Ambiguous Beauty (Aimai no bi), Morimura Yasumasa

Artwork Overview

Morimura Yasumasa, Ambiguous Beauty (Aimai no bi)
Morimura Yasumasa
1995
Ambiguous Beauty (Aimai no bi), 1995
Where object was made: Japan
Material/technique: offset lithograph
Dimensions:
Fan Max Height/Max Width (Height x Width): 289 x 508 mm
Fan Max Height/Max Width (Height x Width): 11 3/8 x 20 in
Credit line: Peter Norton Family Christmas Project 1995
Accession number: 1995.0094
Not on display

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Images

Label texts

Exhibition Label: "Japan Re-imagined/Post-war Art," Mar-2008, Kris Ercums In this age of spectacle, Morimura’s “Actress” series reflects a worldwide fixation with movie stars. Here, he faced the considerable challenge of creating a multilevel illusion-a 40-something Asian male playing (mostly) Western actresses.... In Morimura’s work “the gaze” normally inflicted on the objectified and commodified women he pretends to be is turned back on the viewer; here, as in most of the photographs, he stares directly out with such confidence that we begin to question our own identity. ~ Lynn Gumpert, “Glamour Girls,” 1996

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 260 May-2008, re-recorded May-2012 I’m David Cateforis with another Art Minute from the Spencer Museum of Art. In his “Actress” series of photographs from the mid-1990s, Japanese artist Morimura Yasumasa takes on the roles of glamorous Western movie stars, crossing boundaries of race, gender, and culture to impersonate such famous sex symbols as Marlene Dietrich, Marilyn Monroe, and Catherine Deneuve. Morimura’s expert crossing-over from male to female appearance relates to the Western tradition of drag and also to the Japanese kabuki theater, in which female roles are played by male actors. Morimura completely inhabits the “Actress” roles he stages for the camera, testifying to their iconic power in our media-saturated age while at the same time emphasizing their artificiality. This is particularly true of Morimura’s impersonation of Marilyn Monroe in her famous nude pin-up on red velvet, seen in the Spencer collection in the format of a Japanese fan with the apt title Ambiguous Beauty. Here, Morimura sports obviously fake breasts, a blonde wig, and overly-red lipstick, to remind us that beauty is not a natural given but a cultural construct, and ultimately the product of performance. From the Spencer Museum of Art, I’m David Cateforis.