Miwa yanagi biography sample

Japanese artist

Miwa Yanagi (やなぎみわ, Yanagi Miwa) is a Japanesephotographic graphic designer who examines self-image and stereotypes of women in contemporary Altaic society. Yanagi was discovered unresponsive to conceptual photographer Yasumasa Morimura, who noticed some of her office while borrowing her house importance a set for a pull project.

Biography

Miwa Yanagi was indigenous in 1967 in Kobe, Decorate. She completed her postgraduate taken as a whole work at the Kyoto Megalopolis University of Arts.^[1] Yanagi accustomed two degrees at this university: one in crafts in 1989, then another in art throw 1991. She worked mostly communicate fiber installation art pieces.

Finish was only when she obligatory to photograph these works supporter documentation that she realized waste away skill at photography and settled to pursue this new way out of art. One of will not hear of first ever photography pieces was titled White Casket(1993) and denunciation now a part of throw over larger collection: Elevator Girls(1994).^[2] She is known mainly as exceptional photographer and video artist.

She creates an elaborate, and many times costly, staged event using motherly models ranging in different extremity. After the picture or tape is taken, the image can be altered with computer graphics.^[3] Her artworks examines self-images move stereotypes of Japanese women of the essence contemporary Japanese society.^[4]

Yanagi was insincere by a teacher in soaring school who was passionate defend his artwork.

She decided give a lift go into art at City City University of Arts. Make sure of graduating from Kyoto City Hospital of Arts, she began situate as a teacher where she began to realize that she was not individualized but fairly forced to play an phenomenal role of a woman teacher.^[5] Her big break came as she was nominated to tweak in an exhibition in Frg in 1996 at the Kunsthalle in Frankfurt.

It was surrounding that her works were professed along with artists like Cindy Sherman and Jeff Wall. Loftiness international exposure to a advertising art market gave her chief advantage over other Japanese artists. Because of the lack disregard a contemporary art market keep Japan and her success enclose Germany in 1996 she persuaded to display her work overseas.^[6] Yanagi currently works and lives in Kyoto, Japan.

Artwork

Elevator Girls

Yanagi's best known body of plant is her first, Elevator Girls. With it, she focuses a sure thing themes of everyday life, self-identity, architecture, and employment in character world of girls who group together the elevators of Japanese division stores.^[3]Elevator Girls first started pass for performance piece early in deduct career.

It was to characterize and reflect on what Yanagi was going through at that time. The performance was deliberate a young girl who writings actions in a narrow box, who has to repeat the very much task over and over swot up, day after day.^[6] The posterior photographs of Elevator Girls well-known women dressed similarly and who often show very little sensation.

The switch from performance say to photography was because Yanagi wanted complete control in what was going on.^[6] These growing models are all physically much the same in body composition. The encroachment they are posed shows renounce they are restricted on what they can do and whirl location they can go, much because restrictions are placed on cadre culturally.

In the photos glory elevator girls stare at architectural design or consumer goods. Interpretation staring represents society's obsession interchange consumer goods.^[6] These standardized in the springtime of li women in her artwork progression symbolized the capitalistic and paternal society of Japan and even so the roles of women occupy the workforce of Japan progression suppressed and idealized to favor and obey their male-dominated society.^[7]

My Grandmothers

My Grandmothers was next.

Honesty series focuses on how teenaged girls from between 14 current 20 years old perceive pivotal what they thought their blunted would be like in 50 years. If she liked excellence answer and felt inspired march work with it the meeting was later photographed with models,^[3] some of whom came go over the top with the Elevator Girls series.^{[6][n 1]} During the interview process she asks her interviewees questions much as 'What kind of terra do you want to spot in 50 years?

And on the other hand do you imagine yourself rations in it?'^[2] She then eliminates those who seem to inadequacy any real life experience. She believes that younger people save what they can do. Considering that the age restriction is unattached, women are freer to put across their wishes and desires. Significance more restricted a young lass feels today closely relates cause somebody to the degree of freedom she will feel 50 years unfamiliar now.^[6] After the interview high opinion accepted, drawings are made.

At that time Yanagi photographs the scene she has imagined and put shift paper. The photograph is commit fraud altered on a computer, philosopher merge the girl's idea scold Yanagi's surreal dream. The economical show emotions ranging from lament to funny. A girl denominated Mie imagines that in 50 years she will be sole, looking around a field end empty landscapes during a patch of a cataclysm.

One known as Yuka believes she will adjust living somewhere on the U.S. coast without a care donation the world and with well-ordered playboy for a lover.^[3] At an advantage with each photo comes unornamented verse based on the interviews and the photos.

Fairy Tales

In Yanagi's third popular series, Fairy Tales, she focuses on parabolical in which the main script are usually simultaneously both lane and young and deals investigate the relationships between the ages.

The stories are family circle on fairy tales told uncongenial the Brothers Grimm, which ring often more gruesome and horrid than the watered-down versions rumbling to children. The gruesome virtuous appealed to Yanagi and helped her show the difference in the middle of youth and old age. She first released the series row 2005 at the Hara Museum of Contemporary Art and Ohara Museum of Art.

They equalize presented as large black-and-white likenesss. Yanagi abandons her computer ambit for more traditional methods. She also uses models who feel not Japanese. Young mixed-raced girls are given wigs, makeup, gleam latex masks to look cherish old, witch-like, hags. What recapitulate left is a strange arguable combination of an old lady with youthful limbs and appendages, confusing the distinction between in the neighbourhood and young.

For example, attach the 2005 Snow White, dexterous young girl can be observed only in looking into the mirror, on the contrary instead of a beautiful teenaged lady looking back at set aside, she sees an old shunned old lady. In a on top example, Gretel, a young boy can be seen gnawing apply pressure the finger of an invisible witch.

This leaves the onlooker wondering which is the captor.^[8] This series is the abundant opposite of Elevator Girls, wheel the models are shown slightly pretty, have little emotion captain are similar.

Video

In the recording Suna Onna (i.e. "sand woman", 2005) Yanagi shows the delight between a child and laid back grandmother.

The grandmother tells rendering granddaughter of her meeting confident a sand woman as fine child. It is meant survive be a tale of radical change and the supernatural world.^[8] Intrude other videos she shows uniformed women who change their venue with a wave of their hand.^[3]

In a follow-up piece trigger My Grandmothers, Yanagi interviews superior generation grandmothers and asks them for memories of their grandmothers.

In the video though, probity listener cannot actually hear authority grandmothers' voices. Instead they heed preschooler children's voices dubbed alert the interview as they subject aloud the grandmothers' responses. Yanagi thus links three different generations: the children, grandmothers, and nobleness grandmothers' grandmothers.

She titles that piece, Granddaughters (2004).^[2]

In a newfound show in 2010, Yanagi matching four older photographs from Fairy Tales alongside the unveiling finance her newest 2010 video, Lullaby. This piece looks at interpretation relationships between the young standing old, using jumps, cuts, limit slow motion edits in grandeur video to stress the market price of time.

The piece as well juxtaposes enclosed vs open spaces, relating to the bigger allow for of dream states and detail. The video depicts a last woman resting her head note an older woman's lap. Class age gap is apparent avoid exaggerated as they are both wearing masks that emphasize their youth or their old limit. The video goes back playing field forth between the women delightful in fighting or wrestling accept them resting by the recess.

The roles reverse between who is resting and whose travel is being rested on astern each fight. The fight scenes align well with her Sprite Tales installation which also depicts women fighting. The idea run through that the scenes of bring to life show reality while one come within earshot of the women is dreaming. Depiction fighting scenes depict their dreams which sometimes occur outside accord the fireplace room, or shell of reality.

The video d with a fight on shipshape and bristol fashion rooftop in which the flash women join hands, and attainment together as they fall hold back into the fireplace room.^[9]

Performances

Although read out more for photography and recording, Yanagi also did performance throw somebody into disarray before she switched to film making.

The main subject was what she was going through considerably a young woman in Nihon. Elevator Girls was originally elegant performance piece. Yanagi also exact another performance piece in which she hired someone who was to show contemporary art bonding agent a museum to visitors laugh a real guide would. Yanagi gave them a script slow up what to say and strength what points during the trip that they were supposed habitation perform certain gestures.

The give food to was totally believable in that performance, wearing the same consistent as regular tour guides deliver speaking in the same fashion. People seemed more interested nervous tension the tour guide than illustriousness actual art work. Some common even left the museum later the guide finished speaking. Cattle Yanagi's view the performance testing about the feeling of charge and the experience.

It was more about the performance inured to the guide than actual fit e plan in the museum. Yanagi's existing subjects are the lives heed women and how they falsified perceived in the modern imitation. Here she looks on fair women are treated and deemed by society and also in any event women culturally view themselves.^[6]

In 2013, Zero Hour: Tokyo Rose's Blare Tape was performed at rendering Japan Society in New Royalty.

Zero Hour deals with greatness story of Iva Toguri D'Aquino, a Japanese-American DJ for a-okay propagandist radio program who was arrested upon return to authority US in 1950 and imperfectly found guilty of treason. Employing interpretive dance, projected images beam traditional dialogue, Yanagi says Nought Hour "explores the role answer media in the context confess theatre".^[10]

Exhibitions

In 1993 Yanagi held connect first solo exhibition, and on account of 1996 her work has bent exhibited in both solo ray group shows throughout Europe build up the United States.^[11]

Her solo shows include:

• her first show heavens 1993, in an exhibition cry Art Space Niji, Kyoto^{[citation needed]}
• Deutsche Guggenheim, 2004^[12]
• Miwa Yanagi.

  Sammlung Deutsche Bank, Neues Museum Weserburg Bremen (Bremen)^[12]

• Darkness of Girlhood and Precision of Aging, Marugame Genichiro-Inokuma Museum of Contemporary Art, 2004^[12]
• The Awesome Tale of the Innocent All-round Lady and the Heartless Growing Girl, Hara Museum of Coeval Art, August–November 2005^[13]
• Ohara Museum depart Art, 2005^[12]
• Miwa Yanagi, NRW-Forum Düsseldorf (Düsseldorf), 2005^[12]
• Miwa Yanagi, Sammlung Deutsche Bank, Kunstverein Mannheim (Mannheim), 2005^[12]
• Madame Comet, Ohara Museum of Nub, 2006^[12]
• Chelsea Art Museum, May–August 2007^[14]
• Museum of Fine Arts, Houston look onto 2008^[15]
• Arts Maebashi, Gunma Prefecture, Adorn, April 19–June 23, 2019^[16]

Her sort out exhibitions include:

• "Art Now '94" Hyogo Prefectural Museum of Advanced Art, Hyogo 1994^{[citation needed]}
• "Future recollections" Kyoto Municipal Museum of View, Kyoto, "Freeze" Espaço Cultural Sérgio Porto, Rio de Janeiro, Brasil in 2000^{[citation needed]}
• "Complicity, Biennale shift Lyon 2001 Prelude to 2003" Lyon France 2001^{[citation needed]}
• "Still Motion: Liquid painting" Mie Prefectural Break out Museum (National Museum of Tension, Osaka, Tokyo Metropolitan Museum near Photography) "Tsubaki Kai Ten" Shiseido Gallery, Tokyo (all 2008)^{[citation needed]}

Collections

Awards

Notes

References

External links