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Masami TeraokaWave Series/Tattooed Woman at Sunset Beach1984
1984
$70,000
£53,018.50
€60,889.92
CA$98,092.89
A$106,646.75
CHF 56,544.23
MX$1,278,424.14
NOK 718,648.14
SEK 658,379.40
DKK 455,075.04
About the Item
"Wave Series/Tattooed Woman at Sunset Beach" is a unique watercolor utilizing Edo-period imagery by contemporary, Japanese artist, Masami Teraoka. The framed artwork measures 22 1/2 x 17 1/2 x 1 in.
This work is an example of Teraoka's icon of cross-cultural exchange as a submersible yet insuppressible individual, striking out on her own with rented snorkel equipment. Her traditional wave-pattern tattoos and resemblance to a Hokusai pearl diver are time-honored devices recognizable from Edo-era ukiyo-e, but here they are the mark of a very up-to-date woman of the world-and a sign of things to come. "In my mind tattoos were taboo, because we associated tattoos with yakuza gangsters in Japan then," the artist explains. "Those were the only people in Japan who had tattoos, to show off their machismo. So when I saw tattoos in this country, it seemed to me to be a really significant attitude that Americans are not really uptight about having tattoos. Thirty years later, tattoos are invading Japan. Young people have them on their arms, so they can cover them with longsleeved shirts. Perhaps they try to hide them from their parents, but the younger generation is much more open to tattoos and piercings."
Born in Onomichi in Hiroshima Prefecture, Teraoka studied at what is now Otis College of Art and Design in Los Angeles. His works are inspired by Japanese Ukiyo-e woodcut prints. However, Teraoaka infuses the style and techniques of the traditional art with American Pop Art. The mass-produced nature of Japanese woodcut prints alligns with the obsession with mass production and consumption of Pop Art. Additionally, Ukiyo, meaning “the floating world” in Edo period Japan reflected the transitory nature of Kabuki theater and pleasure houses. This transitory sense of consumerism and pleasure was also evoked in the works by Pop Artists. Teraoka’s works are a collision of two cultures and histories of art finding affinities through similar themes.
Teraoka’s pieces blend humor and social commentary. He has often touched upon subjects as diverse and urgent as the AIDs crises, consumerism, the attacks on September 11th, and more. Teraoka notes of his own work, “Integrating reality with fantasy, humor with commentary, and history with the present became my challenge.”
Works by Teraoka can be found in the Tate Modern, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Smithsonian, the Los Angeles County Museum of Art, the Walker Art Center, and more.
“Mere depiction of social and cultural issues is not enough. My work has to create something that goes beyond simple perception. To make a strong statement, art needs timeless aesthetic qualities. These can take any subject matter to a higher level of experience. That is the essence of what I am pursuing.” – Masami Teraoka
Provenance:
Private Collection
Literature:
Teraoka, M., Hoffman, K., Heartney, E., Bing, A.,
Clark, C. (2012), Ascending chaos: The art of Masami Teraoka 1966-2006, San Francisco, Calif: Chronicle Books LLC, illustrated
- Creator:Masami Teraoka (1936, Japanese)
- Creation Year:1984
- Dimensions:Height: 14.875 in (37.79 cm)Width: 10 in (25.4 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Palm Desert, CA
- Reference Number:Seller: 282451stDibs: LU9310630362
Masami Teraoka
Masami Teraoka brings a contemporary twist to traditional Japanese ukiyo-e woodblock prints, infusing them with ribald imagery and a pop art sensibility. He developed this signature graphic style after moving to the United States in 1961, where he received his BFA and MFA from Otis College of Art and Design. His highly regarded series “McDonald’s Hamburgers Invading Japan” and “31 Flavors Invading Japan” playfully fuse cross-cultural iconography to critique the widespread influence of American consumerism. Teraoka’s work has become more radical since the 1980s, when he began addressing issues like the AIDS epidemic, clergy sex abuse scandals, and nuclear proliferation. He has also drawn inspiration from religious Renaissance and Medieval art, painting grand triptychs that harken back to the stylized, flattened perspective of Edo-era prints.
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