Yasamasa Morimura (1951)
Similar to Orlan, Morimura is also heavily dependent upon technology. He also presents his art forms in photography, perfromace and/or videos. The extensive assitsance of makeup, costuming and particularly digital media enables him to manipulate himself to images confronting the assumption of mainstream values such as gneder and race.
Similar to Orlan, Morimura is also heavily dependent upon technology. He also presents his art forms in photography, perfromace and/or videos. The extensive assitsance of makeup, costuming and particularly digital media enables him to manipulate himself to images confronting the assumption of mainstream values such as gneder and race.
Self Portrait - After Marilyn Monroe
1996
Gelatin Silver Pritns
44 x 34.5 cm
In this artwork Morimura reconfigures the ideal beauty
surrounding Marilyn Monroe. Moriumura intentionally chose to subject himself to
the icon of Monroe as she is a representation of the idyllic characteristics
which define beauty. Through appropriating a Japanese man into the famous image
of Monroe he challenges the values placed upon gender and race in current
society, “would Marilyn Monroe be as sexy if she was Japanese – and a man?”
Additionally Morimura uses parody to reflect the absence of Asian culture in
historical accounts of art. In reversing the roles of males and females he examines
the role of gender and power in society. The portrait can be decoded to
confront the responder through the confronting subject choice.
An innder diaolgue with Frida Kahlo, Collar of thorns
2001
Colour Photography
In this artwork Morimura reconfigures the definition of the
masterpiece, “collar of thorns,” by Frida Kahlo, a significant artist in
western culture. Although with the insertion of Morimura’s head comes a sense
of satire and parody he genuinely identifies and respects himself with the
artists work he’s appropriating. The presence of Morimura in the artwork as an Asian man exposes the pattern of authority and the assumptions of mainstream values in traditional art, which he as a post modern artist strives to defy. In order to achieve this outcome Morimura undergoes extensive transformation through "makeup and clay augmentation" as well as the restaging of previously painted scenes and later technological adjustments.
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