A lot of my Symposium research is relevant to this Phonar task as I have been looking at Otaku culture and photographers for that too. So I wanted to a summary of the work which I think is relevant and expand on it more in relation to Phonar.
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This is the view of what men dream of but can never be at the point to see. Many men have a lot of desire to see the underwear beneath a woman’s skirt. At the same time, many women think about having their underwear looked at by men. This desire is never spoke of in public. The woman is photographed by the artist at the same moment as the woman photographs herself. The camera can be a very good excuse to connect men’s and women’s desires.
– Noritoshi Hirakawa
Japan is a country submerged in“cuteness”.
I have been surrounded with“cute”things since childhood and thus they seem natural,but I have come to believe this“cuteness”is unique to Japan.
ANIKORA series Three takes“cuteness”as a sub-theme.
Along with ANIKORA series 1 and series 2,the purpose of these works is to investigate the desire of men to see“anime”or cartoon characters of young women with child-like face and improbably voluptuous bodieis. It is easy to see how men’s desires are reflected in these characters, but less so how this way of seeing women is expressed in Japan’s culture of“cute”things.
Women who are immersed in the culture of “cuteness”define themselves and present themselves to society as objects of “cuteness”. Being“cute”is the most important value for Japanese young women. But aren’t they losing themselves and their own identities and personalities by trying to become objects of masculine society’s desire for“cuteness”?
Although he is known for his sculptures and paintings, Murakami has also dabbled in photography.
He also collaborated with photographer Ricard Prince on this image for the cover of “POP”.