My Visit to the Exhibit “Shichiro Kobayashi: Drama of Light and Shadow”

A painting of an old, small Japanese home, with people huddled around a stove while a woman nearby rolls dough.

I didn’t know who Kobayashi Shichiro was until he had already passed away. But when Anime NYC helped sponsor an exhibit dedicated to his work both in and outside Japanese animation, I decided I should visit this gallery. I then read that he had been a part of the industry since its early days, but what I hadn’t realized is that his art extended all the way into the eras that helped foster my own love of anime.

Unfortunately, I only managed to get there on the last day the exhibit was open. I wish I could have written about it sooner.

A video of Kobayashi Shichiro, with subtitles saying, "Animation, hand-drawn and hand-crafted, is important, precious, and something to be thankful for."

Right after the entrance was a video message from Kobayashi, where he expressed his love of animation and its potential to connect humans with one another. He seemed to lament recent problems in the world and hoped animation could help overcome them.

From there, the pieces on display were both work from anime productions as well as from his own personal art. Some (but not all) of the anime ones were not allowed to be photographed, like the Revolutionary Girl Utena movie, Nobody’s Boy Remi, and The Adventures of Gamba, but there were many that could be, as shown below.

An abandoned and destroyed landscape with a cloudy sky in the background.

Urusei Yatsura the Movie 2: Beautiful Dreamers

Two background paintings from Venus Wars, depicting a destroyed stadium and an abandoned oil rig

Venus Wars

A futuristic-looking building against a blue sky from the anime Simoun.


Kobayashi, in his role as art director, collaborated with many great anime creators, especially Dezaki Osamu and Sugino Akio. Looking at Kobayashi’s entry on Anime News Network, it’s clear that this was only scratching the surface. What really struck me was his ability to create backgrounds and environments for a whole range of settings, from small towns to science fiction landscapes. 

A fairly realistic self-portrait of Kobayashi painted with watercolor on paper, from the 1960s

His personal art also showcased Kobayashi’s versatility and powerful expressiveness, featuring pieces dating all the way back to the 1960s and going into the 2010s. They ranged from portraits to abstract art to images of nature, with horses being a lifelong subject due to having grown up with them.

An abstract painting with mostly black paint on a portrait-style canvas with a few specks of blue. A thick and textured band of white paint goes across the middle, and curves as if bending under its own weight. Dated around 1965.

Seeing these interspersed along with the anime work, it gave the sense that Kobayashi was truly a complete artist.

A striking painting of a horse in black on red, dated 2021.

In the corner of the gallery was a video playing a “storybook” animation by Kobayashi about one of his favorite children’s stories: The Red Candles and the Mermaid. He had apparently always wanted to make an animated work out of it, and this combination of stills and voiced narration was the fulfillment of that, to an extent. The tale is a tragic one, a lesson about greed and not appreciating others, brought to life here through Kobayashi’s paintings. Unfortunately, I don’t have an image of it.

It was brief, but I’m glad to have experienced the work of Kobayashi Shichiro this way, where his backgrounds command attention instead of receding in the face of the stories. It makes me feel that I should appreciate background artists more.

Welcome to this KRAZY! Time

I went to the New York Japan Society’s exhibition on anime, manga, and video games yesterday. Entitled KRAZY!, the exhibition explores a variety of artists and works, from Moyoco Anno to the guy who made Afro Samurai, from Shigeru Miyamoto to… Shigeru Miyamoto. The point is, this is totally about stuff that the kids like: ANIME AND MANGA AND VIDEO GAMES. As expected, it seemed to attract a young audience, something most museum and gallery exhibitions wish they did without it being just 20-something hipstrs.

Overall I didn’t get too much of a “HEY GUYS! ANIME!” vibe from the exhibition, and I liked what they had to say about the Super Mario Bros. series being a collection of simple rules which opens up a rich and complex world to interact with, but I couldn’t really tell who exactly the exhibition was trying to draw in. Passing by their video room filled with clips from Akira, Patlabor the Movie 2, Paprika, and Macross, I got this strange feeling that this is not what the kids these days see as “anime,” nor is it what they want. It’s kind of a baseless feeling, but when you see all those movies together and realize that the styles aren’t very “modern” (despite Paprika having come out recently), I think you might get the same impression. All I could think about was how others would handle the exhibition.

There was one blurb however that really pissed me off when I saw it. In one part of the exhibition is an area devoted to the music of Yoko Kanno. Now, neither Yoko Kanno nor her music anger me, but when the description of her music is prefaced by, “Prior to the late 80s all anime music was of poor quality,” then I have some serious issues! The emphasis is mine but they actually used the words POOR QUALITY. It’s as if no REAL music aficionados could POSSIBLY like ANIME music before REAL MUSICIANS like Yoko Kanno and her contemporaries graced the industry with their presences and sprinkled magic fairy dust and now ANIME MUSIC IS GOOD! WOW! Hey, wait to take a dump all over those hardworking composers from the mid-80s and before! Joe Hisaishi? Apparently the man who composes Studio Ghibli music is garbage!

There are apparently other things like this in the exhibition where it’s like a guy trying to convince REAL ARTISTS that anime is totally artistic too and making mistakes in the process. For better or worse, I didn’t notice any other glaring instances though.

All in all, it’s worth a visit at least once, just calm down when you visit the Yoko Kanno section. I hope the kids who visit this exhibition at least learn something.

Oh yeah, and I’m probably gonna go read Sakuran. Sounds interesting.