworks crafted by folk artists from all across the globe. Called “Super-Rough,” the presentation is an extension of the fair’s annual programming that champions dimensionality and handmade aesthetics versus the more sleek and “shiny consumer consciousness” of most contemporary art fairs.
“‘Super-Rough,’ a word play on ’Superflat’––Murakami’s highly influential, conceptual explication for the phenomenon of a new genre of Japanese Pop Art as it emerged towards the end of the last millennium––counterposes the private, idiosyncratic and visionary universe of outsider art as an alternative to c