#ArtToysMovement

[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #44 Questioning Art Toy Gama #44

Can we pinpoint the moment when Superflat Museum Set turned everyday convenience stores into unexpected art galleries—when in 2003, Murakami, alongside toy giants Kaiyodo and Takara, released figures like Hiropon and Miss Ko2 as part of a line that blurred the line between collectible and fine art? When buying a chewing gum pack could also mean owning a piece of Murakami’s vision, crafted by Bome, and sold not in auction houses, but next to soda and snacks?

¿Podemos considerar el momento en que Superflat Museum Set convirtió las tiendas de conveniencia en galerías de arte inesperadas—cuando en 2003, Murakami, junto a los titanes del juguete Kaiyodo y Takara, lanzó figuras como Hiropon y Miss Ko2 dentro de una línea que desdibujaba la frontera entre lo coleccionable y el arte? Cuando comprar un paquete de chicles también significaba poseer un pedazo de la visión de Murakami, esculpida por Bome, y vendida no en casas de subastas, sino junto a los refrescos y aperitivos?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement #HistoryofArtToys

#1000IconicArtToys

Superflat Museum Set by Takashi Murakami

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #42 Questioning Art Toy Gama #42

Can we pinpoint the moment when Takashi Murakami flipped the script—when instead of elevating street culture into art, like Michael Lau, Eric So, and Bounty Hunter, he took the high art world and injected it with the energy of mass culture? When his Superflat philosophy crushed the boundaries between museums and mainstream, proving that fine art could be as accessible as a Louis Vuitton bag, as playful as an anime character, and as disruptive as a viral trend?

¿Podemos considerar el momento en que Takashi Murakami le dio la vuelta al juego—cuando, en lugar de elevar la cultura callejera al estatus de arte, como hicieron Michael Lau, Eric So y Bounty Hunter, él tomó el mundo del arte elevado y lo impregnó de la energía de la cultura de masas? Cuando su filosofía Superflat dinamitó las barreras entre los museos y lo mainstream, demostrando que el arte podía ser tan accesible como un bolso de Louis Vuitton, tan juguetón como un personaje de anime y tan disruptivo como una tendencia viral?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement #HistoryofArtToys

Takashi Murakami photo from INSTAGRAM

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #41 Questioning Art Toy Gama #41

Can we pinpoint the moment when Michael Lau and Eric So turned street culture into tangible, collectible art, just as Takashi Murakami blurred the line between high and low culture—when Art Toys stopped being "just toys" and became a visual language that redefined contemporary art, design, and identity on a global scale?

¿Podemos considerar el momento en que Michael Lau y Eric So transformaron la cultura callejera en arte coleccionable, del mismo modo que Takashi Murakami desdibujó la frontera entre el "arte elevado" y la cultura popular—cuando los Art Toys dejaron de ser "solo juguetes" para convertirse en un lenguaje visual que redefinió el arte contemporáneo, el diseño y la identidad a nivel global?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

Kaikai＆Kiki（BLUE eyes ver.) by Takashi Murakami

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[thisisnotaboutarttoys]

¿Podemos Saber Cuándo Nace Un Art Toy? II

Descubriendo las historias, los creadores y la cultura detrás de los #ArTToys

¿Fue en 1997, cuando Skatething diseñó a Kid Hunter para Bounty Hunter? Cuando una camiseta gráfica se convirtió en vinilo—y el streetwear en mitología? Cuando los coleccionistas no vieron un juguete, sino un Movimiento disfrazado? Kid Hunter no fue lanzado. Fue desatado. Sin articulaciones. Sin adornos. Solo actitud convertida en plástico. De pronto, los juguetes dejaron de ser juguetes: eran antijuguetes. Y desde Tokio, la visión de Hikaru Iwanaga abrió una nueva escena. Quizá ahí fue donde realmente empezó la revolución.

#MoreThanDisPlay #ArtToyGama  

#ArtToyFiles #1000IconicArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #43 Questioning Art Toy Gama #43

Can we pinpoint the moment when Art Toys broke into the world of high art, earning a permanent place in MoMA’s collection thanks to artists like Frank Kozik, Huck Gee, and Kenzo Minami?

In 2007, nine Dunnys and three Munnys from Kidrobot, designed by icons such as Cycle, DOMA, Tilt, David Flores, Deph, Thomas Han, and more, became part of MoMA’s Design and Architecture Collection. More than toys, these pieces embodied a revolution in serialized production and mass customization, where each artist turned a standardized form into a unique statement. This wasn’t just an acquisition—it was a recognition that Art Toys had outgrown their niche and earned their place alongside the greats of modern design.

¿Podemos considerar el momento en que los Art Toys irrumpieron en el mundo del arte, asegurando un lugar en la colección permanente del MoMA gracias a artistas como Frank Kozik, Huck Gee y Kenzo Minami?

En 2007, nueve Dunnys y tres Munnys de Kidrobot, diseñados por figuras como Cycle, DOMA, Tilt, David Flores, Deph, Thomas Han y otros, fueron añadidos a la Colección de Diseño y Arquitectura del MoMA. Más que juguetes, estas piezas representaban una revolución en la producción en serie y la personalización masiva, donde cada artista transformaba una forma estandarizada en una declaración única. No fue solo una adquisición; fue el reconocimiento de que los Art Toys habían superado su nicho y se habían ganado un lugar en la historia del diseño moderno.

#MoreThanDisPlay #ArtToyGama #ArtToyMovement #HistoryofArtToys

Kidrobot, “Hello My Name Is” Dunny, 2006.

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #2 Questioning Art Toy Gama #2

Can we pinpoint that the Art Toy Movement had 2 epicenters at its birth: Hong Kong and Tokyo, which independently and unintentionally, gave rise to an artistic and creative phenomenon that spread throughout the world, giving rise to a new type of Art? ¿Podríamos considerar que el Movimiento de los Art Toys tuvo 2 epicentros en su nacimiento: Hong Kong y Tokio, que de manera independiente y sin intención, dieron inicio a un fenómeno artístico y creativo que se expandió por todo el mundo, dando lugar a un nuevo tipo de Arte?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

Art in photo by Dhani Barragan fro Spain. Produced by Mot Museum from Indonesia and Art Toy Gama Collective from Spain

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #66 Questioning Art Toy Gama #66

Can we pinpoint Silas as the first streetwear brand to turn illustration into Art Toys? Before Amos Toys, Silas didn’t just put graphics on clothing—it brought them to life. Martin wasn’t a mascot; he was a wearable identity transformed into vinyl. Was this the moment fashion, illustration, and designer toys became one?

¿Podemos considerar a Silas como la primera marca de streetwear en convertir la ilustración en Art Toys? Antes de Amos Toys, Silas no solo estampaba gráficos en camisetas, sino que los transformaba en figuras. Martin no era una simple mascota; era una identidad que pasó del textil al vinilo. ¿Fue este el momento en que la moda, la ilustración y los Art Toys se fusionaron?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #65 Questioning Art Toy Gama #65

Can we pinpoint Martin by James Jarvis as one of the first Art Toys to translate a comic world into 3D? Unlike highly detailed action figures, Martin was flat, bold, and graphic—more like an illustration in sculpted form. While Michael Lau’s Gardeners also emerged from a comic series, Martin was less about individual personalities and more about pure form and design. Did both figures redefine how toys could bring an artist’s vision to life?

¿Podemos considerar a Martin de James Jarvis como uno de los primeros Art Toys en llevar un mundo de cómic al 3D? A diferencia de las figuras de acción hiperdetalladas, Martin era plano, audaz y gráfico—más una ilustración convertida en escultura. Aunque The Gardeners de Michael Lau también surgieron de una serie de cómics, Martin no se centraba en personalidades individuales, sino en la pureza de la forma y el diseño. ¿Revolucionaron ambas figuras la manera en que los juguetes podían materializar la visión de un artista?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#1000IconicArtToys

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[thisisnotaboutarttoys]

Michael Lau vs. James Jarvis: Dos visiones que dieron forma al movimiento Art Toy

Descubriendo las historias, los creadores y la cultura detrás de los #ArTToys

A finales de los años 90, los Art Toys comenzaron a consolidarse como un verdadero movimiento artístico. Dos figuras clave emergieron casi al mismo tiempo: Michael Lau en Hong Kong y James Jarvis en el Reino Unido. Aunque ambos llevaron sus personajes ilustrados al mundo del vinilo coleccionable, sus enfoques fueron completamente distintos, trazando caminos únicos dentro del universo Art Toy.

Cultura y Raíces Artísticas

En 1999, Michael Lau presentó los Gardeners, una serie de figuras profundamente ligadas a la cultura urbana, el hip-hop, el skate y el graffiti. Inspirado en las figuras GI Joe, Lau transformó los juguetes en una declaración visual de la escena streetwear de finales de los 90. Su trabajo difuminó los límites entre juguete, arte y moda, llevándolo a colaborar con marcas como Nike y Carhartt.

James Jarvis, por su parte, lanzó Martin en 1998, un año antes de los Gardeners. Su obra tenía raíces en la ilustración europea, el cómic independiente y la filosofía del diseño gráfico. En colaboración con Silas y Bounty Hunter, Jarvis redefinió los Art Toys como manifestaciones tridimensionales de la visión artística, más allá de simples declaraciones de la cultura urbana.

Filosofía del Diseño

Los Gardeners de Lau eran avatares de la cultura callejera, con atuendos, actitudes y narrativas únicas. Sus diseños parecían extraídos directamente de un mural de graffiti o de una editorial de streetwear.

Los personajes de Jarvis eran minimalistas, casi filosóficos, reduciendo la forma a lo esencial. Su enfoque era más conceptual, centrado en el diseño puro más que en personalidades individuales.

Estrategia de Mercado

Michael Lau convirtió los Art Toys en coleccionables de lujo, con ediciones limitadas y una estrategia de exclusividad similar a la de la cultura sneaker.

James Jarvis, con Amos Toys (2003-2012), apostó por la accesibilidad artística, asegurando que sus figuras fueran ampliamente disponibles sin comprometer su independencia creativa.

El Legado de Dos Pioneros

Tanto Michael Lau como James Jarvis redefinieron lo que podían ser los Art Toys, pero desde perspectivas radicalmente distintas. Lau fusionó moda, música e identidad urbana, mientras Jarvis convirtió los juguetes en una extensión de la ilustración y la filosofía artística.

Dos visiones. Dos movimientos. Una revolución.

#MoreThanDisPlay #ArtToyGama  

#ArtToyFiles #WhoMakesArtToys

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[thisisnotaboutarttoys]

Art Toy Files #55: Michael Lau vs. James Jarvis: Two Visions That Shaped the Art Toy Movement

Uncovering the Stories, creators and culture behind #ArTToys

The late 1990s marked the birth of Art Toys as a true artistic movement. Two key figures emerged almost simultaneously: Michael Lau in Hong Kong and James Jarvis in the UK. While both transitioned their illustrated characters into collectible vinyl figures, their approaches were fundamentally different, shaping distinct paths in the Art Toy landscape.

Culture and Artistic Roots

In 1999, Michael Lau introduced the Gardeners, a series of figures deeply embedded in street culture, hip-hop, skateboarding, and graffiti. Inspired by GI Joe figures, Lau’s toys were more than collectibles—they were a direct reflection of the streetwear scene that dominated the late ’90s. His work blurred the lines between toys, art, and fashion, paving the way for collaborations with brands like Nike and Carhartt.

James Jarvis, on the other hand, launched Martin in 1998, one year before Lau’s Gardeners. His work was rooted in European illustration, indie comics, and graphic design philosophy. Partnering with Silas and Bounty Hunter, he redefined Art Toys as three-dimensional expressions of an artist’s vision, rather than urban culture statements.

Design Philosophy

Lau’s Gardeners were avatars of street culture, each with unique outfits, attitudes, and narratives. His designs felt fluid, as if lifted straight from a graffiti wall or a streetwear photoshoot.

Jarvis’s characters were minimalistic, almost philosophical, stripping down form to the essentials. His approach was more conceptual, focusing on pure design rather than individual personalities.

Market Approach

Michael Lau elevated Art Toys into luxury collectibles, releasing highly limited editions and tapping into sneaker culture’s exclusivity model.

James Jarvis, with Amos Toys (2003-2012), prioritized artistic accessibility, ensuring his figures were widely available while maintaining creative independence.

The Legacy of Two Pioneers

Both Michael Lau and James Jarvis redefined what Art Toys could be, but they took radically different routes. Lau brought fashion, music, and urban identity into the Art Toy world, while Jarvis turned toys into an extension of illustration and artistic philosophy.

Two visions. Two movements. One revolution.

#MoreThanDisPlay #ArtToyGama  

#ArtToyFiles #WhoMakesArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #64 Questioning Art Toy Gama #64

Can we pinpoint Jarvis, Michael Lau, and Bounty Hunter as the architects of Art Toy identity? From Martin’s quiet minimalism to The Gardeners’ street-savvy personalities and Kid Hunter’s punk defiance, these pioneers shaped the three fundamental attitudes of Art Toys: design as philosophy, culture as narrative, and rebellion as identity. Did their collective vision establish the core DNA of the Movement?

¿Podemos considerar a Jarvis, Michael Lau y Bounty Hunter como los arquitectos de la identidad de los Art Toys? Desde el minimalismo silencioso de Martin, pasando por la personalidad callejera de The Gardeners, hasta la rebeldía punk de Kid Hunter, estos pioneros dieron forma a las tres actitudes fundamentales de los Art Toys: el diseño como filosofía, la cultura como narrativa y la subversión como identidad. ¿Sentaron ellos las bases del ADN del Movimiento?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#1000IconicArtToys

Art by Judas Arrieta

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #63 Questioning Art Toy Gama #63

Can we pinpoint Martin, Kid Hunter, and The Gardeners as the Art Toy holy trinity? A British illustrator, a Japanese punk visionary, and a Hong Kong street artist—each shaping Art Toys in their own way. Did they define the three creative forces that built the designer toy Movement?

¿Podemos considerar a Martin, Kid Hunter y The Gardeners como la trinidad sagrada de los Art Toys? Un ilustrador británico, un visionario punk japonés y un artista callejero de Hong Kong, cada uno moldeando los Art Toys a su manera. ¿Definieron ellos las tres fuerzas creativas que dieron forma al Movimiento del juguete de diseño?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#1000IconicArtToys

Art by Judas Arrieta

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #62 Questioning Art Toy Gama 62

Can we pinpoint Kid Hunter as the anti-hero of Art Toys? Most early Art Toys were either friendly, fun, or conceptual. Kid Hunter was none of these—he was masked, aggressive, and subversive. Did he prove that designer toys could be as rebellious as the subcultures they came from?

¿Podemos considerar a Kid Hunter como el antihéroe de los Art Toys? La mayoría de los primeros Art Toys eran amigables, divertidos o conceptuales. Kid Hunter no era ninguno de estos: era enmascarado, agresivo y subversivo. ¿Demostró él que los Art Toys podían ser tan rebeldes como las subculturas de donde venían?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#1000IconicArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #61 Questioning Art Toy Gama #61

Can we pinpoint The Gardeners as the moment Art Toys and streetwear became inseparable? Michael Lau’s Gardeners weren’t just figures—they were fashion icons, mirroring the skate and sneaker culture of the early 2000s. Did they make Art Toys a part of the streetwear world forever?

¿Podemos considerar a The Gardeners como el momento en que los Art Toys y el streetwear se hicieron inseparables? Los Gardeners de Michael Lau no eran solo figuras, eran íconos de moda, reflejando la cultura del skate y las sneakers de los 2000. ¿Convirtieron ellos a los Art Toys en parte del universo streetwear para siempre?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#1000IconicArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #60 Questioning Art Toy Gama #60

Can we pinpoint Martin as the Art Toy that made simplicity a statement? While other figures leaned into intricate details, James Jarvis reduced Martin to pure form, gesture, and attitude. Did this redefine what made a figure “designed”?

¿Podemos considerar a Martin como el Art Toy que convirtió la simplicidad en un statement?Mientras otras figuras apostaban por el detalle, James Jarvis redujo a Martin a forma, gesto y actitud pura. ¿Redefinió esto lo que significaba que una figura estuviera “diseñada”?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#WhoMakesArtToys

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[thisisnotaboutarttoys]

Art Toy Movement: History of Art Toys #59 Questioning Art Toy Gama #59

Can we pinpoint James Jarvis (1998-2024) as the reluctant father of Art Toys? For over two decades, James Jarvis has shaped the Art Toy landscape—yet he never intended to. From Martin (1998) to Amos Toys (2003-2012), his work set the foundation for designer vinyl. But while others turned Art Toys into an industry, he stepped away, returning to his first love: drawing. Did Jarvis create the DNA of modern Art Toys, only to walk away from them?

¿Podemos considerar a James Jarvis (1998-2024) como el padre accidental de los Art Toys? Durante más de dos décadas, James Jarvis ha dado forma al mundo de los Art Toys, aunque nunca fue su intención. Desde Martin (1998) hasta Amos Toys (2003-2012), su trabajo marcó las bases del vinilo de diseño. Pero mientras otros convirtieron los Art Toys en una industria, él se alejó para volver a su primer amor: el dibujo. ¿Creó Jarvis el ADN de los Art Toys modernos solo para alejarse de ellos?

#MoreThanDisPlay #ArtToyGama #ArtToyMovement

#HistoryofArtToys

#WhoMakesArtToys

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