Takashi Murakami: Stepping on the Tail of a Rainbow - by Ed Schad (Hardcover)

Book Synopsis

Key paintings and sculptures from Japan's great master of "the superflat"

Published with The Broad and Kaikai Kiki Co., Ltd.

Focusing on one of Murakami's largest and most important works, In the Land of the Dead, Stepping on the Tail of a Rainbow (2014), this book offers a lavish introduction to the work of one of Japan's greatest artists. This publication provides a broad overview of Murakami's practice and features 12 works from The Broad's substantial collection of Murakami's work, including his early sculpture DOB in the Strange Forest (Blue DOB) (1999), Flower Matango (b) (2001-6) and such notable later paintings and drawings as Hustle'n'Punch by Kaikai And Kiki (2009), Of Chinese Lions, Peonies, Skulls, and Fountains (2011) and Tan Tan Bo a.k.a. Gerotan: Scorched by the Blaze in the Purgatory of Knowledge (2018).
The main essay by Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Murakami works from around Los Angeles and the world. Notably, the volume features a conversation between Murakami and Ed Schad on making art during times of crisis and in the wake of global events such as the 2011 tsunami in Japan and the global COVID-19 epidemic of 2020 and beyond.
Takashi Murakami was born in Tokyo in 1962 and received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. His work has been exhibited in prestigious museums all over the world.

Review Quotes

It is the combination of Murakami's many well-established "hats" with his nuanced understanding of scalability of form that separates him and his work from the comparative wasteland of what is known now as content creation bereft of almost all consideration of, and struggle with, form.--Terry R. Myers "Brooklyn Rail"

One is reminded of the ways Mr. Murakami makes sense of tragedy, both by looking back at ancient history and turning his gaze forward, toward the evolving forces that shape our culture. His responses may be Superflat, but the intent behind them is not.--Eilene Zimmerman "New York Times: Arts"