The capacity of this Social Realism painting to convey the American spirit in the early part of the twentieth century, when the hard life of farming was a lifeline for many in the United States. Wood’s picture depicts a distinctively constructed home with a Gothic-style architectural look, according to Wood.įrom the faces and clothing of the man and lady in the front to the structure and its architectural design in the distance, this picture is rich in detail. It’s a fantastic piece of Social Realism painting. The painting, which was completed in 1930, is a stark reminder of the hardships that the people of the United States faced during the Great Depression of the 1920s. The Los Angeles County Museum of Arts held a major retrospective of his work in 2021-22.Two sombre individuals appear in front of a humble home in Grant Wood’s painting American Gothic, which is considered one of the most iconic works of American art. This was bolstered by permanent acquisitions by MoCA in Los Angeles and MoMA in New York, which now houses more than 130 of his works. Nara’s reputation outside of Asia had already been cemented by a major 2010 show at New York’s Asia Society, Yoshitomo Nara: Nobody’s Fool. Nara has been exhibited all over the world Nara visited the site of the devastation several times, and took up a residency at his alma mater, Aichi University of the Arts, in a bid to reignite his creativity. For some people with no relation to the area they may be affected as an artist, but in my case I was a lot more affected on a personal level because I know people who were lost.’ ‘The whole area between us and Fukushima was devastated the whole scenery I was familiar with has been destroyed. ‘I think what is different about those artists who were affected by the earthquake is that I grew up in Aomori, which is on the border of Fukushima,’ Nara revealed in 2016. The Great East Japan Earthquake of 2011 had a profound impact on his productionĭeeply affected by the earthquake and tsunami, Nara found himself temporarily unable to work. In sculpture as in painting, Nara again harmonised modern and centuries-old craft. These works, which retain impressions from the artist’s hands, are often coated in liquid metal that cracks like the glaze on Song dynasty Chinese ceramics. Nara also began experimenting with other mediums, sculpting heads of figures from his paintings. He settled in Cologne in 1994, a pivotal time for the artist as he began to incorporate Japanese and Western popular culture into his work. At the prestigious Kunstakademie Düsseldorf, where he studied from 1988 to 1993, Nara became fascinated with Neo-Expressionism and punk rock both of these movements would shape his artistic style, although he denies punk was his only musical influence. Nara moved to Tokyo in his teens, and then to Nagakute when he was 21 to study art at the Aichi University of the Arts, before leaving Japan for Germany. ‘I could communicate better with animals, without words, than verbally with humans.’ ‘I was lonely, and music and animals were a comfort,’ he admitted. The youngest of three boys of working parents, he spent much of his free time lost in Japanese comic books. Yoshitomo Nara was born in 1959 in Hirosaki, a city known for its traditional Edo Period (1603-1868) architecture and cherry blossom trees, in Japan’s mountainous northern Aomori Prefecture. Nara was transformed by his time in Germany
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