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Engineered for Domestic Bliss

<p>Acts of care can unfold in surprising ways, in surprising places. At work, where colleagues care for their collaborations. At bars, where strangers care for an impromptu community. At home, where artists may care for children and the muse in joyful, if precarious, balance. This exhibition of photography, paintings, and other media suggests the many networks of care all around us, all the time, forming and reforming around shared labor, shared histories, personal relationships, and yearning.</p>


In a dim room, two women are comforting a woman who looks distressed. While another woman is looking outside whilst standing in between the threshold.

2022.82

Networks of Care

<p>In the summer of 1942, during a yearlong fellowship in Washington, D.C., Gordon Parks photographed government worker Ella Watson across the varied landscape of her daily life. The resulting picture story presents Watson—a custodian, the head of a household, a deaconess at her church—as a vital figure within the civic sphere. At the same time, this intimate series reveals Parks’s experiences in coming to terms with the segregated city he once embraced as “the seat of democracy.”</p>
<p>This exhibition brings together nearly sixty photographs from their partnership and draws its title from one of the most celebrated photographs of the 20th century—an iconic portrait of Watson that Parks later titled “American Gothic.” Most importantly, it proposes new grounds for understanding Parks as an artist and activist, highlighting a unique professional collaboration between two Black federal employees at a crucial juncture in United States history.</p>
<p>Organized by Mia and the Gordon Parks Foundation.</p>
<p>Lead Sponsor: Kerry and Sky Fauver</p>


<p>Use this guide to facilitate conversations in your classroom before a museum tour or between chaperones and students on self-guided visits.</p>
<p><a href="https://images.artsmia.org/wp-content/uploads/2023/12/28161356/GordonParks_VisitorGuide.pdf"><button class="background-black" style="margin-bottom: 1rem;">Download PDF</button></a></p>


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This is a black and white photo of a person holding a broom and mop in each hand. Behind the person is the American flag.

American Gothic: Gordon Parks and Ella Watson

<p style="font-weight: 400">Many Dutch artists of the 1600s left their studios to wander the world around them. They roamed their local streets, passed through the city gates, and walked down to the sea or out into the countryside. They saw laborers and animals, ships and dwellings, festivals and fellow travelers. They took their sketchbooks with them to record what they saw, and the etchings inspired by these drawings created a boom in armchair tourism—an experience akin to watching travel and nature on television today. Some artists kept right on walking, arriving in distant lands such as Italy or Norway. Their work invites us to slow down, join in their journeys, and contemplate our own.</p>


This is a etched image of a chapel in front of a pond. There are large and dense trees surrounding the chapel.

Wandering With Dutch Artists

<p>What happens when Native American and American art is seen together, rather than in separate places? Might we look at these artworks in a new way? What stories and connections emerge from this new way of being together? </p>
<p>These are some of the questions that guided a collaboratively reimagined suite of galleries. This Indigenous-led, consensus-based curatorial experiment is based on Dakota philosophies and ways of being. It includes thematic installations that center “place”, honor the living land, explore the power of relationality &#8212; the idea that we are all connected and build relationships based on this awareness – and ends with a reflection, inviting visitors to join us in imagining the future we wish to have. What does it look and feel like? How do we build it together?</p>
<p><em>“Relationality” is at the heart of our curatorial practice—every aspect of this collaboration was shaped by being together, listening, honoring lived knowledge, and respecting points of view. Mia curators worked with Andrea Carlson (Ojibwe; artist), Jordan Poorman Cocker (Gáuigú (Kiowa) Nation; curator), Bridget R. Cooks (curator and professor, University of California in Irvine), Dakota Hoska (Oglála Lakȟóta, Pine Ridge, Wounded Knee; Denver Art Museum curator), and Darlene St. Clair (Mdewakaƞtuƞwaƞ Dakota, Lower Sioux; professor, St. Cloud State University). We thank Gwen Westerman (Sisseton Wahpeton Oyate; poet, artist, professor, Mankato State University) for reading two of her poems and Šišóka Dúta (Bdé Hdakíŋyaŋ Oyáŋke, Dakota language educator and translator) for bringing the Dakota language into the galleries. We also thank Nicole MartinRogers (White Earth Ojibwe Nation descendant, independent consultant, Indigenous evaluator) for working with community members in focus groups to help shape our final themes.</em> </p>
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On the left, this is a painting of a person dressed in all white. There are laying in a field of colorful and blooming flowers. On the right is a painting of all indigenous plants and creatures.

Reimagining Native/American Art

<p>A colossal puppy, an abandoned tricycle, an unnaturally manicured lawn: are these the markers of a suburban idyll—or signs of something more complicated, even subversive? The artists gathered here question symbols of domestic perfection by rendering them unnerving, strange, or potentially menacing. By disrupting our associations with everyday objects, these artists encourage us to examine the society that produces and upholds them.</p>


Domestic Idols

<p>This exhibition features the first generation of artists of Korean descent to experience the new freedoms and rapid changes ushered in by democracy. Born between 1960 and 1986, they came of age in a time of transition, their work filtered through the collective memory of authoritarian rule in South Korea. Here, they reflect on social and political tensions, economic and cultural shifts. In often monumental works, they bring viewers to the border with North Korea, illuminate the ironies of globalization, and suggest what has been gained and lost in South Korea’s ascendance.</p>
<p>Organized by the Philadelphia Museum of Art, this is the first major showing of Korean contemporary art in the United States since 2009. Many of the artists are well known in South Korea or have an international following; others may be less familiar, especially in American museums. They mold the medium to their message, whether photography or painting, ceramics or video. They honor some traditions and resist others. They bend time and place, addressing the past, present and future to make sense of their complex experiences.</p>
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<p>Hear from artists, curators, and exhibition organizers as they guide you through the exhibition and discuss the context and themes surrounding the artworks. Bring your own device and headphones to listen along in the galleries.</p>
<p><a href="https://app.smartify.org/en-GB/tours/the-shape-of-time-korean-art-after-1989-ast8n?tourLanguage=en-GB"><button class="background-black" style="margin-bottom: 1rem;">Listen to the Free Audio Guide</button></a></p>


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<p>Use this guide to facilitate conversations in your classroom before a museum tour or between chaperones and students on self-guided visits.</p>
<p><a href="https://images.artsmia.org/wp-content/uploads/2024/02/01124734/Shape-of-Time-Teachers-Guide_updated.pdf"><button class="background-black" style="margin-bottom: 1rem;">Download the Teachers Guide</button></a></p>


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<p><strong>Free Public Tours</strong><br />
Public tours take place at 2 p.m., Tuesday through Sunday, and 7 p.m. on Thursday. An exhibition ticket is required. No public or private tours are offered on Member Days and during Art in Bloom. The last public tour is on June 16.</p>
<p><a href="https://docs.google.com/forms/d/e/1FAIpQLSd2CKw2ZkcWVq7L27J3tsXVl3Kai1jQ_XgMF4oFIzgjSmwB8Q/viewform"><button class="background-black" style="margin-bottom: 1rem;">Request a Private Tour</button></a></p>
<p><strong>Free Virtual Tours</strong><br />
Virtual tours take place on April 7 at 2 PM, May 8 at 2 PM, and June 6 at 7 PM. An exhibition ticket is not necessary. Registration is required.</p>
<p><a href="https://tickets.artsmia.org/events?category=Tours"><button class="background-black" style="margin-bottom: 1rem;">Join a Virtual Tour</button></a></p>


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This is a professional headshot of a person with short hair posing towards the camera. They have bright pink and yellow nails.

The Shape of Time: Korean Art after 1989

<p>This exhibition examines the closely related techniques of collage, assemblage, photomontage, and found object sculpture. The diverse selection of artworks, drawn from Mia&#8217;s collection and local private collections, are by leading national and international artists and showcase the recent resurgence of interest over the past several decades in these art forms. The exhibition highlights both formal and conceptual experimentation and demonstrates how these interrelated techniques are particularly suited to exploring social, political, cultural themes and content.</p>


This is a collage piece on a board of wood. There are hand-drawn cowboys with pieces of floral paper.

2020.96.7

Collage/Assemblage Part II: 1990-Now

<p>The idea of retreating from society into mountainous landscapes has a long history in China. Daoist, Buddhist, and Confucian followers all regarded mountains as sacred places where one could become spiritually fulfilled, far from restraining social burdens.</p>
<p>This exhibition features classical Chinese paintings from Mia’s permanent collection that express the idyllic life of mountain dwellers, from recluses in their mountain huts to scenic lakes with fishermen who represent a life of freedom and spontaneity. Many paintings depict cascading waterfalls, a reference to the Confucianist and Daoist analogy for facing life’s troubles: to gaze into a waterfall is to gaze into one’s mind.</p>


Dwelling in Mountains: Reclusion in Chinese Landscape Painting

<p>Tanaka Ryōhei (1933–2019) was a prolific Japanese printmaker who specialized in etchings. Born and raised in Takatsuki, he grew up surrounded by the rural landscapes of western Japan, which would become the subject of his prints. This exhibition features prints by Tanaka given to Mia from the extensive collection of Sue Y. S. Kimm and Seymour Grufferman.</p>
<p>Tanaka began etching in his thirties after meeting Furuno Yoshio (1909–1978), the founder of the Kyoto Etchers Association. At the time, etching was far less common than woodblock-printing, the primary mode of printing in Japan for centuries. Tanaka learned the basics of etching from Furuno, soon developed his own methods through experimentation, and continued to make and print his own etchings until 2013.</p>
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2019.78.325

Tanaka Ryōhei: Portrait of a Home

<p>Hendrick Goltzius (1558–1617) rose to become the hero of Dutch art in the late 1500s. He started his career as an engraver of copper printing plates, developing his skills to mind-boggling perfection, whether working in fine detail or with bravura gesture. Sometimes he engraved his own inventions; sometimes he worked from other artists’ drawings. He also had a remarkable aptitude for inventing new compositions in the style of other artists. Goltzius’s skill is yet more remarkable considering a serious childhood accident left him unable to open his dominant right hand. This exhibition looks at Goltzius’s mature printmaking and the circle of artists around him who came to rival his talent.</p>


This is an engraved art piece of a figure dressed in prestigious clothing while holding a flag in their hand.

2023.32

Goltzius &amp; Co.

<p>This exhibition showcases a selection of watercolors, drawings, and original prints recently added to Mia’s permanent collection. Ranging in date from 1975 to 2023, all are the work of women artists—some celebrated, others less widely known. Collectively, the selection reflects the museum’s ongoing efforts to reexamine and reset its collecting strategies to better reflect the remarkable diversity of artistic achievement in the United States and elsewhere. By championing the work of artists underrepresented in its collections, Mia strengthens its commitment to enriching the community by collecting, preserving, and displaying outstanding works of art.</p>


L2023.56.2

New at Mia: Contemporary Works on Paper by Women Artists

<p>This magnificent group of robes from Mia’s collection belonged to high-ranking Buddhist priests. Known as <em>kashaya, </em>they were designed to be draped over the left shoulder, under the right arm, and fastened in front under the left shoulder, and are more elaborate than the robes worn by most Buddhist monks. Yet they were fabricated from small squares sewn together, symbolizing the humble nature of Buddha. Within these patchwork squares are various Buddhist motifs and sometimes imperial imagery in which dragons cavort in the celestial landscape. Rich with courtly symbolism, the robes were likely worn in Buddhist ceremonies at monasteries patronized by the court or within the Forbidden City itself.</p>


Splendid Patchwork: Buddhist Monastic Robes

<p>This exhibition features paintings, drawings, prints and more by local high school student artists who participated in a program focused on the impacts of racism as a public health crisis, sponsored by Mia&#8217;s partner, Blue Cross® and Blue Shield® of Minnesota. Students were asked to reimagine a work in Mia&#8217;s collection under the lens of racism. Artists Kprecia Ambers, Nancy Ariza, Lissa Karpeh, Juan Lucero, Jacob Olson, and Akiko Ostlund, whose work is also on view, worked with students during multiple visits to create this powerful exhibition.</p>
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Ongoing Exhibitions

Engineered for Domestic Bliss

Networks of Care

American Gothic: Gordon Parks and Ella Watson