Exhibitions

<h1>The Shape of Time: Korean Art after 1989</h1>
<div style="margin-top: 10px;">
<h3 class="Mia-bold">March 23, 2024 &#8211; June 23, 2024<br />
Target Gallery<br />
General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free</h3>
</div>
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On View

<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>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 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>
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Related Events

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>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>
<p>&nbsp;</p>


2019.78.325

Tanaka Ryōhei: Portrait of a Home

<p>From the dragon’s first appearance in art some eight to nine thousand years ago, during the early Neolithic period, these ferocious beasts have occupied an honored place in Chinese culture. Their majestic power has inspired art in nearly every medium—jade to bronze, ceramics to paintings. Originating in mythology as scaly water beasts who controlled the rain and wind, they have evolved in form and symbolism, taking to the skies to become the auspicious creatures we know today: four-legged, horned, snakelike beings who breathe clouds (not fire) and represent not only heavenly power and prosperity but Chinese culture itself.</p>
<p>To celebrate the Year of the Dragon in the lunar calendar, this exhibition features objects from Mia’s own Chinese art collection that represent the evolution of dragon imagery and symbolism, from the ancient world to today.</p>


These are gilt bronze emblems of flying dragons. The two dragons are displayed on black placeholders.

200.87.2.1; 20087.2.2

Year of the Dragon: Mystical Creatures of the Sky

<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/2024/02/13115811/LIN242286_GordonParks_VisitorGuide-V4_spreads.pdf"><button class="background-black" style="margin-bottom: 1rem;">Download PDF</button></a></p>


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Related Blogs

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>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>Mia began collecting art from Latin America and the Caribbean in the 1940s, particularly ceramics, objects in gold, and textiles produced by the ancient civilizations of Central and South America. The collection has grown ever since, largely through generous donations and purchases of work by contemporary artists. The selection of art in this gallery honors these efforts of previous generations to assemble some remarkable artworks, a foundation on which the museum will build a more inclusive collection, representing the full diversity and creativity of Latin American artists.</p>


This is a colorful and bright artpiece of people dancing and playing music. All shades and ages come together to enjoy the music that's being created.

Latin American Art at Mia

<p>Tamara and Michael Root have created one of the largest, most diverse collections in the Twin Cities of studio ceramics from the 20th and 21st centuries. For nearly 35 years, they have followed the Minnesota ceramic arts scene and collected nationally and internationally, assisted by knowledgeable dealers. Now retired professors, they truly lived with these works, showing a large selection in museum-worthy displays in their South Minneapolis home.</p>
<p>For more than 10 years, the Roots have donated singular works to Mia and provided generous funds for new ceramic acquisitions. They are now moving forward with the collection as a promised gift to Mia. Two complementary exhibitions celebrate their generosity while showcasing the Roots as thoughtful collectors of Japanese as well as North American and European ceramics.</p>
<p>This exhibition, in the Japanese galleries, presents a selection of tea bowls and other tea ware, standing and hanging vases, as well as sculpture. The Roots did not venture into Japanese ceramics until 2001, when they acquired the first of almost 50 tea bowls. The collection eventually encompassed 168 works, dominated by functional ware. While their focus remained strongly on contemporary works, the Roots also added a number from the mid-20th century, including pieces by the <em>Mingei</em> (folk-craft) artists Hamada Shōji, Kitaōji Rosanjin, and Arakawa Toyozō.</p>
<p>The related exhibition &#8220;The Root Collection: Celebrating Studio Ceramics&#8221; is on view in the Cargill Gallery, on the first floor, from August 19, 2023 to January 28, 2024.</p>


The Root Collection: Living with Japanese Ceramics

<p>Make the most of Minnesota’s short growing season with lush floral designs plucked from Mia’s permanent collection, all on view for the first time. In this virtual pleasure garden, tulips, daffodils, and morning glories mingle with the noble rose, whatever the weather may bring. Standouts include an embroidered Portuguese bedcover, a painted Chinese palampore, and a hot-pink priest’s mantle—all created in the 1700s. Women designers get special attention, with works by Anna Maria Garthwaite (1688–1763), Marjatta Metsovaara (1927–2014), and Helena Hernmarck (b. 1941).</p>


Handprinted on a satin scarf are floral bouquets and trees with flowers stemming from them.

2022.9

A Perennial Pleasure Garden: Botanical Textiles from Mia’s Permanent Collection

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

Engineered for Domestic Bliss

Domestic Idols

Bizen: Contemporary Expressions of an Ancient Japanese Pottery

Thomas Putzier: Grief &amp; Bureaucracy

<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>


<p>Bizen ware, characterized by its rich reddish-brown clay with natural ash glaze, is one of Japan’s six pottery traditions. Originating from today’s Okayama prefecture on the Seto Inland Sea, its history reaches back to the 14th century. It peaked during the late 16th century when the tea masters in and around Kyoto, the center of culture in Japan, found it most appealing. With the modernization of Japan in the mid-19th century, Bizen almost disappeared, but the tradition was revived in the 1930s and many artists since have explored its potential. While some have stayed closer to conventional forms, others have surprised with new shapes while staying true to the core of Bizen. This exhibition showcases the journey in Bizen from the 16th century to the 21st.</p>


L2023.30.41

<p>Thomas Putzier&#8217;s sculptures and paintings address the social longing for change despite insurmountable bureaucratic obstacles. Using utopian imagery and architectural forms, Putzier allows the visitor to imagine new possibilities.</p>
<p>Based in Greater Minnesota, Putzier works across various media as an artist and designer. His practice examines the complex relationships between social, political, and economic structures that shape society. His work has been exhibited at the CICA Museum in Gyeonggi-Do, South Korea; Franconia Sculpture Park in Shafer, Minnesota; the I-Park Foundation in East Haddam, Connecticut; the Neon Museum in Las Vegas; and the Marjorie Barrick Museum of Art in Las Vegas. His work is in the permanent collection of the Neon Museum.</p>
<p>This exhibition is part of the Minnesota Artists Exhibition Program.</p>
<p>Support provided by RBC Wealth Management.</p>


Upcoming Exhibitions

Chaos: Ken Matsubara’s Buddhist Masterwork

The Lyrical Artwork of Jim Denomie

Call and Response: American Watercolors in Conversation

Lisa Bergh: Topography

<p>Two paintings, 600 years apart: the 14th century <em>Taima Mandala</em> and the 20th century <em>Chaos</em> by Ken Matsubara. Despite the chronological distance between them, these two pieces are connected by Buddhist threads. In this installation, accompanied by the echoes of singing bowls, the visitor acts as the bridge between Matsubara’s depiction of human struggle and the <em>Taima Mandala</em>’s immaculate Pure Land. Take a moment to sit, be still, and focus on being with  art.</p>
<p>Ken Matsubara was born in Toyama prefecture, Japan, in 1948. Growing up in a relative’s temple, he admired and copied traditional Buddhist artworks displayed throughout the complex. In his late twenties, he apprenticed with Sankо̄ Inoue, a renowned Japanese painter of Western abstraction. <em>Chaos</em> (1983) marked a moment of synthesis and departure. He merged his knowledge of Buddhist concepts with his teacher’s abstraction to create a new form of representation, his own abstraction of space and sound.</p>


2022.49a; 2022.49a,b

<p>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.</p>
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<h3>Jim Denomie: Biography and Selected CV</h3>
<p>Jim Denomie (Ojibwa, Lac Courte Oreilles Band, 1955&#8211;2022) has exhibited nationally and internationally, including the 21st Contemporary Art Biennial Sesc_Videobrasil, São Paulo; El Colegio del San Ildefonso, Mexico City; Kusthalle Wien, Vienna; Minneapolis Institute of Art; Projek Traum, Friedrichshafen, Germany; St. Patrick Centre, Downpatrick, Ireland; and the Walker Art Center, Minneapolis. During his lifetime, the artist received numerous awards, including the Bush Artist Fellowship (2008); the McKnight Distinguished Artist Award (2018); and the National Artist Fellowship, Native Arts &#038; Cultures Foundation (2018). Denomie was awarded a Painters and Sculptors Grant (2015) and selected for the Joan Mitchell Foundation Artist-In-Residence Program (2017) by the Joan Mitchell Foundation. </p>
<p>Denomie’s work is held in numerous private and public collections, including the Denver Art Museum; Forge Project Collection, Hudson Valley, NY; Heard Museum, Phoenix; Jordan Schnitzer Family Foundation, Eugene, OR; LWL Museum für Naturkunde, Münster; the Minneapolis Institute of Art; the Minnesota Museum of American Art, Saint Paul; Philbrook Museum of Art, Tulsa; Tia Collection, Santa Fe; the Tweed Museum of Art, University of Minnesota, Duluth; the Walker Art Center, Minneapolis; and the Weisman Art Museum, University of Minnesota, Minneapolis, among others.</p>
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Human figures with animal masks sit on their horses.

<p>Watercolor is a familiar medium. The paint sets are portable and affordable, and many of us have mixed a little water with the hard, dry cakes of pigment to brush color on a modest sheet of paper. The medium’s immediacy has delighted everyone from children to virtuoso professionals. But if getting started is easy, getting better takes extraordinary patience and practice. This exhibition features a selection of watercolors by American artists from Mia’s collection. Chosen for their variety of approaches, and arranged to “speak” to one another with shared content or styles, these works brim with lyrical surprises and inspiration.</p>


This is a watercolor piece of a deflated balloon in the sky. The balloon is orange and has a animated face.

2019.146.67

<div>
<p>Through sculpture and assemblage, Lisa Bergh creates spaces for wonder and close exploration—a delightful treat in our hyper-fast, digital age. Her translucent, abstract artworks allude to fragmented maps of places, memories, and experiences, and to move among them is to negotiate our internal, emotional worlds. Bergh is an advocate of rural arts and is the co-founder and co-curator of The Traveling Museum, a mobile art lab. She lives in New London, Minnesota.</p>
</div>
<p>This exhibition is part of the Minnesota Artists Exhibition Program. Support provided by RBC Wealth Management.</p>


This a topography collection of metal objects. A white cloth is hanging down from one of the installs.

The Shape of Time: Korean Art after 1989

March 23, 2024 – June 23, 2024
Target Gallery
General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free

Now Open

The Shape of Time: Korean Art after 1989

March 23, 2024 – June 23, 2024
Target Gallery
General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free

Featured Exhibitions

New at Mia: Contemporary Works on Paper by Women Artists

Goltzius & Co.

The Shape of Time: Korean Art after 1989

Collage/Assemblage Part II: 1990-Now

Tanaka Ryōhei: Portrait of a Home

Year of the Dragon: Mystical Creatures of the Sky

Networks of Care

American Gothic: Gordon Parks and Ella Watson

More to See

Wandering With Dutch Artists

Reimagining Native/American Art

Dwelling in Mountains: Reclusion in Chinese Landscape Painting

Latin American Art at Mia

The Root Collection: Living with Japanese Ceramics

A Perennial Pleasure Garden: Botanical Textiles from Mia’s Permanent Collection

Engineered for Domestic Bliss

The Shape of Time: Korean Art after 1989

March 23, 2024 – June 23, 2024 Target Gallery General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free

Now Open

The Shape of Time: Korean Art after 1989

March 23, 2024 – June 23, 2024 Target Gallery General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free

Featured Exhibitions

New at Mia: Contemporary Works on Paper by Women Artists

Goltzius & Co.

The Shape of Time: Korean Art after 1989

Collage/Assemblage Part II: 1990-Now

Tanaka Ryōhei: Portrait of a Home

Year of the Dragon: Mystical Creatures of the Sky

Networks of Care

American Gothic: Gordon Parks and Ella Watson

More to See

Wandering With Dutch Artists

Reimagining Native/American Art

Dwelling in Mountains: Reclusion in Chinese Landscape Painting

Latin American Art at Mia

The Root Collection: Living with Japanese Ceramics

A Perennial Pleasure Garden: Botanical Textiles from Mia’s Permanent Collection

Engineered for Domestic Bliss

March 23, 2024 – June 23, 2024
Target Gallery
General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free

March 23, 2024 – June 23, 2024
Target Gallery
General Admission $20; Contributor Member+ Free (additional tickets $16); Youth 17 and under Free