Mariko Mori, ‘STAR DOLL FOR PARKETT 54 (Parkett Edition No. 54)’, 1998, Alpha 137 Gallery
Mariko Mori, ‘STAR DOLL FOR PARKETT 54 (Parkett Edition No. 54)’, 1998, Alpha 137 Gallery
Mariko Mori, ‘STAR DOLL FOR PARKETT 54 (Parkett Edition No. 54)’, 1998, Alpha 137 Gallery

Self-representation is a constant theme throughout her oeuvre, and with “Portrait of a Birth of a Star” Mariko Mori seems to be proclaiming her own fame and ascendancy as a prominent art figure in Toyko during the 1990s. The doll, however, has already started to suffer age wear and damage (i.e. tearing to the clothes, etc) -- so does the condition of Mori's doll today -two decades on - inadvertently make a statement about the condition of her stardom? Is art inadvertently imitating life in unexpected way? Just wondering...
box: 12½ x 6 x 3½ in. (31.7 x 15.2 x 8.8 cm.)
doll: 10 x 10 x 2 in. (25.4 x 25.4 x 5 cm.)Star Doll
doll with microphone, earphones, white boots, white stockings, red plaid skirt, top in blue, black and white, transparent bracelets, yellow shoulder pads, brooch and blue hair in original box
CONDITION NOTE: The shirt on doll is starting to crack and is torn at the back, elbows and one cuff. SOLD AS IS. The work is held in the original Parkett box, but is not accompanied by a numbered or signed Certificate of Authenticity by the artist. It was published by Parkett Editions, Zurich, 1998 in a limited edition of 99. This work was originally priced at several thousand dollars, but is being sold - as is -- at this fantastic low price due to the condition issues. A terrific bargain!
Quote
“In Mori’s work since 1996 the contours and shaping pressures of the contemporary image-stream are explored less by way of the classical-modernist strategy of distanciation and analysis than by impersonation: She uses her body as a lens that captures the light of the contemporary image-stream, and through certain enhancements and exaggerations makes it clear what the image-stream really wants of us.” Norman Bryson Parkett No. 54, 1998/99

Parkett Editions, Zurich.

About Mariko Mori

Mariko Mori’s diverse work, which has included video and photography, works on paper, sound, sculpture, and large-scale installations, explores the intersection between art and science, antiquity and modernity, and East and West. In her early work Mori explored urban cyberculture and kitsch, and used herself as a model in quirky photographs of fantastical Manga-inspired environments. More recently she created WAVE UFO (2003), her acclaimed capsule-shaped structure resembling a spaceship that exhibited at the 2005 Venice Biennale; visitors can enter attached to electrodes that gather brainwave data and turn it into real-time visualizations viewable on screens within the space. Mori has also examined Jomon and Celtic traditions and belief systems, fusing ancient symbols and rituals with advanced digital technologies in works such as Transcircle 1.1 (2004), a version of Stonehenge composed of glowing lights. Juxtaposing divergent cultures and disciplines such as Buddhism and science, or traditional tea ceremonies and Manga, Mori creates an aesthetic vocabulary that points simultaneously forward and backward.

Japanese, b. 1967, Tokyo, Japan, based in New York, New York