Mariko Mori
Mariko Mori’s edition “Star Doll” for Parkett 54 (1998), the blue-haired doll with a microphone and headphones (image 2), is related to a self-portrait of the artist as an AI popstar (image 1, see also Parkett 54, p.91). Self-representation is a recurring theme in the artist‘s early works, which often reference Japanese popular culture. Mori‘s work from that period has also been described as "Cyborg Surrealism" (see Parkett 54, p. 98 & image 3).
Image 4 shows Mariko Mori’s letter referring to the ongoing production of “Star Doll”.
Mariko Mori’s edition
Parkett Vol. 54
Mariko Mori’s edition “Star Doll” for Parkett 54 (1998), the blue-haired doll with a microphone and headphones (image 2), is related to a self-portrait of the artist as an AI popstar (image 1, see also Parkett 54, p.91). Self-representation is a recurring theme in the artist‘s early works, which often reference Japanese popular culture. Mori‘s work from that period has also been described as "Cyborg Surrealism" (see Parkett 54, p. 98 & image 3).
Image 4 shows Mariko Mori’s letter referring to the ongoing production of “Star Doll”.
Mariko Mori’s edition
Parkett Vol. 54
Mariko Mori’s edition “Star Doll” for Parkett 54 (1998), the blue-haired doll with a microphone and headphones (image 2), is related to a self-portrait of the artist as an AI popstar (image 1, see also Parkett 54, p.91). Self-representation is a recurring theme in the artist‘s early works, which often reference Japanese popular culture. Mori‘s work from that period has also been described as "Cyborg Surrealism" (see Parkett 54, p. 98 & image 3).
Image 4 shows Mariko Mori’s letter referring to the ongoing production of “Star Doll”.
Mariko Mori’s edition
Parkett Vol. 54