Content on this page requires a newer version of Adobe Flash Player.

Get Adobe Flash player

Content on this page requires a newer version of Adobe Flash Player.

Get Adobe Flash player

 

Posted: May 10, 2009

ARTICLES 

Feminist and Queer Performance: Critical Strategies by Sue-Ellen Case. Masami Teraoka, 159 - 163, Text and Images; Published by Palgrave Macmillan, 2009.

Transit: Culture No.4 Spring 2009. 106, published by Kodansha, Tokyo, Japan.

Asian American Art, A History, 1850 - 1970 by Gordon H. Chang, Mark Dean Johnson and Paul J. Karlstrom published by Stanford General Books, 2008. Masami Teraoka, Text and images; 231, 240-242- 432, 433, 510.

Art & Today by Eleanor Heartney published by Phaden, 2008. Masami Teraoka, Text and Image; 372, 373. Virtual Inquisition/The Pope of Thong, 372.

 

art__today

Art & Today

 

HILuxury
Visual Candor: Masami Teraoka’s Art Melds Tradition & Contemporary Topics
by Nadine Kam
August - September 2007 http://www.hiluxury.com/category/hiprofiles/hiart/

The 5th Aisa-Pacific Triennial of Contemporary Art Editors: Lynne Seear and Suhanya Raffel, 304 pages paperback catalog, 350 color illustrations. Published by the Queensland Art Gallery, 2006.

Cross-Cultural Travelller: The Foating World of Masami Teraoka
Text and images, 226 - 231; 31 Flavors Invading Japan/French Vanilla 1978, 226; AIDS Series/Geisha ion Bath 1988, 227; AIDS Series/Geisha and Ghost Cat 1989 - 2002, 228; McDonald's Hamburgers Invading Japan/Chochin-me 1982, 229; Wave Series/Tattooed Woman at Makapuu Beach 1984, 230. Sunset Beach 1989, 231.

Art of Engagement: Visual Politics in California and Beyond by Peter Selz with an essay by Susan Landauer. This book is published in conjunction with Visual Politics: The Art of Engagement, November 20, 2005 - March 5, 2006, an exhibition organized by the San Jose Museum of Art, San Jose, California. Published by the San Jose Museum of Art, California.

Masami Teraoka, 220-22; Adam and Eve Series, 222; AIDS Series, 221-22, 221; AIDS Series/Geisha and Ghost Cat, 221-22, 221; Hanauma Bay Series, 220; McDonald's Hamburgers Invading Japan, 220; Media Bacchanalia, 222; New Waves Series, 222; Sanat Monica Pier, 220-21; US Iquisition Series, 222, Venice Beach Seires, 220; Virtual Reality, 222.

______________________________________________________________________________________

LECTURES

MASAMI TERAOKA CONVERSATION
Sonoma State University. May 10. 2008

Teraoka, an artist originally from Japan whose work pays homage to- and critiques- the traditions of both Japanese and European art, will not only discuss the works in his book, Ascending Chaos, but will discuss how his work evolved from Ukiyo-e narrative, providing both a social and personal context, and will discuss inspired him to arrive at the imagery in his current work. http://www.sonoma.edu/pubs/newsrelease/archives/002449.html, (SSU Press Release).

APT5 ARTIST LECTURE: MASAMI TERAOKA
Queensland Art Gallery, Queensland, Australia. 6 December 2006

APT5 artist Masami Teraoka presents a lecture on his practice which, since the 1970s, has combined popular imagery with the tradition of Japanese ukiyo-e printmaking to comment on social issues such as environmental degradation and the effects of globalization. (QAG/GOMA Press Release).

_______________________________________________________________________________________

 

Posted: May 7, 2009

 

REVIEWS of MASAMI TERAOKA: CLOISTERS' CONFESSIONS at SAMUEL FREEMAN, April 19 - May 24, 2008

samuel_freeman_installtion_2008_400

Masami Teraoka: The Cloisters/Venus and Pope's Bullfight, 2008 and Virtual Inquisition Tower of Babel, 2001 on display at Samuel Freeman.

MASAMI TERAOKA AT SAMUEL FREEMAN. Review by Christopher Miels, ArtForum, September 2008
http://www.patriciafauregallery.com/nav/a__press/p_teraoka/p_2008_09_01_teraoka.htm

MASAMI TERAOKA AT SAMUEL FREEMAN. Review by Peter Frank, Art Ltd. JULY/AUG 2008. http://www.patriciafauregallery.com/nav/a__press/p_teraoka/p_2008_07_01_teraoka.html

Masami Teraoka came to prominence with his uncanny recapitulation of Ukiyo-e style Japanese art, updated, sometimes hilariously, to the twentieth century. Teraoka’s subsequent dedication of such anachronistic mastery to pressing political and social issues showed him to be a shrewd commentator on both art and life, and in virtuosic command of other artistic styles besides the Japanese. Of late, Teraoka’s wit and subtlety have given way to ire, confusion, and a hallucinatory grasp of humanity’s dark side. Utamaro has given way to Bosch, by way of Helmut Newton.

Teraoka has fabricated these large panel paintings to mimic Renaissance altarpieces. Many are triptychs; quite a few are peaked in a Gothic fashion. Gold leaf abounds, inside and around each picture. But within, no Madonnas-and-children or depositions from the cross are to be found. Rather, the scenes are of elaborate and thorough debauchery, improbably orgies of lust, power, and fleshly abuse that could give de Sade pause (in admiration). Decapitated and de-limbed torsos (normally female) float into view with disturbing regularity, as if the scenes were transforming mid-cluster-fuck into abattoirs, one deadly sin transmuting into several others.

TERAOKA The repulsive, the fascinating, the salacious and the pornographic may be separate points along a spectrum of voyeurism; Teraoka throws them all back one on another, so that a naughty act coincides with a heinous one, a ludicrous coupling neighbors a fatal one. Perversity has rarely achieved this level of polymorphology. There’s plenty of fetishism and transvestitism, but this results directly from the identities of the male protagonists/antagonists, all of whom are soi-disant holy men of the Catholic church, garbed in mitres and cowls and robes of gold or sackcloth; their flashes of garter or bra seem mere extensions of their already exotic, and blasphemed, vestments.

In effect, Teraoka has posed the narratives of this series, now over ten years in the making, as erotic Inquisition fantasies. Sometimes the prelates manhandle the fair beauties, other times they subject themselves to humiliation at the women’s hands. Beyond the shock factor, Teraoka’s dis-alter-pices serve as commentaries on contemporary power relations. Teraoka does not have it in for the Catholic church in particular, but employs its hierarchical tradition as a synecdoche for authority as a whole. In one painting, for instance, Dick Cheney appears as a rifle-wielding archbishop. The Catholicity of the “bad guys” here also refers back to Teraoka’s source in pre-Reformation church painting, especially Bosch. Our Gardens of Earthly Delights, Teraoka avers, are barren, bombed out, and decadent. - Peter Frank

Masami Teraoka: See This Show. Review by Peter Clothier, The Buddha Diaries, April 22, 2008 http://www.patriciafauregallery.com/nav/e__reviews/e_2008_03_r1.html

__________________________________________________________________________________________

REVIEWS of MASAMI TERAOKA: VENUS AND POPE  Catharine Clark Gallery, San Francisco, CA
February - April 14, 2007

Masami Teraoka/Venus and Pope. Review by Heather Silve, Flavorpill, April 2008 http://flavorpill.com/losangeles/events/2008/4/19/masami-teraoka   

Venus and Pope: Walking a Fine Line between Liberating and Offensive. Review by San Francisco Bay Guardian Online by Elaine Santore. March 28, 2007
http://www.sfbayguardian.com/printable_entry.php?entry_id=3260



     

SATURDAY, JANUARY 15, 2011

Masami Teraoka: The Last Supper Series at Samuel Freeman

[SEE ALL]