In March 0f 2008, I covered the Whitney Biennial for The Wall Street Journal. Expansive, diverse, thought-provoking…much of what you would hope at that level. On assignment again for The Journal, the new Murakami exhibition at the Brooklyn Museum was a visual delight of fantasy. Since I was primarily focused on how to best shoot the magnitude of his paintings and sculptures, I overlooked their meaning, apart from a few sound bites I digested from the exhibition’s curator about Murakami’s “superflat” technique while he lead a small group through the space. There’s a lot to uncover, but the strength of his work relies on surreal color, pop culture, and vivid imagination. Murakami’s creations expand to wallpapers, floor design, animations, as well as painted walls in the museum’s stairwells. A shop of Louis Vuitton handbags and accessories also bear his designs. He’s an artist in a distinct universe of reality.
Paul Schimmel from the Los Angeles Museum of Modern Art has curated the exhibition which will travel to the Museum fur Moderne Kunst in Frankfurt, and then to the Guggenheim in Bilbao.
The Journal ran a piece in their Weekend Adviser section where some of my images were included in a slideshow. The print version featured a black and white shot of Murakami’s DOB’s March, 1995.
I shot exclusively with the Nikon 20mm/2.8 on a tripod. That lens performed best from f5 to f8. (I’ve since sold it). In post, it needs a bit of distortion correction along with the occasional perspective error fixing.