Art
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 t
Art
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 su
Art
The beauty and hell of utopia and dystopia is the subject of Japan Society's Garden of Unearthly Delights, which opened today in Manhattan.
Art
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.
Art
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 Natur
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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, tr
Art
Bye Bye Kitty!!! Between Heaven and Hell in Japanese Art at Japan Society presents an alternative view of Japanese contemporary art, one separate from that obsession we seem to have with “kawaii” (cute) Japanese art, embodied by the pop culture icon of Hello Kitty, and exemplified in the Superflat w