A drawing by KAWS
KAWS is coming to the Yorkshire Sculpture Park. This is an ideal
opportunity to re-examine comics, popular animation, pop art and popular
culture as an influence on contemporary practice.
KAWS’s career began as a graffiti artist in New York, in the early
1990s. He went on to study a BFA and then became a freelance artist working for
Disney. By the late 1990s, he was designing and producing limited-edition toys.
His career spans commercial, street art and fine art, his output blurring the
distinctions between these at one time distinct areas of production. What is
interesting here is that Pop Art was seen initially as a genre of Fine Art that
commented on commercial culture, a practice like KAWS is quite different, it
operates as commerce, his toys selling extremely well in Japan whilst at the
same time, his presence at the YSP means that his work is taken very seriously
in the world of Fine Art.
These blurrings in the differentiation of disciplines suggest that old
definitions for Fine Art are breaking down. Academics writing about the
discipline I notice are arguing more and more about what it is and what it
should be. These are usually signs that a discipline is facing what is called a
‘Paradigm Shift’. I.e. the reason there
is so much new theory about what art is and what it isn’t means that all the
old definitions fall short of how the term
‘Art’ is used now.
KAWS appropriates the methods and procedures companies like Disney use
to broaden their market base. Initially of course relying on entry sales to
cinemas to bring in cash, Disney now has a huge range of associated merchandise
that it uses alongside its Disneyland franchise. Yes an artist could comment on
this, but like Keith Harring before him, KAWS simply operates like Disney.
Bansky has recently opened a theme park, and when you think about it, is
all that merchandise sold at the entrance to the Tate and other national
museums any different? It could be argued that this type of art celebrates art
under capitalism and in looking for opportunities to extend its markets, only
reflects the dominant philosophy of its times.
KAWS in working for Disney would have been exposed to one of Disney’s
key selling points, ‘cuteness’. Even though KAWS uses skull and crossbones motifs, all his forms have been rendered 'soft' by curvature. They are like Mickey, the product of a compass.
So in one short step we are back in the world
of aesthetics. Why are certain things ‘beautiful’ or ‘seen to be so’. There is
arguably an underlying geometric rightness to the psychology as to why we like Mickey Mouse as well as a
basic evolutionary necessity.
Steven Gould’s “A biologicalhomage to Mickey Mouse” explains how Mickey evolved from a rather thin
rodential form into a more round squat creature with a big head, big eyes, and
short limbs. He explains that Mickey was undergoing neoteny: the evolutionary
process whereby juvenile features in an ancestor are retained into adulthood in
a descendant. Gould also argued that the baby animals we love so much have
relatively bigger and rounder heads and eyes, like human babies.
This softening or rounding of forms is also found in computer drawing software. The curves we find aesthetically pleasing being often 'baby' like in their form.
We now have a new word 'Disneyfication' which means to take something harsh and difficult and by applying a Disney type aesthetic, make it much more palatable.
Damien Hirst: Micky
The fact that Micky is the product of a compass, obviously hasn't escaped the notice of Damien Hirst, who has reduced Micky right down to his essentials.
Hokusai
Hokusai in his how to draw books was also very aware of how to construct images out of circles. Circles are non threatening, and they are close in form to the shapes we find in young animals.
So basically
we are hard wired to like babies, thus protecting them from harm and nurturing
them when we see them. So those soft curves in a drawing that seem so calming,
perhaps strike a chord at the back of the brain that says incoming baby, start
calming down and get ready to be nice.
Don't try this at home
See also:
Philip Guston and alien phenomenology
Underground comics enter into art
The Beano and Viz Hardeep Pandhal
The Bezier Curve
Euler spirals
Philip Guston and alien phenomenology
Underground comics enter into art
The Beano and Viz Hardeep Pandhal
The Bezier Curve
Euler spirals
Such an adorable picture it is! Thanks for the guideline. If you are looking for arts and craft stationaries for your kids you can check out the Kids Art Supplies.
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