Takashi Murakami has been shaking up the art world since the early 1990s with his unconventional approach to both subject matter and artistic production. Most recently his work has blurred traditional lines between fine art and the mass-produced object by pairing his signature, cartoon-like designs with a limited-edition series of Louis Vuitton handbags. For creating his own art, he has developed a unique factory-style production line in studios in Tokyo and in New York—that involves dozens of artists and assistants and runs like a well-oiled machine.
Some complain that the current art market has become too commercialized. As a market-savvy artist, what’s your perspective?
It’s always funny when people say this, because it sounds like they don’t understand what a “market” is. Isn’t it a place to buy and sell? Personally, I think that the more commercialized the art market, the easier it is to understand strategically. I do appreciate all different kinds of art, though; just like I appreciate all different kinds of people. There are some people who compete in the commercial arena and there are some who abide by more personal, spiritual or idealistic guidelines. If done well, both can be equally satisfying.
Tell me about how and why you developed the idea to create your own “factory-style” studio.
I was originally inspired by the Walt Disney Studio, Lucas Films and [Hayao] Miyazaki’s Ghibli Studio. I was interested in this kind of hands-on, workshop-style production space that even major film companies use
Also, it might be a Japanese characteristic, but I’m not a solitary person. I like the dynamics of a group working together towards a single goal. The eclectic mash of individual egos, brains and wills leading to harmony and discord is an exciting force to work with, and it helps me be creative.
What’s your relationship with the artists in your studio? In addition to collaborating with you on your work, do they produce their own? How much inspiration do you receive from them? How much teaching/mentoring of them do you engage in?
The relationship is one of mutual inspiration. The artists in my studio help me work on my work, and I help them work on theirs. The extent of feedback that I give depends on the situation. Specifically, Kaikai Kiki represents the work of six exhibiting artists besides myself. These artists are all actively involved in their own work, although three of them are also regular employees of the company, which means they also have management positions.
Why do you do so much work promoting emerging Japanese artists—and as an experienced artist, what do you feel it’s important to teach them?
I like the gambling aspect of working with young artists. With the right combination of talent and guidance, you can really hit the jackpot. I would say that my biggest concern for young artists is their lack of know-how, and how that leads to them being taken advantage of by institutions and the merciless gears of the art-world machine. It is important for artists to know the facts about the market, the system, and to approach the business aspect with a clear-headed, confident attitude.
