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  • Birth of a Star, Mariko Mori - CultureLabel - 1
  • Birth of a Star, Mariko Mori - CultureLabel - 2
Birth of a Star, Mariko Mori - CultureLabel - 1
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Birth of a Star, Mariko Mori - CultureLabel - 1 Birth of a Star, Mariko Mori - CultureLabel - 2

Mariko Mori

Birth of a Star

Art Wise

£60.00 GBP

Limited Edition Lithograph Print

About

"Birth of a Star" by Mariko Mori

Unsigned Offset Lithograph

The overall size of the Offset Lithograph is 35 x 23 inches.

The condition of this piece has been graded as A-: Near Mint, very light signs of handling.

About the Print

2 dimensional reproduction of Mori's original 3-D holographic installation. Published by The Museum of of Contemporary Art, Chicago. This piece is a prime example of Mori's early style. often inserting herself into the center of her works, clad in an innovative costume. In this case, she is emulating the idea of a Japanese "teeny bopper" pop star.

About the Artist

Mariko Mori was born in Tokyo in 1967. The daughter of an art historian and an inventor, Mori studied fashion design in college and briefly worked as a model. Mori then pursued art at the Chelsea College of Art & Design in London (1989–92) and at the Whitney Museum of American Art's Independent Study Program in New York (1992–93). In her early photographs, such as Subway(1994) and Play with Me (1994), Mori appears as the cyborg heroine of a film who navigates the environs of Tokyo. In the performance Tea Ceremony (1995), Mori wore the garb of a prototypical Japanese female office worker and mechanically served tea to businessmen who passed her on the street. Body Capsule (1995), a transparent Plexiglas container just big enough for Mori's body, appears in the photograph Beginning of the End (1995) and later in the video installation Link (2000). For the panoramic photograph Empty Dream(1995), the artist took advantage of new technological advancements and inserted herself—this time in the guise of a glossy futuristic mermaid—into the single frame four times. Mori's use of her own face in various guises has prompted frequent comparisons between her work and that of Cindy Sherman. Mori's hybridized self began to assume more spiritual incarnations in films likeMiko no Inori (The Shaman-Girl's Prayer ) (1996) and Nirvana (1996–97). In the series of photomurals Esoteric Cosmos (1996–98), which is related toNirvana, the artist appears as a futuristic goddess hovering amid rocky terrains, seascapes, and stalagmite-covered caves.

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