My Vinyl Education

MOMA's toys

2010-02-21T08:33:00.000-08:00

Did you know that the Museum of Modern Art, New York (MOMA) is the only museum to have Kidrobot toys (or analogous objects) as part of their permanent collection? Though Kidrobot was featured in the Cooper-Hewitt National Design Museum’s Design Life Now: National Design Triennial 2006, the objects are not a part of the museum’s permanent collection.

In 2007, nine Dunnys and three Munnys, produced and retailed by Kidrobot, were brought into the MOMA's collection- Dunny designs by: Cycle, DOMA, Frank Kozik, Tilt, David Flores, Deph, Kenzo Minami, Thomas Han, and Huck Gee.

MOMA’s curatorial staff justified the acquisition of these objects art part of the Design and Architecture Collection based on several criteria. The production of the objects was tied into the history of mass production as well as serialized production, in the form of the applied decoration. The label copy for each object credits Paul Budnitz and Tristan Eaton with the design of the form and each artist who is responsible for the design of the applied decoration. Christian Larsen, Curatorial Assistant in the Dept. of Architecture and Design at the time of the acquisition explains that MOMA was “looking at it as a collaboration between the industrial and the artistic . . . trying to marry those two things together.” Larsen also noted that the Kidrobot toys were tied into the legacy of toys that were already a part of the MOMA’s collection on the one hand, and also highly representative of a recent phenomenon within design:

"It was about. . .the contemporary currents within design—that these are highly representative of serialized production, but also mass customization, everything that is happening [now] with rapid manufacturing . . . that allows you to customize something on a whim. These are on the one hand standardized, then extremely customized. It’s another kind of permeation of this trend that has been happening in design—to create unique objects."

MOMA has set a precedent for the museum world in this declaration that these art toys are museum-worthy.

The following are all Collection Museum of Modern Art, New York:

Mao Dunny, 2005, Frank Kozik

Tilt Dunny, 2005, Tilt

Doma Dunny, 2005, DOMA

Cycle Dunny, 2005, Cycle

Bad Dunny, 2006, David Flores

Big Mouth Dunny, 2006, Deph

Kenzo Minami Dunny, 2006, Kenzo Minami

A group of Kidrobot toys was a part of the MOMA’s exhibition Just In: Recent Acquisitions from the Collection (December 21, 2007- November 30, 2008), but to my knowledge they have not been on view since . . .

Vinyl kills

2010-02-05T06:51:00.000-08:00

Yesterday I was finally able to hunt down Vinyl Will Kill! An Inside Look at the Design Toy Phenomenon, ed. Jeremy, 2004. The book calls itself: "the first major book in the world on the designer toy movement." The book exists in several library collections across the country, none of which were willing to let it go out on inter-library loan. Fortunately, I was able to access it at the New School's Gimbel Library, and even there it exists in their special collection. What makes this book more "special" than others is that it is packaged in a box that lists its contents: “1 designer poster, 36 web cards, 232 page book”.

I had never heard of the artist Jeremy before or Jeremyville, but he appears to be rather prolific and this book surprised me. In the preface, Jeremy explains his intentions behind the book:

“Something very exciting and very fresh was happening right now, and I needed to make a contribution to this movement immediately, before the paint peeled from the sneakers, literally and metaphorically . . . So it was this first hand, insider look at all stages of this global movement . . . from designer to producer to retail store . . .that we hoped to capture here in print, through a series of informal interviews with the leading players in this design toy circle. A book that’s your own backstage pass to this designer toy phenomenon, and your key to looking ay a piece of pink vinyl in a different way."

Though overall the content was uneven, there were several substantive interviews- much longer and more in depth than others I've come across in similar publications. However, the book still remains elusive to someone who is unfamiliar with these toys- something I've been encountering with my other sources. This, and the other comparable books, are the projects of those who are very much involved in the art toy world, the result of which is more analogous to a club member's handbook than an insider's guide. In order for my thesis to be accessible I aim to thoroughly contextualize art toys and try to explain them to the layman.

In my queue . . . .

2010-02-02T10:42:00.000-08:00

I just discovered Toypunks: Vol. 1 and put it in my Netflix queue! I can't believe I haven't come across this before. Here is an amazing blog about its production. Looks like volume 2 is well in the works . . .

Bounty Hunter

2010-02-02T10:29:00.000-08:00

I am currently working on a chapter focused on a context for art toys, and specifically Asian parallels for these objects. Bounty Hunter, a clothing boutique in Tokyo seems to be a very important link between East and West in the world of vinyl. Founded in 1995, the boutique quickly gained a cult reputation for 1970s music and popular culture paraphernalia. I'm talking Sex Pistols, Ramones, The Clash t-shirts and Star Wars and Cap'n Crunch toys. They then started collaborating with other artists, colleagues, and friends, creating original t-shirt designs. Out of this was born one of the first vinyl figures- Kid Hunter.

Kid Hunter was the brainchild of the well established Japanese graphic designer Skatething, responsible for the clothing company A Bathing Ape and the fashion label 40% Against Rights. Initially Kid Hunter was produced by Bounty Hunter as a sort of accessory that, was free with the purchase of a t-shirt. After Kid Hunter, Skull Kun was the second vinyl figure conceived of by Hikaru Iwanaga and produced by Bounty Hunter.

Both Kid Hunter and Skull Kun have since become exemplary images of Bounty Hunter, who has continued to produce vinyl toys on a larger scale.

What I also found out is that Bounty Hunter is responsible for facilitating the creation of arguably the most iconic figures in vinyl——collaborations with James Jarvis, KAWS and Frank Kozik. The first incarnations of the characters, respectively, Marvin, Companion, and the Smorkin’ Labbit were the result of a working relationship with Bounty Hunter!

Martin X, 2008 from Amos Toys

KAWS, Companion, 1999

Frank Kozik, Smorkin' Labbit variation from Kid Robot

(My main source for information is: Vartanian, Ivan.; Iida, Akio.; Martin, Lesley A. Full Vinyl: The Subversive Art of Designer Toys. New York: Collins Design, 2006)

Pictoplasma

2010-01-18T15:59:00.000-08:00

I just discovered Pictoplasma Berlin, a festival of contemporary character design and art. This my first encounter with the phrase "contemporary character design", and I think it's a very succinct way to explain the position of the toys I've been studying. Pictoplasma seems to be mainly focused on animation- their annual animation festival will take place this April. I discovered the Pictoplasma project while researching the conception of Dot Dot Dash: Designer Toys, Action Figures, Character Art, one of my main sources.

This publication was produced by the same minds behind Pictoplasma. In Spring 09 there was apparently an exhibition entitled Pictopia that "investigated the aesthetic principle of reduction and abstraction in the design of anthropomorphic characters" (taken from catalogue description). I have ordered the catalogue and am interested in reading the essays. Already, by just exploring the Pictoplasma website, I appreciate the approach and the vocabulary used in the discussion of the importance of character design to contemporary visual culture. It is very relevant to my project and am interested in using a similar approach in my writing.

Pratt DIY

2010-01-16T10:34:00.000-08:00

The students in Pratt's digital arts program were inspired by Kidrobot's newest platform toys and appropriated the KR forms to produce this animation, the producti of a Fall 2009 course:

It's as if the Pratt students chose to digitally customize the forms of Munny, Rooz, Trikky, Raffy, and Bub. What's most interesting about this is how the characters are given personalities and come to life. There has been word that a Kidrobot feature film is in production (the date of completion is unclear). If part of the charm of these toys is that they are invented characters that exist independent of any other media, how will this feature film affect their conception and consumption? What happens when Munny becomes a movie star?

Resolutions

2010-01-12T08:48:00.000-08:00

In 2010, and more specifically in the next two months, I resolve to post more often. I have been on a hiatus for a bit, but I am back. I just got back to New York after my hibernation in Buffalo and I'm ready to tackle this thesis head on! A draft of the first half of the paper is due on Feb 22- a rude awakening!

Just saw this post on the Kidrobot KRonikle for keychains that will be available by blink assortment in early February. I love the Murakami reference . . . .

Interviewing Budnitz

2009-12-09T08:42:00.000-08:00

Check out this latest interview with the Kidrobot President- Paul speaking with Richard Gottlieb.

I also came across this very thorough Vinyl Pulse interview 2005

From that interview:
"You can’t get anywhere without making a sacrifice and taking a risk. The secret is not to be afraid of falling because there is nowhere to fall to. The very bottom is really not so far away that it can hurt us if everything falls apart."

Paul seems to be a very wise man.

I have an interview with him today . . . . I'm going to ask some new questions.

Kidrobot London

2009-11-21T15:38:00.000-08:00

On November 19, Kidrobot opened it's London store and first UK presence. Earlier this year (in July), a Kidrobot store opened in Dallas as well. I wonder where they will pop up next . . .

Kidrobot Prez

2009-11-21T15:28:00.000-08:00

Found this recent interview with Paul Budnitz, founder and president of Kidrobot. I'm going to speak with him in a couple of weeks. He has been interviewed many times and I'm looking forward to asking him some questions I have yet to find answers to . . .

Paul Budnitz interviewed by AOL Switched from http://kronikle.kidrobot.com/#

Munnyworld 2009

2009-11-16T11:05:00.000-08:00

My thesis was approved! That means, I am moving forward and mobilizing my research efforts.

Last Thursday, November 12th, I went to the opening of Kidrobot's Munnyworld 2009, a custom toy exhibition at The Eloquent Delinquents Gallery. The advertising for the event announced:

"Celebrate the launch of MUNNYWORLD, Kidrobot's all-new do-it-yourself toys, at the world's most prestigious custom vinyl extravaganza, featuring over sixty rock star artists from around the world. Be there to get your hands on these hot works of art before their official release. There will be beats booze, and the chance to meet many of the most important toys artists in the game."

Not only was this a chance to see (as well as purchase) the latest custom Munnys (each 18" high), but also an introduction to several new DIY toys- Trikky, Bub, Raffy and Rooz- also available for purchase. These were also displayed in the gallery space in large, artfully arranged stacks.

It was definitely an "extravaganza," and felt more like a party than an art exhibition. I hadn't expected this to be the case. When I got there, there was a long line stretching down the block. There was also a VIP line being heavily used. Melissa Joan Hart, a TV actress and huge part of my childhood as Clarissa on Nickelodeon's Clarissa Explains it All, was there. Her name, however, was not on the VIP list and she had to wait in the long line with the rest of us. I blame this on the 18 year old with the clipboard, who did not recognize her. Overall, I was struck by how young the people involved in running the event appeared- the DJ looked especially youthful.

It was extremely crowded, which, given my curatorial background, made me nervous for the artwork. At points, you could hardly move through the space- I blame it on the free beer and wine, which didn't seem to last through the end of the opening, expect to those lucky VIPs who continued to partake. I appreciated KR's signage, which was uniform throughout the gallery space, announcing what was for sale, not to touch the toys, and where to dispose of your empty bottle.

At first, I was slightly apprehensive about bringing my camera to this event, but I fit right in- people were taking pictures all around me.

The artists fit right into the crowd, expect that several of them were signing/doodling in sketchbooks or on toys. If it weren't for my friend Zach, I would not have noticed several of them that were not drawing this kind of attention to themselves.

Tilt

Overall, the quality of the customizations was varied. Some were very impressive, while others were less interesting. Most interesting was the scene itself.

It's amazing how fleeting this event was- only three days on view. During this time the Munnys were for sale online at kidrobot.com as well. They have since completely disappeared from kidrobot.com. Now it's hard to find images of the custom toys online, except through sites like Flickr where there exist many images similar to mine from people who were also at the event. Kidrobot did accurately state in their advertisements that the Munnyworld customs would "disappear" after Sunday, November 15. I guess I just didn't believe them . . . .

Proposal

2009-10-30T14:06:00.000-07:00

My thesis proposal is in! I should find out sometime next week if it has been accepted, in which case I will move full steam ahead.
In my proposal I've identified two main areas of interest:

First, I am interested in the migration of a commercial art form from East Asia (Japan and Hong Kong) to the United States and then back again to the East. A fluid cultural exchange exists around these objects. Parallel studies on anime and manga (Japanese comics) exist, but this current phenomenon of art toys has yet to be fully explored. Though scholars have considered Japanese toy culture, far less work has been done on the manifestation of this phenomenon in the United States. Secondly, I am interested in the collectors of these objects and how virtual interaction has changed the landscape of the culture of collecting. A complex online forum associated with art toys bears examination, for it affects the way people communicate, collect, and ultimately identify themselves. Art toys merit scholarly attention for they represent a dynamic, highly experimental area of visual art that reflects the current direction of contemporary art.

These are my preliminary aims. I'm sure as I dive into my research they will morph and evolve into something truly interesting. Stay tuned.

The Art in the Toys

2009-10-19T16:04:00.000-07:00

Frank Kozik is arguably the best known toy designer, with his iconic "labbit" as one of the several faces of Kidrobot. There's an exhibition of Kozik's work that opened last week in Culver City, CA at Billy Shire Fine Arts. Along with oil paintings featuring Mao there are also several sculptures and even a labbit stool. This exhibition brings up an issue which I have been grappling with- are these toys or are they art? Where is the line? Does it even matter? Placed in a gallery context, Kozik's toys become sculpture. I would argue that set in someone's collection, on their windowsill, or in a glass cabinet in their living room, Kozik's toys become sculptures as well. Paul Budnitz has described art toys as a type of "folk art" (I Am Plastic, Intro). In an essay in the book Full Vinyl: The Subversive Art of Designer Toys (Collins Design, 2006), Carlo McCormick, curator and senior editor of Paper Magazine, places vinyl figures in the trajectory of artist multiples. Mccormick cleverly draws connections between contemporary art toys and multiples created by the Editions M.A.T (Multiplication d'Art Transformable), founded by Daniel Spoerri in 1959 and the multiples generated by Keith Haring and his "Pop Shop" of the 1980s.

"Here's the philosophy behind the Pop Shop: I wanted to continue the same sort of communication as with the subway drawings. I wanted to attract the same wide range of people and I wanted it to be a place where, yes, not only collectors could come, but also kids from the Bronx…this was still an art statement."- Keith Haring

An important aspect to keep in mind is that the artists who are creating art toys are doing so often as tangental to their main creative practice. There's a great interview that Paul Budnitz did with Kozik. This is how Kozik explains the factors that contribute to his art, and in particular his appropriation of Mao's image:

1. My love of and desire to make 'Pop Art'...what better than a large, shiny plastic object.

2. My fascination with Mao

3. My fascination with 'branding'

4. The utter oddness of the current '3rd road' approach in China

5. The ability to produce an exceedingly odd object of no value whatsoever, except it makes people go 'whoa... what the fuck?' ...and then want to own it.

6. My love of the utterly absurd.

Billy Shire Fine Arts

When talking about the boundaries between toy and art, Takashi Murakami and Yoshimoto Nara often enter the conversation. Murakami and Nara use anime and manga for inspiration. Murakami has created work that has invaded the consumer world, combining "high art" with "low art"- fine art with popular culture. In 2003, he collaborated with toy manufacturers to create the '"Superflat Museum", a series of plastic figures to be sold as free gifts that come with chewing gum at convenience store locations.

When asked about straddling the line between art and commercial products, Murakami said,

"I don’t think of it as straddling. I think of it as changing the line. What I’ve been talking about for years is how in Japan, that line is less defined. Both by the culture and by the post-War economic situation. Japanese people accept that art and commerce will be blended; and in fact, they are surprised by the rigid and pretentious Western hierarchy of ‘high art.’ In the West, it certainly is dangerous to blend the two because people will throw all sorts of stones. But that's okay—I’m ready with my hard hat." (Wikipedia)

To Murakami, the gulf between his large scale sculpture and his art toys is not very big- he sees the connection as a fluid one.

Referring to the difference between the consumer- made toys and his fine art, Murakami stated:

"Of course, the consumer group will be different, but it's the same aesthetic form in the end. And I would like it if these consumer groups were one and the same."

He also acknowledges the political edge that his work has:

"While it is not meant as a blow at the art world per se, it is a political statement. Art does not have to be in a gallery. It does not have to cost thousands of dollars. It does not have to be elitist. It can be entertaining, and available." (from Plastic Culture by Woodrow Phoenix, 2006)

New York Times, from exhibition at Brooklyn Museum, 2008

The Platform Toy

2009-10-06T11:43:00.000-07:00

Platform toys- the same basic toy form redesigned through different artistic collaborations- are at the heart of the designer art toy movement. This story begins in May 2001, when the Japanese toy company Medicom released the first platform toy- http://www.bearbrick.com/index.html (the website has an amazing design and is really fun to poke around, even if you don't have the Japanese language pack installed :) ). The first figure was apparently created for and given as a free gift to visitors at the World Character Convention 12 (says Wikipedia). Since that first introduction, there have been 18 series of BE@RBRICKs plus several other editions in different sizes and various materials. BE@RBRICK's form is simple and resembles the familiar teddy bear- a contemporary version of the classic. It has a simple construction, just nine elements (according to Wikipedia, in the toy industry you call these parts "tools") that are efficiently mass produced. The nine tools of the BE@RBRICK allow for eight points of articulation (also toy industry lingo). The traditional BE@RBRICK size is 7 cm tall (called 100% BE@RBRICK)- other BE@RBRICKs are named for their relative size in relation to this 7 cm standard (ex. 50% BE@RBRICKs are 4 cm tall and 400% BE@RBRICKs are 28 cm tall). Each series includes 18 figures in 10 different variations, which remain constant from series to series. The 10 variations are: Basic, Jellybean, Pattern, Flag, Horror, SF, Cute, Animal, and Artist (there are always 2 "Artist" variations, designed each by a different artist and according to their conceits). BE@RBRICKs are produced in limited editions and sold in a "blind box" format, where you don't know exactly what toy from the series you are going to end up with. This is the latest BE@RBRICK series 18.

BE@RBRICK was the first, and has since become one of the most popular "platforms" for artistic collaborations. I love this BE@RBRICK by Karl Lagerfeld for Chanel!

Here's a BE@RBRICK by KAWS (100% next to 400%). I've been paying a lot of attention to the New York based artist KAWS because my collector friend Zach is really into his toys at the moment.

In 2004, Kidrobot released the Dunny and describes it as "an action figure made of soft, smooth vinyl . . . created to be customized in a broad variety of styles by diverse artists working in different mediums." Dunny is probably the most popular platform toy. On KR's Dunny page, you can view all the Dunnys ever made! But, it happens to be missing the latest 2009 Dunnys.

There are also really special customized Dunny editions, like this one in wood by designer David Weeks. There are only 5 of these! Each is hand chiseled, so they are each unique- they are now on display at Kidrobot NY. If you have some extra disposable income, you can own one for $1,300. I bet it smells great.

The Munny, A DIY toy by Kidrobot, is a relative of the Dunny. You buy the blank canvas and turn it into your original "masterpiece," as Kidrobot puts it.

Kidrobot hosts a MUNNYWORLD Custom Contest where they ask artists to show them how they have customized Munny. Here are some of the 2009 winners

Recently, Kidrobot has announced that Munny is making friends. Like this one, named Rooz.

And this one too . . .

I personally appreciate the austerity of the "blank" versions as much as the customized ones.

I noticed an interesting "Ask Dunny" section on the Kidrobot KRonickle , that says:

"Got an unanswerable question about toys? Art? Relationships? Ask, and Dunny will answer! Send an email to askdunny@kidrobot.com, and Dunny will share insights and wisdom right here on the KRonikle."

I may take them up on that . . .

Focusing

2009-10-03T14:21:00.000-07:00

As I start this project, there are several technicalities I have to resolve. The trouble with writing a thesis, is that you should have a thesis :) Of course, one usually doesn't have a conclusion in mind when they start their research, but they normally have a focused direction. That is what I am working on right now. I could write a book about this art toy phenomenon, so I have to narrow my frame. Firstly, I've made the decision to investigate the designer art toy movement (self proclaimed) as it currently exists in the United States (I will also likely include Canada in my discussion). I am particularly interested in the American manifestation of an Asian phenomenon.

Still a really broad topic, so I'm going to focus in and do a sort of "case study" of Kidrobot. This has proved to be a controversial move. A friend of mine (Zach), who I have recently been getting to know due to his love of these toys, thinks this is not the way to go. I sense there is a definite "love/hate" relationship with Kidrobot in the world of serious art toy collectors. Why? Probably because Kidrobot is too corporate, too visible, too mainstream. In the end, this is why they are perfect for my purposes. Kidrobot has given visibility and recognition to an art practice that otherwise may have only existed underground. No matter how much you may resent them (and maybe resent is too harsh a word), you cannot deny their influence. Zach thinks I am maybe limiting myself by focusing on Kidrobot. He has a point, and I have to be wary of this moving forward. When I began to investigate other retailers and manufacturers as well as people who are collecting these objects, I soon realized that what they all have in common is Kidrobot. Most collectors start by collecting Dunnys or Munnys and then even after they move on from Kidrobot specific toys, they are still using the Kidrobot discussion board to find the toy they are coveting, brag about their collection, or simply connect with other collectors and artists. Kidrobot has created, and continues to foster, an entire community. So, I am moving foward with this Kidrobot focused (but not centric) lens. I should mention that Zach wants me to focus on the collector of these toys. I agree that the people that obsess over and truly love these objects are going to be an integral part to my research. Soon, I hope to feature Zach and his collection, and others like Zach who sustain the art toy movement.

The 2009 Kidrobot Dunnys were just released recently- 20 new designs from 20 artists. Check out this one by Gary Taxali. It makes me smile. I'm not sure what the extra figure is that comes with it- but I love that too. His website is really wonderful as well. His imagery is very nostalgic, but with a contemporary kick.

Taxali also has designed Chump Toys. Here is OH NO and OH OH (released May 2008). The legs are adjustable! They are 6 1/2" high and were made by BigshotToyworks

You can even buy this sweet stationary set at kidrobot.com.

My small collection

2009-10-02T15:13:00.000-07:00

I have a collection of Dr. Ledoux's Critter Splitters. I bought the majority of them at Kidrobot when they were trying to unload them (for $1 each!). I am only a couple of figures away from completing the collection. Each toy is interchangeable, so you can create your own creatures. I have to admit that I have never done this. I like them the way they are. The Yeti-looking one is my favorite!

Jesse Ledoux is the artist responsible for this 2007? series, and I recently discovered that he also designed the album covers for a bunch of bands I love. Like this CD packaging for the Shins

I also have a handful of Frank Kozik's mini Labbits. Thanks to my lovely boyfriend, I also have a series 1, 5" Happy Labbit. The best present a boyfriend has ever bought me :)

Recently I have been very intrigued by Treeson designed by Bubi Au Yeung and produced by Crazy Label. I am completely in love. I'm seeing a connection between the Treeson and my attachement to Ledoux's Yeti . . . . I am seriously thinking about investing in the latest 8" Treeson (2009)- Pink Treeson with Bubblefun, edition of 500. Each Pink Treeson comes with a white Bubblefun and a four-pack is available for purchase separatley with three other "flavors" designed by Bubi, and a fourth by one of a handful of artist collaborators.

Just Learning

2009-10-02T14:02:00.000-07:00

Hi! I am just starting the process of writing my master's thesis. I am working toward being a Master" in the "History of Decorative Arts, Design, and Visual Culture"- a degree which is often hard to explain. :)
I have decided to write about designer art toys. I first saw such a toy at an exhibition at the Cooper Hewitt three years ago. Since, I have been to Kidrobot and picked up several mini-figures. Kidrobot, until I started this project, was my only introduction in the world of these toys, which, to me, seems bigger and bigger every day! At this point, I have decided to start blogging while I infiltrate this world of art toys and try to hash out my thesis. I want to start a conversation about what I'm finding and learning along the way. Wish me luck!