She said the central figure, known as Zao Gongen, “is a hybrid Shinto-Buddhist deity.
And the print is emblematic of his career because it has so many different things going on, mixing very traditional Asian art with goofy stuff and personal things.” Among the smaller figures surrounding the deity, Hardy has even depicted himself as a rat offering up a valentine heart to his wife, Fowler said.
Hero, Heroine, Ally, Foe San Francisco, Asian Art Museum, 2016.
xviii 268 pages, 285 illustrations en couleurs, bibliographie, index. A supplement to the eponymous exhibition that displayed artworks related to the epic in Asian Art Museum in San Francisco in 2016-2017, it focuses on the four main characters of the Rāma epic, the way they are represented, as well as defining moments from the story that involve those very characters, using 135 artworks found in museums across Europe and the USA.
Although I took care not to put myself in the narrative, I was thinking about it as I wrote.” For instance, Fowler recalled, she served as interpreter for “the legendary Horiyoshi II” during the 1985 National Tattoo Association Convention in Seattle, an event mentioned in the catalog as one of many important milestones in Hardy’s career.
And while tattoo artists like Horiyoshi II, Horiyoshi III and Sailor Jerry Collins were influential on Hardy’s tattoo style, so, too, was his training in East Asian art, Fowler argues in the catalog. For instance, Fowler begins her essay by considering Hardy’s 2007 print titled “Our Gang.” It’s based on a bronze plaque dated to the year 1001 and held in the Tokyo National Museum.
This is followed by Pika Ghosh’s int roduc t ion, “ A Rāmāyaṇa of One’s Own,” in which she begins on a personal note, by describing how the epic has been part of her since childhood, as she grew up in India, something that many from the region can relate with, and something that she will come back to throughout her writing, which intertwines her personal experience and her study of the epic.
Beginning thus, she discusses the durability, as well as the pervasiveness of the Rāmāyaṇa across various platforms, countries, and people, transcending even religions, as the Jains, Buddhists and even Musl ims among others have been associated with it in one way or another in the Indian subcontinent and South-East Asia.
That’s partly why she, along with her husband, Dale Slusser, was asked to contribute an essay for the catalog that accompanies the forthcoming Hardy exhibition at San Francisco’s de Young Museum. 6) is the first museum retrospective of the man known for elevating the tattoo from its subculture status to an important visual art form.
The catalog is edited by curator Karin Breuer and published by Fine Arts Museums of San Francisco in association with Rizzoli Electa.