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"Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art," at Japan Society last spring, looked, on paper, like just another Takashi Murakami spinoff.
Countering conventional ideas about Japan's obsession with cuteness the culture of otaku and kawaii the sixteen artists in the Japan Society's exhibition "Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art" cast an eye on life's dark side.
On March 11th, the day of the largest natural disaster in Japanese history, Peter Schjeldahl visited the Japan Society to review the exhibition "Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art".
Countering conventional ideas about Japan's obsession with cuteness — the culture of otaku and kawaii — the sixteen artists in the Japan Society's exhibition "Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art" cast an eye on life's dark side.
By The New Yorker March 24, 2011 On March 11th, the day of the largest natural disaster in Japanese history, Peter Schjeldahl visited the Japan Society to review the exhibition "Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art".
"Bye Bye Kitty!!! Between Heaven and Hell in Contemporary Japanese Art," a piquant exhibition of dark-minded work at Japan Society and a kickoff event for Asia Week, was conceived as a sharp counterweight to the cult of cuteness — kawaii — that has been Japan's dominant aesthetic for decades.
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There was a mirror between Kitty and Levin.
Kitty could read between the lines but she never dared say anything for fear she'd scare him off.
Mr. Graham wisely chose to focus on the love triangle among Anna, her husband and Vronsky and the love story between Kitty and Levin.
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