{"id":100847,"date":"2016-07-25T18:47:54","date_gmt":"2016-07-25T22:47:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=100847"},"modified":"2016-07-25T18:47:54","modified_gmt":"2016-07-25T22:47:54","slug":"life-goes-on","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/07\/25\/life-goes-on\/","title":{"rendered":"Life Goes On"},"content":{"rendered":"<p><em>\u201cLife Goes On,\u201d an exhibition by the Japanese artist Shinya Kato, opened last week at <a href=\"http:\/\/www.plus81.us\/exhibition\/life-goes-on-2\/\" target=\"_blank\">+81 Gallery<\/a>, in New York. Kato uses a painting knife to apply layers of color to\u00a0nineteenth-century <a href=\"https:\/\/en.wikipedia.org\/wiki\/Cabinet_card\" target=\"_blank\">cabinet cards<\/a>. His show is up through August 21.<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-100854\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato3.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato3.jpg 750w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato3-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato3-300x300.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/>\u00a0<!--more--><\/p>\n<p> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinyakato.jpg\" rel=\"attachment wp-att-100850\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-100850\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinyakato.jpg\" alt=\"shinyakato\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinyakato.jpg 640w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinyakato-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinyakato-300x300.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato-6.jpg\" rel=\"attachment wp-att-100851\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-100851\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato-6.jpg\" alt=\"Shinya-Kato-6\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato-6.jpg 750w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato-6-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato-6-300x300.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-1-1.jpg\" rel=\"attachment wp-att-100852\"><br \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato2.jpg\" rel=\"attachment wp-att-100853\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-100853\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato2.jpg\" alt=\"Shinya-Kato2\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato2.jpg 750w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato2-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/shinya-kato2-300x300.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-2-3.jpg\" rel=\"attachment wp-att-100848\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-100848 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-2-3.jpg\" alt=\"plus-2-3\" width=\"600\" height=\"400\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-2-3.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-2-3-300x200.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-4-1.jpg\" rel=\"attachment wp-att-100849\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-100849 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-4-1.jpg\" alt=\"plus-4-1\" width=\"600\" height=\"400\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-4-1.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-4-1-300x200.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-1-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-100852 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-1-1.jpg\" alt=\"plus-1-1\" width=\"600\" height=\"400\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-1-1.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/07\/plus-1-1-300x200.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cLife Goes On,\u201d an exhibition by the Japanese artist Shinya Kato, opened last week at +81 Gallery, in New York. Kato uses a painting knife to apply layers of color to\u00a0nineteenth-century cabinet cards. His show is up through August 21. \u00a0<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[23522,35,23523,7676,20760,1945,23521],"class_list":["post-100847","post","type-post","status-publish","format-standard","hentry","category-look","tag-81-gallery","tag-art","tag-cabinet-cards","tag-galleries","tag-gallery-openings","tag-japan","tag-shinya-kato"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Shinya Kato\u2019s Surreal Cabinet Cards<\/title>\n<meta name=\"description\" content=\"The Japanese artist has a solo show in New York this month.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/07\/25\/life-goes-on\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Life Goes On by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"July 25, 2016 \u2013 \u201cLife Goes On,\u201d an exhibition by the Japanese artist Shinya Kato, opened last week at +81 Gallery, in New York. 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