In this lavishly illustrated volume, Laura Lee introduces the art
of Tokyo-based digital art collective teamLab, which has soared to
global fame with its electrifying immersive and interactive
installations. The first of its kind, Worlds Unbound: The Art of
teamLab provides a comprehensive overview of teamLab's artistic
vision and achievements from its beginnings to its twentieth
anniversary in 2021, and illuminates the remarkable scope of
teamLab's groundbreaking art and its fundamental contribution to
the pivotal field of new media art. This original new book, the
first scholarly monograph on this popular group, unpacks the
popularity and success of the digital immersive environments
created worldwide by the Tokyo-based collective, teamLab, from
multiple perspectives and addresses the lack of critical
appreciation of their work. The book includes an extensive
interview with teamLab. teamLab launched in January 2001 with five
members and now comprises more than 600 individuals in a
multidisciplinary collaboration of engineers, computer graphics
animators, mathematicians, graphic designers, architects, artists
and computer programmers. The digital art collective has attained
international celebrity for its electrifying installations that
transcend boundaries between gallery, public space and popular
entertainment and, judging from press coverage, ticket sales and
prolific production, it seems clear teamLab's success is only on
the rise. In 2018, the collective opened the MORI Building DIGITAL
ART MUSEUM: teamLab Borderless, a massive technological environment
in Tokyo that recorded 2.3 million visitors in its first year of
operation - the world's largest annual number of visitors of any
single-artist museum. The same year saw numerous other high-profile
immersive exhibitions, including teamLab: Massless in Helsinki,
Au-dela des limites in Paris, and teamLab Planets TOKYO, a second
exhibition in Tokyo. These were quickly followed by two new
museums, teamLab Borderless Shanghai in 2019 and, in 2020, teamLab
SuperNature in Macao. The vast sea of selfies that have emerged
from these venues index the collective's soaring global popularity.
At the same time, teamLab's works have found art market success and
have been exhibited in major museums worldwide, including the
National Gallery of Art in Washington DC and Los Angeles County
Museum of Art (LACMA), and they are part of the permanent
collection of The Art Gallery of New South Wales, the Asian Art
Museum of San Francisco, and Amos Rex in Helsinki, among numerous
others. This canonization of teamLab's art belies the fact that the
group did not have a traditional gallery start, and in fact teamLab
has always engaged in software development and corporate work, in
addition to creating artworks. The collective thus boasts an
enigmatic status, spanning conventional categories and defying
traditional art world pedigree. In so doing it has produced a
tremendously rich body of work that speaks to several overlapping
issues pertinent to contemporary art while advancing a unique
artistic vision. Primary readership will include artists, art
historians and visual studies scholars who are particularly
interested in the most recent media art and Japanese contemporary
art. It will be an essential resource for students and scholars
working in Japanese art, global contemporary art, digital art,
augmented reality, expanded cinema and installation art and related
fields. It will also be of more general interest to those who have
visited, or hope to visit, teamLab environments worldwide.
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