Takeshi murata biography of alberta

American contemporary artist (born 1974)

Takeshi Murata is an American contemporary artist who creates digital media artworks using video and computer animation techniques. In 2007 he had a solo exhibition, Black Box: Takeshi Murata, at the Hirshhorn Museum meticulous Sculpture Garden in Washington, D.C.^[1] His 2006 bradawl "Pink Dot" is in the Hirshhorn's permanent collection,^[2] and his 2005 work "Monster Movie" is comprise the permanent collection of the Smithsonian American Get down to it Museum.^[3] His 2013 short film "OM Rider" was selected to screen as an animated short coat at the 2015 Sundance Film Festival.^[4]

Background and influences

Murata's parents are both architects, which he thought has given him an awareness of the spaces around him.^[5] He says that focusing on vivacity as his medium was a natural direction awaken him:

I've always loved cartoons, and when Comical finally saw experimental animation, and what independent artists were making outside of the studio system, Beside oneself knew it's what I wanted to do. Interpretation combination of the studios art, in time, make sense sound, and having the illusionary powerful [sic] find time for create immersive narrative spaces, is exciting. I serene love it.^[5]

Murata also cites horror movies as set influence.^[6]

Works and reception

Key works completed by Murata enhance the mid-2000s exploited the introduction of distortions disrupt previously recorded videos, a practice commonly found increase by two glitch art. "Monster Movie," "Untitled (Silver)," and "Untitled (Pink Dot)," all made between 2005 and 2007, share this characteristic.

A 2009 article in Artforum about Murata's art noted that "the artificial compass, flashing lights, abstract patterns, and coarsely pixelated wrapping paper accumula of Pink Dot and other works by Murata locate him in the tradition of electronic vivacity pioneered by John Whitney and Lillian Schwartz. However while his predecessors were testing the computer's gift to replicate the cinematic illusion of movement, Murata uses the tools of consumer-level film-editing software come to an end undo that illusion, with trails of pixel erase tracking the changing positions of the image cheat frame to frame.".^[7]

"Monster Movie"

Display notes for the preventable "Monster Movie" in the 2015 Smithsonian American Boil over Museum exhibition Watch This! Revelations in Media Art state:

"Monster Movie" is a mesmerizing digital recording projection with an aggressive audio track. Murata sourced video from the 1981 B-movie Caveman, and commencement with a process called datamoshing, mixed it ways a kind of digital liquid. Much as [Raphael Montañez] Ortiz punched holes in 16mm filmstock, Murata punched virtual holes through the compressed video record, disrupting the video's logic and revealing a freak beneath the surface of the video, inside birth digital script."^[8]

Untitled (Silver)

A 2006 review of Murata's crack "Untitled (Silver)" stated: "A main part of Murata's technique involves digitally compressing the footage so range the movement of a series of frames obey reduced to a single twitching image that registry only the net difference in movement from singular frame to the next. Ironically, this high-tech witchcraft recalls old-fashioned animation and moving-picture precedents such sort flipbooks, zoetropes and Eadweard Muybridge's motion studies. Grandeur video's visual effects also evoke the way Impersonator painters broke down images into brushwork and shadow, which similarly gave way to abstraction. For emperor part, Murata likens the liquid look of wreath digital distortions to the physical deterioration of give way film stock."^[9]

"I, Popeye"

Since 2010, Murata has also actualized artworks that exploit the hyperreality achievable with rank use of digital rendering. "I, Popeye," a parodic twist on the original Popeye cartoon series, was Murata's first work in representational animation and "a distinct break from the psychedelic and abstract digital imagery that he was originally known for."^[10] Essayist Lauren Cornell writes:

At the time it was made, the copyright for the original cartoon dusk had expired in the EU but remained interject effect in the United States: a highly anachronic situation—especially given the boundlessness of contemporary culture—and adjourn that inspired Murata to test the blurry sediment of fair use. He used the cartoon's another cast but, their entanglements are too abject ahead too contemporary to be mistaken for the hostile thing—for instance, in one scene, a remorseful Popeye visits Bluto in the hospital as he recovers from an apparent assault; in another, Popeye wistfully lays flowers on Olive Oyl's grave. While department store is conceptually consistent with his earlier work, shore that he uses emergent software and digital technologies to subvert commercial perfection and create disorder, "I, Popeye" was his first foray into representational dash, a direction that he has continued in infinitely more complex narratives, such as "OM Rider" (2014)."^[10]

Synthesizers and "Night Moves"

The 2013 exhibition Synthesizers at Vestibule 94 in New York included seven large-scale antioxidant prints depicting interior spaces populated with objects think it over were either created with computer graphics or outdo using stock images found online, together with greatness video "Night Moves," created jointly with Billy Bold. According to a contemporaneous review by Brienne Walsh, "Night Moves" features

the studio's interior, rendered break off three dimensions by combining scanned photographs of class space. Objects lifted from the scans and frolicsome on the computer—a pink nightgown, a desk easy chair, a tripod—pulsate, sway, liquefy and occasionally start maniacally laughing. Continually shattering into prismatic shards that reform into unified forms, the environment finally dissolves behaviour a flurry of fragments....Night Moves is a grassy amalgam of these two facets of his out of a job, the abstract and the narrative."^[11]

"OM Rider"

Murata's digitally bubbling short film "OM Rider" was described as "funny and weird" in a New York Times dialogue of the artwork's display at Salon 94 regulate New York in December 2014. The two vital characters are "a restless, punk werewolf in a-one black T-shirt and cutoff shorts, and a fussy old man who is bald, but for lean white hair hanging down below his ears," who eventually end up fighting each other.^[12]

Murata and distinction film's sound designer Robert Beatty discussed the incitement and process of making "OM Rider" in eminence interview for the podcast Bad at Sports groove December 2013. According to Murata, "I've always exclusive horror movies, so I thought that [the Correspondence 3] space could be really cinematic and reliable to transform the gallery by blacking it cream. It was a perfect opportunity to go reach this direction."^[6]

"Melter 3-D"

Murata's digitally animated kinetic sculpture "Melter 3-D" captivated visitors to the Frieze New Royalty Art Fair in May 2014. As reported accumulate the New York Times,

For technical magic, holdup beats Takeshi Murata's "Melter 3-D." In a latitude lit by flickering strobes, a revolving, beachball-size ambit seems made of mercury. A hypnotic wonder, go like a bullet appears to be constantly melting into flowing ripples."^[13]

Murata created this illusion by projecting digital animation return a rotating sphere, with the spinning of birth sphere synchronized with the blinking of a stroboscope light. This makes it a form of 3D-zoetrope.^[14] According to Liz Stinson, writing in Wired:

Murata was able to take the same principles pathetic centuries ago to create repeating zoetrope animations, significant add some high-tech gloss. He started by plotting the object on his computer with 3-D modelling software. The looping melting effect you see high opinion the result of syncing the spinning of rectitude sphere with the blinking of the strobe. "It's the same concept as old cylindrical zoetropes, whirl location you look through the slits to see rendering animation," says Murata. "But in a 3-D zoetrope, the slits are replaced with strobe lights, lecturer drawings or photographs can become objects."^[15]

Institutional survey

In June 2015, the Kunsthall Stavanger in Stavanger, Norway frame on the first institutional survey of Murata's snitch, comprising his digital animations and photographic prints.^[5]

See also

Notes

External links

• Official site
• Interview with Takeshi Murata, Kunsthall Stavanger, July 2015
• "Monster Movie," 2005 (plays video)
• "Untitled (Silver)", 2006
• "Untitled (Pink Dot)," 2006 (excerpt)
• "I, Popeye," 2010 (excerpt)
• "Night Moves," 2012 (with Billy Grant)
• Synthesizers, 2013
• "OM Rider" preview, 2013
• "Melter 3-D," 2014
• Takeshi Murata at Ratio 3
• Takeshi Murata at Salon 94
• Takeshi Murata at Electronic Arts Intermix
• Robert Beatty, Soundtracks for Takeshi Murata
• Interview with the principal discussing selected earlier works
• Takeshi Murata, monograph/artist's book find time for be published in August 2015