At the Japan Society, Hiroshi Sugimoto: Gates of Paradise, legacies of inter-cultural encounter are seen through a lens of global understanding.
An eye-opening exhibition at Japan Society closely examines representations of wakashu in woodblock prints from the collection of the Royal Ontario Museum.
The action invites us to commit to challenging our institutions to resist Trumpism and combat the conditions that allowed its emergence.
Although the poetry of William Butler Yeats is often misconstrued as autobiographical, the poet scorned such transparency, calling it “unimaginative” and comparing realism to “putting photographs in a plush frame.”
At Japan Society, Simon Starling reinterprets a one-act play by W. B. Yeats in which Japanese Noh theater met European modernism.
Japan Society Gallery opens Simon Starling: At Twilight (After W. B. Yeats’ Noh Reincarnation), the debut solo exhibition of the Turner Prize winner’s work at a New York City institution.
There are certain exhibitions in which some or many of the works on display are so interesting, provocative or well-made that they somehow manage to surmount whatever restrictive or overwrought critical-theoretical trappings their organizers have erected around them, defying the analytical filters through which they are meant to be considered and understood.
Most photographs of real-life events tend to be documentary by nature, but the kind of photographic image-making that makes a point of approaching its subjects with an “objective” viewpoint and a for-posterity sense of purpose — can such photos ever convey a truly neutral position vis-à-vis their subjects?
The beauty and hell of utopia and dystopia is the subject of Japan Society’s Garden of Unearthly Delights, which opened today in Manhattan.
It’s been about a decade since Mariko Mori had a museum show in New York, and much has changed in the Japanese artist’s work.
I always consider it fortunate that at institutions like the Metropolitan Museum, exhibitions continue to argue eloquently that art has evolved along manifold trajectories before postmodern discourses recognized it as so. In that vein, one of the highlights of the fall museum season, Designing Nature: The Rinpa Aesthetic in Japanese Art, which explores a distinctive style that originated in early 17th century Kyoto and thrived well into the 20th century with far-reaching resonance in Post-Impressionism and Art Nouveau, promises more than an optical feast or a comprehensive academic survey.
At only 40 years old, Japan Society’s low-slung modernist headquarters at 333 East 47th Street has just been named New York’s youngest landmark building by the state’s Landmark Preservation Commission. The structure, designed by Junzo Yoshimura and George G. Shimamoto and first completed in 1971, translates traditional Japanese architectural forms into a modernist idiom, bowing to neither but combining the two languages in an innovative and complex way. I spoke with Japan Society vice president Joe Earle about the landmark designation and his experience of the building itself.