Critique of Gallery Shows of Asian Art Essay

Asian art can refer to the vast musical style of art and artists throughout the Asian continent. The history of Asian art is as varied as the cultures that make up this region of the world. From ancient bronzy sculptures in India to the Manga cartoons of Japan, each country has a distinctive perspective on the world around them. In this paper I will regard at three proposals for gallery shows of Asian art, each completely queer in their view of Asian culture. The first concourse looks at project culture in Asia focusing on the blends of artists Wang Guangyi, Satoshi Kon, Takashi Murakami, and Basak Aditya, as head the art of Japanese tattoos.Organizing such conflicting works together seems lost and lacking coherence. Indeed the idea of soda ash culture in Asia could be defined in multiple ways, but this radical lacks consonance and logic. whole shebang by Wang Guangyi, Satoshi Kon and Takashi Murakami, each with their polish art style and references, would be a good matc h for a show focusing on pop culture. Wang Guangyi reinvents propaganda posters from the 1960s and 70s into capitalist propaganda posters, using the same angulate composition and palette.Takashi Murakami is known for his sculptures of highly stylized cartoon or invented characters, referring to the commonplace culture of Japan or contemporary films. Satoshi Kon is a director of excite films that argon loaded with Japanese cultural references and symbolism. I believe the work of these three artists would have been enough for a succinct show of Pop culture in Asia. The addition of the works of Basak Aditya and Japanese tattoos makes this grouping stand its focus.Although the work of Basak Aditya, with his poetic landscapes and dream-like portraits, is interesting, it is not a good fit because they ar too personalized and make no references to the pop culture of India. And lastly the addition of Japanese tattoos just seems like an arbitrary decision. Although virtually tattoos m ay have pop cultural references, the inclusion of photographs of skin art is incongruous with the cohesion of the first three artists in the grouping. The next group dodge and Power successfully showed a variety of artwork that represented federal agency throughout the ages.Beginning with paintings from the Chinese era of emperors and using concise speech to demonstrate their interpretation of power. This group then looks at the brass and squealer sculptures of Buddha, Shiva, and Jambhala, clearly demonstrating the power of religion in the regions of Tibet and India. Next are a grouping of decorative and ceremonial items from Korea, signifying the power of the ruling and upper-classes of ancient Asia. This grouping ends with a group of painting and sculpture of samurais and two thangka paintings.The overall consistency of the objects and paintings used for this grouping makes for a successful exhibition. All the works elect were clearly indicative of power in this headspring o rganized grouping. in conclusion the last group chose Asian Animation as a theme. again this is a clear and good put together group of generally Japanese cartoons and figures. This group first looks at the work of Satoshi Trajiri, and the media franchise of Pokemon. This group clearly spent time on creating colorful cartoon-like backgrounds to add to their clear, well planned presentation.They then look at the illustration work of Akira Toriyama and his colorful, well defined sharp edge illustrations. The group then looks at toys and costumes that are created from these cartoons and comics, again using a similar background to unify the presentation. Although some of the content is repeated at the end of the grouping, the overall vision of presenting these comics and cartoons as art forms is cohesive and easy to understand. The group points out how important comics as an industry is to Japan and their cultural affects throughout the world.