Behind the Scenes of Acky Bright: Studio Infinity

One of two new exhibitions on view at Japan Society Gallery this fall, Acky Bright: Studio Infinity previewed in August when Anime NYC was at the Javits Center, reopening on October 4 in tandem with Bunraku Backstage. 

Both exhibitions exemplify Senior Gallery Director Michele Bambling’s vision for the Gallery space, which includes simultaneous exhibitions and summer shows. But why these two shows and how do they work together? “These two exhibitions grew out of my desire to occasionally develop exhibitions in collaboration with the Performing Arts and Film/Anime programs at Japan Society. Bunraku Backstage was conceived as integral to the bunraku and Dogugaeshi performances this autumn, while Acky Bright: Studio Infinity was connected with the artist’s appearance at the Anime NYC event this summer.” 

“At first glance Acky Bright’s work and that of the bunraku theater seem completely different.” Dr. Bambling noted. “Why would they be paired at all? While Acky Bright’s imaginary, free-style illustration and bunraku’s meticulous keeping of traditional methods differ, the curation of both exhibitions highlights the creative processes that result in the realization of the diverse art forms. That is something we don’t usually see in an exhibition. The unexpected juxtaposition of these two exhibitions—with their shared focus on creative processes—helps us peer within the finished works.”  

“For example, the importance of hand drawing as a part of the conceptual and design process is evident in both exhibitions. We witness this in the manga study-drawings of Yuichiro Tamura’s Invisible Hands (Bunraku Backstage) as well as in the storyboard renderings of WcDonald’s (Acky Bright: Studio Infinity),” said Dr. Bambling. “Another idea at play is that seeing one art form through the lens of another can deepen our comprehension of both. Investigating intersections of art forms can open the way to sharper perception.”

“Both exhibitions reveal a myriad of ways that traditional Japanese theatrical arts are perpetuated or reimagined by artists today. Acky Bright’s earliest works were inspired by kabuki theater, which he transformed into his unique illustrative expression. Hiroshi Sugimoto, Yuichiro Tamura, and Basil Twist each articulate essences of bunraku in their own creative voices.”

“For his new series KBK-18, a painting idea deeply rooted in traditional art, Acky brought to life in his own style 18 roles of the kabuki theater. As he painted them, Acky began to think about how to make the work more interactive—and so he designed 18 small trading cards with the same motifs, to be given out to gallery visitors. Those who see the exhibition 18 times, may be lucky enough to get one of each design! This brings an innovative gaming aspect to the exhibition. To play, one must visit the gallery, not merely view installation photographs online. Another great reason to visit the exhibition is to watch Acky Bright’s live drawing sessions. These will occur periodically throughout the run of the exhibition when visitors may meet the artist.”  

“The centerpiece of the exhibition is Acky’s expansive mural which he has begun and will continue to render across the gallery walls in view of visitors. I was inspired by a documentary capturing Pablo Picasso drawing on a glass pane, and I thought it would be interesting to create an acrylic wall in the Gallery so that visitors could similarly watch Acky drawing—seeing the tip of his indelible pen and his facial expressions. Bringing another interactive element to the exhibition, on occasion, visitors may collaborate with Acky by coloring in his black-and-white mural, using washable markers. Acky will draw on one side of the transparent wall while visitors will color on the other side. The mural as it appeared on opening day will have markedly changed when the exhibition closes on January 19. Throughout the exhibition period the mural will expand across the gallery walls—the exhibition itself reveals an evolving process.”

Peter Tatara, Japan Society’s Director of Film, Culture & Community, was instrumental in collaborating with the Gallery to bring Acky Bright to Japan Society. Peter’s connections to Acky go back a few years, but he’s known Acky’s manager/partner Yasu Kutami for a decade, from when they first worked together to bring the Japanese idol group Morning Musume to New York. “When I joined Japan Society, one of Yasu’s biggest hopes and dreams was for Acky to do an exhibition here. It’s really a unique opportunity, his first solo show. And although Acky is still a younger artist, the number of successes he’s had, and the amount of global exposure that he’s achieved, is unparalleled. Very few Japanese artists such as Acky will receive any gallery exposure in the U.S., and this first solo art exhibition on top of his amazing commercial success is deeply meaningful.”

“When Acky was at Japan Society’s booth at Anime NYC this summer, people waited in line for three hours to get his autograph,” noted Peter. “Visiting the Gallery on a weekend could mean a rare opportunity to meet and interact with Acky without crowds, where he’ll be drawing and sketching as well as spending time with fans.” 

“One reason I thought that Acky Bright: Studio Infinity would be timely is that he’s pivotal in a transition in which manga artists are increasingly using AI. There’s a heated debate about whether manga artists should continue the painstaking hand-drawing process or leave it to AI. Acky draws freehand—without use of prepared underdrawings—working intuitively from his imagination. His work shows practiced hand-control and nuances of human expression. But Acky also utilizes computer work in his videos. I appreciate the way he balances—and speaks out about—the revolution in art processes that is happening right now,” Dr. Bambling declared.

“I hope that by presenting Acky Bright: Studio Infinity in parallel with Bunraku Backstage, young manga fans eager to meet Acky will also explore bunraku, and discover that the Japanese popular and traditional arts on view are not all that dissimilar in terms of engaging the past though highly creative processes.”