Typically, Morimura (who lives in Osaka) picks a masterpiece (say, Manet’s “A Bar at the Folies-Bergere,” 1882) and restages and photographs it, with himself playing the principals. He paints on the photograph, rephotographs that, and sometimes gives the final huge print a few paint licks and a coat of-transparent gel for a generic brushstroke effect. In 1989, Morimura added computer imaging to his tricks and almost seamlessly blended parts of his own face into every visage m Rembrandt’s “The Anatomy Lesson of Dr. Nicholaes Tulp” (1632). The result is “Portrait (Nine Faces),” in which an attentive group of Dutch anatomy students starts to resemble-in Morimura’s continuing East vs. West shtik–a squad of gray-suited Japanese businessmen on tour in any Western city.
In his amazing remakes, Morimura also takes on practically every other dichotomy known to art: male/female, artist/model, original/copy, and, of course, modern/ postmodern. What separates Morimura’s work, however, from the relentlessly hip products of his contemporaries is his wonderfully pliable physiognomy and good-natured self-effacement in using it. But modesty stops at the frame. Morimura says, “I express Rembrandt’s theme better than he did … I am sure [a viewer] would say my work is better.”
Morimura trips gaily across sexual and racial boundaries in his homage to Dante Gabriel Rossete’s oh-so-exquisite ‘The Beloved’(1866). Rossetti’s is the perfect foil for Morimura because the the Pre-Raphaelite Brotherhood also looked backward to medieval times-for inspiration. Irony, however, was the farthest thing from Rossetti’s mind. Nevertheless, some 21st century artist may decide to emulate Morimura’s homage to Rossetti’s tribute to nte Middle Ages, and the hall of mirrors will get wven more dizzing. In the meantime, we can delight in Morimura’s affinity for Western painting, his sad sack androgynous face –across between Paul Tsongas and Cher–and his infinite attention to detail. (COURTESY LUHRING AUGUTINE GALLERY N.Y.)
In his parody of ‘A Bar at the Folies-Bergere’ Morimura adds a twist.- he’s nude, but his arms and hands form the bodice of a dress. The ‘barmaid’s’arms are attached to the bar. The Anatomy Lecture’spoof (left) is a photographic tour de force that measures more than 8 feet by 11 feet. That’s twice as big-and twice as funny-as the original. (COURTESY L.A. LOUVER INC.)
