Churning, ah, into your microphone.Īnonymous interviewee 2: And, of course, then the blue. Tamar Avishai: What are your hands doing right now?Īnonymous interviewee 5: Ah, they are flopping around like a wave.
And it just keeps my eye moving in a circle like it’s flat and three-dimensional.
If you encounter a big, scary wave, you have to fight your instincts and go straight at it.Īnonymous interviewee 5: My eye goes to the boat, the-the people in the boat, and that wave. Um, had it been two seconds later, the wave would have crashed, and you wouldn’t even see these people.Īnonymous interviewee 4: They’re doing the right thing. But there’s this human element to it, too.Īnonymous interviewee 3: Yeah. And I think that kind of gets lost when people just see the wave, and it seems like a landscape. It almost feels like it’s about to eat the small mountain in the background.Īnonymous interviewee 2: Um, so, what jumps out at me are actually the-they almost look like fingers on the wave, that they’re kind of overwhelming the boat, and like they’re-they seem like they’re about to like reach down and grab something.Īnonymous interviewee 1: Once you start looking closer, you see small boats that are just being eaten alive by this huge wave.Īnonymous interviewee 2: It’s a-it’s a violent image. And the foam is coming up, and it’s engulfing the whole scene. Weekends have been selling out, so join us for an after-work outing or date night on Thursdays or Fridays, when we’re open until 10 pm.Īnonymous interviewee 1: Okay, so, you have a huge wave, almost tsunami-like. artist Taiko Chandler on Hokusai See It with a Timed TicketĮveryone needs a timed-entry ticket to see the exhibition- become a member and you can see it at no extra cost! “I am inspired by his general work, the quality-I would say fearless expression.” The sweeping range of work shows Hokusai’s ubiquity and enduring appeal, which shows no sign of fading anytime soon.
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In the exhibition’s largest section, dedicated to Under the Wave off Kanagawa (the Great Wave) (about 1830–31), Hokusai’s print appears with works that riff on or directly cite the iconic image, including John Cederquist’s How to Wrap Five Waves (1994–95), Roy Lichtenstein’s Drowning Girl (1963), Andy Warhol’s The Great Wave (After Hokusai) (1980–87), and even a Lego recreation (2021) by Lego certified professional Jumpei Mitsui. Visitors can see Hokusai’s legacy in works by, among others, his daughter Katsushika Ōi, his contemporaries Utagawa Hiroshige and Utagawa Kuniyoshi, 19th-century American and European painters, and modern and contemporary artists including Loïs Mailou Jones and Yoshitomo Nara. More than 100 woodblock prints, paintings, and illustrated books by Hokusai are on view alongside about 200 works by his teachers, students, rivals, and admirers, creating juxtapositions that demonstrate his influence through time and space. Taking a new approach to this endlessly inventive and versatile Japanese artist, “Hokusai: Inspiration and Influence” explores his impact both during his lifetime and beyond. Thanks to the popularity of works like the instantly recognizable Great Wave-cited everywhere from book covers and Lego sets to anime and emoji-Katsushika Hokusai (1760–1849) has become one of the most famous and influential artists of all time.
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