Exhibitions

<h1>ReVisión: Art in the Americas</h1>
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<h3 class="Mia-bold">July 1, 2023 &#8211; September 17, 2023 
Target Gallery</h3>
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<div style="margin-top: 30px;"><a style="color: black;" href="https://new.artsmia.org/exhibition/revision-art-in-the-americas"><button class="background-black">Learn More</button></a></div>

On View

Marcantonio Raimondi occupies a prominent, if awkward, place in the history of printmaking. Notorious for ripping off the designs of Albrecht Dürer (1471-1528) and famous as Raphael’s personal engraver, Marcantonio is sometimes seen as a human Xerox machine. He was, however, a gifted interpreter who could transform drawings and paintings into clear, elegant, reproducible printed images. He democratized Renaissance art, making the ideas of great artists available to a public that had no access to elite palaces or distant churches. This exhibition offers a direct comparison between Dürer’s woodcuts and Marcantonio’s engravings and shows highlights of Marcantonio’s collaborations with Raphael.

L2023.4

Marcantonio Raimondi: Thief · Collaborator · Communicator

This exhibition features paintings, drawings and sculptures by local high school student artists who participated in a program focused on the impacts of racism on health equity, sponsored by Mia&#8217;s partner, Blue Cross® and Blue Shield® of Minnesota. Artists Kprecia Ambers, Juan Lucero, Jacob Olson, and Akiko Ostlund, whose work is also on view, worked with students during multiple visits to create this powerful exhibition.
<img loading="lazy" class="alignnone wp-image-99641" src="https://new.artsmia.org/wp-content/uploads/2021/11/BCBS-Logo.jpg" alt="" width="297" height="100" srcset="https://new.artsmia.org/wp-content/uploads/2021/11/BCBS-Logo.jpg 629w, https://new.artsmia.org/wp-content/uploads/2021/11/BCBS-Logo-385x130.jpg 385w" sizes="(max-width: 297px) 100vw, 297px" />

An expectant mother is wearing a baby blue outfit with her belly peeking out. Her observant daughter and affectionate son surround their mother.

Teen Perspectives on Racism and Health Equity

Azechi Umetarō (1902–1999) loved the mountains. His earliest memory of climbing was as a child, when he hiked a large hill near his house; upon reaching the top, he was astounded by even taller landmasses looming in the distance. As he grew older, he often hiked mid-sized mountains alone; they gave him an opportunity to meditate on life. The simplified figures of the bearded mountain men (yama-otoko), who reappear throughout his work, embody his love and appreciation for the environment. This exhibition features prints given to Mia from the extensive collection of Sue Y. S. Kimm and Seymour Grufferman.

An older man is dressed in a white scarf and a blue coat, in his hand is a smoking pipe.

2019.78.62

Azechi Umetarō: Call of the Mountains

Fukuda Kodōjin (1865–1944) was one of a handful of scholar-artists who continued the tradition of Japanese literati painting (nanga) after 1900. Kodōjin’s painting style is characterized by bizarrely shaped mountain forms rendered in vivid color or monochromatic ink that often include a solitary scholar enjoying the expansive beauty of nature. Not only a painter, Kodōjin was also an accomplished poet and calligrapher patronized by influential industrialists and politicians of the era. Following his death, he slipped into obscurity, and today is better appreciated outside his native Japan. This is the first-ever exhibition of Kodōjin outside Japan, accompanied by a 344-page catalogue.

Fukuda Kodōjin: Japan&#8217;s Great Poet and Landscape Artist

Few paintings capture Caravaggio’s genius for emotional drama better than Judith and Holofernes (c. 1599). Unlike typical renderings of this biblical subject, Caravaggio (1571–1610) depicted the climactic moment when Judith slashes the neck of her enemy, Holofernes. Now you can witness the drama yourself when this glorious yet chilling masterpiece travels to Mia from Rome.
Judith and Holofernes, on loan from the Gallerie Nazionali di Arte Antica (Palazzo Barberini, Rome), showcases Caravaggio’s signature elements: intensely illuminated figures looking so real they all but burst beyond the frame. The exhibition includes fourteen artworks from Mia&#8217;s collection that offer various interpretations of the Judith story, from her anguish to her allure. 
<h2>Learn more with Mia Guides</h2>
Mia guides are stationed in the gallery through August 13, on Tuesdays through Sundays, 1-2 pm, and Thursday evenings, 6:30-7:30 pm.
<img class="alignnone size-full wp-image-104498" src="https://images.artsmia.org/wp-content/uploads/2023/03/31133259/ADV231922-Caravaggio_SponsorLockup_k-V1.png" width="100%" srcset="https://images.artsmia.org/wp-content/uploads/2023/03/31133259/ADV231922-Caravaggio_SponsorLockup_k-V1.png 1090w, https://images.artsmia.org/wp-content/uploads/2023/03/31133259/ADV231922-Caravaggio_SponsorLockup_k-V1-855x294.png 855w, https://images.artsmia.org/wp-content/uploads/2023/03/31133259/ADV231922-Caravaggio_SponsorLockup_k-V1-385x132.png 385w, https://images.artsmia.org/wp-content/uploads/2023/03/31133259/ADV231922-Caravaggio_SponsorLockup_k-V1-768x264.png 768w" sizes="(max-width: 1090px) 100vw, 1090px" />

Related Events

Caravaggio′s Judith and Holofernes

Harriet and Walter Pratt, of Minneapolis, focused their collecting on the German, Austrian, Belgian, and Russian artists who broke with convention in the early 1900s, eschewing realism in favor of emotion. The artists’ exuberant use of color and line became known as Expressionism, the defining art movement of the early 20th century. In 2021, the Pratts bequeathed the 19 works in this exhibition to Mia, including paintings and drawings by Vassily Kandinsky, Gabriele Münter, and Lyonel Feininger, as well as a marble bust of a young woman by Erastus Dow Palmer, a prominent 19th-century sculptor and Harriet’s great-grandfather.

This is a watercolor painting of a woman in a orange and red dress, sitting on a green bed.

2022.64.7

Gifts Beyond Measure from Harriet and Walter Pratt

Reading and writing were popular pastimes in early modern Japan. From the 1600s to the 1800s, the printing industry developed rapidly, making printed materials available to readers in urban and rural areas alike. Woodblock printing meant that books and prints could be mass produced, sold cheaply, and distributed widely. Readership grew steadily as temple schools taught basic reading and writing to people from the merchant and lower classes. This exhibition considers two forms of literacy, textual and visual, that enabled people to participate in a burgeoning public life.

This painted scroll shares the eventful story of a frog parade.

The Art of Literacy in Early Modern Japan

Body//Weight presents a series of works by Minneapolis-based artist Christopher Selleck. At the core of the exhibition is a seven-year investigation into body image and the depiction of the ideal masculine figure. Selleck worked collaboratively with each model to present a more vulnerable version of the sitter. The exhibition will feature self-portraits, video, sculpture, and portrait photography. 
Born in Augusta, Georgia, Selleck has spent the last two decades working in the arts. He received his BFA in Photography from the University of MN-Twin Cities in 2013 and his MFA in Visual Studies and Photography from the Minneapolis College of Art &amp; Design in 2016. Using sports and masculinity as a lens through which to view identity, his various projects of the last few years have focused on this area of identity construction. His current projects address issues of hyper-masculinity, sexuality, and the male body. His work has been exhibited and published nationally.

A tattooed man who is slender yet muscular appears to flex his arms.

Christopher Selleck: Body/Weight

Christopher Selleck: Body//Weight

&#8220;Fragments of Epic Memory&#8221; invites visitors to experience the multiple ways of encountering the Caribbean and its diaspora, from the period following emancipation through today. The exhibition blends historical and contemporary narratives, presenting more than 100 photographs from the Art Gallery of Ontario’s Montgomery Collection of Caribbean Photographs alongside paintings, sculpture, and video works by modern and contemporary Caribbean artists. The juxtaposition shows how the region’s histories are constantly revisited and reimagined through artistic production.
Organized by the Art Gallery of Ontario.

Fragments of Epic Memory.

Fragments of Epic Memory

&#8220;Night Life&#8221; presents 20 artworks from across Africa that address the various ways nighttime was, and in some cases still is, perceived and experienced. Offering warmth and privacy, sumptuously patterned blankets and basketry panels promote peaceful slumbers. Wooden masks, head rests, and figures support contact—through dreams—with spiritual companions and advisors. Memorial figures of deceased relations are reminders of their continued presence after death, when the sun sets on life itself. With the sounds of African nightlife in the background, these artworks speak to the richness and vitality of life after the sun goes down.

Night Life: Nocturnal Worlds in African Art

&#8220;In the Making&#8221; features a selection of artworks newly added to Mia’s permanent collection, all on view for the first time. These objects offer a glimpse of the depth and breadth of American artists who together have shaped the field of modern and contemporary fiber art. While they originated in different regions of the United States, and their preferred medium varies from copper wire to feathers to window screens, the artists&#8217; commitment to making and deep respect for labor remain constant.

2022.19

In the Making: Modern and Contemporary Fiber Art New Acquisitions

Triển lãm miễn phí
Teo Nguyen’s solo museum exhibition invites contemplation and reflection on the Vietnamese people’s struggles toward peace and what the artist calls “the politics of worthiness.” Nguyen tells stories of heartbreak, optimism, resistance, and reconciliation that are interwoven into Vietnamese culture and spiritualism. His photorealist paintings reference historic images by photojournalists documenting the war in Vietnam, but reimagine them without violence. By eliminating the helicopters, weapons, fighting, victims, and fallen soldiers, he reveals a country of diverse natural beauty. This act of reclamation shines a light on a Vietnam beyond the war, a place of rich culture and picturesque topography. My Being, a short film inspired by his mother’s poems of loss and separation, and a photo-based installation in the show present narratives from a Vietnamese perspective. Born and raised in Vietnam, Nguyen lives and works in Minneapolis.
Triển lãm bảo tàng cá nhân của Teo Nguyen gợi lên sự chiêm nghiệm và suy ngẫm về cuộc đấu tranh vì hòa bình của dân tộc Việt Nam và điều mà người nghệ sĩ này gọi là “niềm tin vào sự xứng đáng”. Nguyen kể những câu chuyện về nỗi đau, tinh thần lạc quan, ý chí phản kháng và thiện chí hoà giải đan xen vào văn hoá và tinh thần của người Việt Nam. Các bức tranh theo trường phái hiện thực của ông đề cập đến những hình ảnh lịch sử mà các phóng viên ảnh ghi lại cuộc chiến ở Việt Nam, nhưng tái hiện chúng mà không có bóng dáng của bạo lực. Bằng cách loại bỏ đi các yếu tố như máy bay trực thăng, vũ khí, cuộc giao tranh, nạn nhân và những người lính đã ngã xuống, ông đã giới thiệu về một đất nước mang vẻ đẹp tự nhiên phong phú. Sự điều chỉnh này đã vẽ ra bối cảnh tươi sáng về một Việt Nam tự do, nơi có nền văn hóa phong phú và phong cảnh đẹp như tranh. My Being, bộ phim ngắn lấy cảm hứng từ những bài thơ về sự mất mát và chia ly của mẹ ông, đồng thời là tác phẩm sắp đặt theo ảnh trong buổi triển lãm sẽ chia sẻ những câu chuyện từ góc nhìn của người Việt Nam. Sinh ra và lớn lên tại Việt Nam, Nguyen hiện sinh sống và làm việc ở Minneapolis.

Teo Nguyen: Việt Nam Peace Project Teo Nguyễn: Giấc Mơ Hòa Bình

In the mid-1800s, many French and Belgian artists rejected grandiose images of mythology and history to focus on everyday lives, especially those of rural folk, laborers, and the disaffected—people most vulnerable to the whims of the powerful. These artists called themselves Realists. Their social concerns, artistic talent, and frequently journalistic approach resonated with University of Minnesota Professor Gabriel P. Weisberg and his wife, Yvonne. Fifty years ago, they engaged in deep, original research into the Realists, often rediscovering significant but neglected artists. They began to collect drawings and small paintings by these Realists, later adding examples of Symbolism and Art Nouveau. The result is a fascinating, irreplaceable collection that the Weisbergs have designated as a promised gift to Mia. Come celebrate their generosity and explore these intimate works of art.
This exhibition will be presented in two rotations:
Rotation 1, Works 1830–1900: May 14, 2022 – March 26, 2023
Rotation 2, Works 1900–1930: April 1 &#8211; December 10, 2023

This is a drawing of three men linking their arms to use all their strengths to pull a boat onto land.

L2022.35.40

Reflections on Reality: Drawings and Paintings from the Weisberg Collection

An antique gray and gold television with rounded corners and a red speaker.

Engineered for Domestic Bliss

ReVisión: Art in the Americas

The Lyrical Artwork of Jim Denomie

Tia Keobounpheng: Revealing Threads

In Our Hands: Native Photography, 1890 to Now

1 de julio a 17 de septiembre de 2023 
Admisión general $20; Membro Contribuyente+ Libre (tickets adicionales $16); Jóvenes hasta 17 Libre  
Featuring nearly 130 objects from the Denver Art Museum’s Ancient and Latin American collections, this exhibition tells a visually compelling narrative about the formation of the Americas from 100 BCE to today. The thematic presentation explores land, people, and place by linking ancient and contemporary artworks that address political and social issues at the heart of the region’s cultural heritage. 
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A través de una selección de casi 130 objetos procedentes de las colecciones de arte antiguo de civilizaciones americanas y latinoamericanas del Denver Art Museum, la exposición relata la historia de la formación del continente americano a través de una narrativa visualmente cautivadora que abarca desde el año 100 a. C. hasta el día de hoy. La narrativa explorará el territorio, los pueblos y los lugares gracias a la relación entre obras de arte antiguas y obras contemporáneas que abordan cuestiones políticas y sociales en el núcleo del patrimonio cultural de las Américas. 
<img class="alignnone size-full wp-image-104498" src="https://images.artsmia.org/wp-content/uploads/2023/04/14105037/ADV231894_ReVision_SponsorLockup_Horizontal-k-V8.png" width="100%" />

This is hand embroider textile of many elements that honors the Mexican culture and identity.

This exhibition surveys the artist’s singular vision and signature style over the second half of the artist’s career, from 2007 to 2022. Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955–2022) drew inspiration from lived experiences, pop culture, Anishinaabe traditions, and American histories to tell compelling narratives that depict his experiences of being Native in America. Despite the emotional weight of his subject matter, the artist&#8217;s dry wit opened space for necessary conversations about the legacies of colonization and the nature of humanity. The exhibition examines Denomie’s creative process, tracing his ability to transform inspiration into monumental artworks. 
<img class="alignnone size-full wp-image-104498" src="https://images.artsmia.org/wp-content/uploads/2023/05/24134028/ADV231923_Denomie_Sponsor_Lockup_Web_V2.png" width="100%" />

A Finnish and Sámi descendent, Keobounpheng uses her artistic practice to recognize her familial connections to both the colonizers and the colonized. &#8220;Revealing Threads&#8221; will feature her abstract tapestries, influenced by traditional Nordic handwork techniques but infused with contemporary interpretations and symbolism. The results speak to marginalized histories, heritage, and the complexity of personal identity. The works will be informed by a research trip to Sápmi, the traditional land of the Sami people, in fall 2022.
Keobounpheng is a designer/maker and artist living and working in North Minneapolis. She is a recipient of the 2017 and 2020 MN State Arts Board’s Artist Initiative Grant, 2018 McKnight Foundation’s Next Step Fund, and 2022 MN State Arts Board Creative Support for Individuals Grant. Her work has been shown at the American Swedish Institute, in Minneapolis; the Finlandia University Gallery, in Hancock, Michigan; the University of St. Thomas, in St. Paul; and the Anderson Center, in Red Wing, Minnesota. Her laser-cut jewelry has been sold by design retailers across the country for over a decade.
This exhibition is part of the <a href="http://new.artsmia.org/exhibitions/maep/" target="_blank" rel="noopener">Minnesota Artists Exhibition Program</a>, now located in the U.S. Bank Gallery.
Generous support for MAEP provided by: 
<img loading="lazy" class="alignnone wp-image-69432 " src="https://new.artsmia.org/wp-content/uploads/2018/03/McKnight_logo_whtonblk_rgb-1.png" alt="" width="300" height="54" srcset="https://images.artsmia.org/wp-content/uploads/2018/03/01101456/McKnight_logo_whtonblk_rgb-1.png 800w, https://images.artsmia.org/wp-content/uploads/2018/03/01101456/McKnight_logo_whtonblk_rgb-1.png 768w" sizes="(max-width: 300px) 100vw, 300px" />
Additional support provided by RBC Wealth Management.

Enter into the vivid worlds of Native photography, as framed by generations of First Nations, Métis, Inuit, and Native American photographers themselves. Presenting over 150 photographs of, by, and for Indigenous people, “In Our Hands” welcomes all to see through the lens held by Native photographers. 
Organized by a council of primarily Native artists, scholars, and knowledge sharers, in partnership with Mia curators, this sweeping exhibition traces the intersecting histories of photography and diverse Indigenous cultures from the Rio Grande to the Arctic Circle. Beautiful, complex, and surprising, these artworks celebrate the legacy of groundbreaking photographers and their influence on the medium today.

In a vast valley is a Native family dressed in their traditional clothing. A mountain of old TV's are behind them, showing stills of "TV Indians."

Upcoming Exhibitions

Eternal Offerings: Chinese Ritual Bronzes A Special Exhibition Designed by Oscar-Winning Artistic Director Tim Yip

German Prints in the Later 1400s

Creativity Academy

20 Dances: Japanese Calligraphy Then and Now

<a href="https://tickets.artsmia.org/events/0185e9e2-7320-1f51-ed3d-8935e615e243"><button class="background-black">Reserve Tickets</button></a>
Bronze vessels held great ritual significance in ancient China. Used to make offerings to heavenly and ancestral spirits, these exquisite objects were also symbols of power. Mia’s Chinese art curator Liu Yang and world-renowned art director and film designer Tim Yip (Crouching Tiger, Hidden Dragon) will create an experiential exhibition that engages the senses. Featuring some 150 Chinese bronze objects from Mia’s collection, “Eternal Offerings” offers an immersive experience designed to evoke the mystery of heavenly and ancestral worship. Each gallery will embody a facet of the rituals enacted to honor the divinities, from the solemnity of the temple, to the intoxication of lavish banquets.
Lighting Design by A.J. Weissbard.
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Learn about the significance of ritual bronzes in Chinese culture, explore the exhibition guide and more <a href="https://mobile.mia.yourcultureconnect.com/e/eternal-offerings:-chinese-ritual-bronzes">here.</a>

https://images.artsmia.org/wp-content/uploads/2022/11/02122159/cc_thumbnail.png

https://mobile.mia.yourcultureconnect.com/e/eternal-offerings:-chinese-ritual-bronzes

See a complete list of objects featured in this exhibition <a href="https://collections.artsmia.org/search/_exists_:%22list:eo%22">here.</a>

https://images.artsmia.org/wp-content/uploads/2022/11/02120558/collection_search_eo.png

https://collections.artsmia.org/search/_exists_:%22list:eo%22

View 3D models of select bronzes <a href="https://sketchfab.com/artsmia/collections/mias-ancient-chinese-bronzes-b9fd993ade5044118ed66bc271bf0717">here.</a>

https://images.artsmia.org/wp-content/uploads/2022/11/02121353/3D_bronze.png

https://sketchfab.com/artsmia/collections/mias-ancient-chinese-bronzes-b9fd993ade5044118ed66bc271bf0717

2022.35.2

Creativity Academy is a museum-school partnership that jumpstarts creative expression through multiple lessons. This year, over 400 Creativity Academy artists—fourth graders at Battle Creek Elementary, Bethune Arts Elementary, Ella Baker Global Studies and Humanities Magnet School, Hennepin Elementary, King Elementary, and Saint Paul Music Academy—participated virtually and in-person to develop problem solving skills and express themselves in artworks utilizing various materials.
Enjoy selected works by Creativity Academy artists, all inspired by Mia’s collection, on display in the Community Commons Gallery, now through April 23.

Hanging down on blue walls are artwork pieces from community members. There are open tables in this hallway of shared space.

<div class="gmail_default">In East Asia, calligraphy has been hailed as the highest of all art forms for more than 15 centuries. It’s not hard to understand why: With more than 80,000 Chinese characters and infinite graphic variations, the expressive potential is unlimited. The results, as seen in this exhibition, speak for themselves. Each work is a unique expression of the artist’s personality, offering a glimpse into the culture that held calligraphy in such high esteem.</div>
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<div class="gmail_default" style="margin-bottom: 30px">The Japanese writing system was adopted from Chinese characters; given the Japanese reverence for Chinese artistic traditions, these works explore the full range of scripts possible with these characters: seal script (tensho), running script (gyosho), cursive script (sosho), clerical script (reisho), and standard script (kaisho). Calligraphy’s emphasis on movement and timing suggests dancing, and each script has its own rhythm, from the formal strictness of seal script to the wild dance of cursive writing.</div>
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This exhibition will be presented in three rotations: 
<ul>
<li>Rotation 1: August 1, 2020 &#8211; June 6, 2021.</li>
<li> Rotation 2: June 19, 2021 &#8211; April 10, 2022.</li>
<li> Rotation 3: April 23, 2022 &#8211; April 19, 2023.</li>
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<div style="margin-top: 40px"><a class="link-fade-in-brdr" href="https://lume.space/mia/group/20-dances-japanese-calligraphy-then-and-now"><button class="background-black">Explore the art in this exhibition from home.</button></a></div>
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<div id="attachment_84774" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84774" loading="lazy" class="wp-image-84774 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20092611/mia_6017324_Crop-e1595273207135.jpg" alt="" width="500" height="479" />Maki Ryōkō, 1787–1833, Lu Tong&#8217;s Tea Song, 19th century (detail), hanging scroll; ink on silk, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.19</div>
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Clerical Script 
隸書 (Jp.: reisho; Ch.: lishu) 
Clerical script was the starting point for stylized calligraphy: curved lines were straightened, radicals (graphic components that indicate the meaning of the character) were simplified and merged, the number of strokes were reduced. The script developed in China around 300 BCE and became increasingly important during the Han Dynasty (206 BCE–220 CE) as the territory expanded and an increasing number of imperial edicts needed to be copied and distributed across the country. This job fell to the official clerics, and was made possible with the advent of paper and silk as substrates, rather than stone or bamboo strips. 
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<div id="attachment_84775" style="width: 426px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84775" loading="lazy" class="wp-image-84775 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20092832/mia_6017309_Cropped-e1595273349404.jpg" alt="" width="416" height="500" />Nakai Tōjū, 1608–48, Bring the Qin, 17th century (detail), hanging scroll; ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.24</div>
Seal Script 
篆書 (Jp: tensho; Ch: zhuanshu) 
Seal script reflects the earliest form of Chinese calligraphy. It developed during the Zhou Dynasty (c. 1045–256 BCE) and was standardized around 300 to 200 BCE. Ultimately the script fell out of favor due to its linearity, which did not lend itself to the fluid strokes of the calligrapher’s brush. It did, however, continue to be used for seal carvings, which were generally made of stone and were used to apply an individual’s official signature or identifying mark to a document or other object. 
The script underwent a revival from around 1600 to 1900 CE, and was used as visual shorthand for archaism, a reference to the ancient world. It was especially favored by scholars interested in Chinese antiquity. 
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<div id="attachment_84776" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84776" loading="lazy" class="wp-image-84776 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093050/mia_8010159_Detail-e1595273480871.jpg" alt="" width="500" height="428" />Suda Kokuta, 1906–90, Words Concerned with Existence, 1984 (detail), ink on paper, Gift of the Clark Center for Japanese Art &amp; Culture, 2013.29.1337.1-2, © Suda Kokuta</div>
Standard Script 
楷書 (Jp: kaisho; Ch: kaishu) 
The next step in calligraphy’s innovation was the development of a standard script. Standard or regular script is used when clarity is of the utmost importance, such as for formal documents, books, etc. It was also the script most commonly used for mass printing, which was first invented in China around 800 CE, while movable type developed around 1000 to 1100 CE. 
Though standard script’s crisp lines would seemingly require less skill, such regularity requires a steady hand and an understanding of how much ink to load onto the brush to achieve a consistent stroke—any error or irregularity would be glaringly obvious. 
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<div id="attachment_84777" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84777" loading="lazy" class="wp-image-84777 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093208/mia_6017316_Cropped_Detail-e1595273559782.jpg" alt="" width="500" height="347" />Ōtagaki Rengetsu, 1791–1875, Letter to Tomioka Tessai, 19th century (detail), Ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.6</div>
Cursive Script 
草書 (Jp: sōsho; Ch: caoshu) 
Similar to Western shorthand, cursive script may have appeared as early as 200 BCE out of a need for a rapid, simplified way of writing clerical script. Cursive script was used chiefly for private and informal communications as well as for poetry. 
The shapes of the characters are greatly abbreviated and sometimes altered to such an extent that they do not resemble the standard forms. Brush strokes are wave-shaped and made rapidly. The difficulty of reading this fluid script is further increased because several characters are often vertically connected without interruption. 
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<div id="attachment_84778" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84778" loading="lazy" class="wp-image-84778 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093330/mia_6017329_Cropped-e1595273637706.jpg" alt="" width="500" height="396" />Ema Saikō, 1787–1861, On Becoming Fifty, 1836 (detail), hanging scroll; ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.37</div>
Running Script 
行書 (Jp: gyōsho; Ch: xingshu) 
Running or semi-cursive script is an intermediate form between standard script and cursive script. As it is not as abbreviated as cursive script it can be read by most people who can read standard script. 
Developed before 100 CE, it became the usual style of handwriting. 
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ReVisión: Art in the Americas

July 1, 2023 – September 17, 2023
Target Gallery

Opening Soon

ReVisión: Art in the Americas

July 1, 2023 – September 17, 2023
Target Gallery

Featured Exhibitions

Marcantonio Raimondi: Thief · Collaborator · Communicator

Teen Perspectives on Racism and Health Equity

Azechi Umetarō: Call of the Mountains

Fukuda Kodōjin: Japan’s Great Poet and Landscape Artist

Caravaggio′s Judith and Holofernes

Gifts Beyond Measure from Harriet and Walter Pratt

The Art of Literacy in Early Modern Japan

Christopher Selleck: Body//Weight

More to See

Fragments of Epic Memory

Night Life: Nocturnal Worlds in African Art

In the Making: Modern and Contemporary Fiber Art New Acquisitions

Teo Nguyen: Việt Nam Peace Project
Teo Nguyễn: Giấc Mơ Hòa Bình

Reflections on Reality: Drawings and Paintings from the Weisberg Collection

Engineered for Domestic Bliss

ReVisión: Art in the Americas

July 1, 2023 – September 17, 2023 Target Gallery

Opening Soon

ReVisión: Art in the Americas

July 1, 2023 – September 17, 2023 Target Gallery

Featured Exhibitions

Marcantonio Raimondi: Thief · Collaborator · Communicator

Teen Perspectives on Racism and Health Equity

Azechi Umetarō: Call of the Mountains

Fukuda Kodōjin: Japan’s Great Poet and Landscape Artist

Caravaggio′s Judith and Holofernes

Gifts Beyond Measure from Harriet and Walter Pratt

The Art of Literacy in Early Modern Japan

Christopher Selleck: Body//Weight

More to See

Fragments of Epic Memory

Night Life: Nocturnal Worlds in African Art

In the Making: Modern and Contemporary Fiber Art New Acquisitions

Teo Nguyen: Việt Nam Peace Project Teo Nguyễn: Giấc Mơ Hòa Bình

Reflections on Reality: Drawings and Paintings from the Weisberg Collection

Engineered for Domestic Bliss

July 1, 2023 – September 17, 2023
Target Gallery

July 1, 2023 – September 17, 2023
Target Gallery

Teo Nguyen: Việt Nam Peace Project
Teo Nguyễn: Giấc Mơ Hòa Bình