Exhibitions

Upcoming Exhibitions


            
        <h1>
          The Contemporary Print:
          <span>
             20 Years at Highpoint Editions
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        </h1>
      
            <h2>October 9, 2021 - January 9, 2022</h2>
            <p class="hero-text"> </p>
          

<p>Museums strip objects of their original context. Then the objects are reinterpreted and placed among works they might never have encountered otherwise. Playing with the notions of decontextualization and recontextualization that occur at Mia, &#8220;Posturing&#8221; conceptually approaches futility and paradox as it relates to abstract presentations of content through a sculptural installation featuring multiple videos.</p>
<p>Joshua McGarvey lives and works in Minneapolis. He received his MFA from the University of Minnesota, and an MA and BFA from Ball State University. He has received a number of awards and grants including the 2018 Jerome Emerging Artist Fellowship, 2017 and 2020 Artist Initiative Grants from the Minnesota State Arts Board, and a 2015-2016 Art(ist) on the Verge Emerging Artist Fellowship.</p>


Joshua McGarvey: Posturing

<p>The Japanese archipelago is home to extremely diverse cultures that made clothing and other textile objects in a kaleidoscope of materials and designs. This exhibition will focus on the resourcefulness of humans to create textiles from local materials like fish skin, paper, elm bark, nettle, banana leaf fiber, hemp, wisteria, deerskin, cotton, silk, and wool. It will showcase rare and exceptional examples of robes, coats, jackets, vests, banners, rugs, and mats, made between around 1750 and 1930, including the royal dress of subtropical Okinawa, ceremonial robes of the Ainu from northern Japan and the Russian Far East, and folk traditions from throughout Japan.</p>
<p>Lead Sponsor: Thomson Reuters<br />
Generous support provided by the Gale Family Endowment</p>
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Dressed by Nature: Textiles of Japan

<p>Jovan C. Speller’s MAEP exhibition will aestheticize the security of a community too often targeted, misunderstood, and misrepresented in public spaces. From the creation of a sound installation, to scenes of protection across the gallery walls surrounding the viewer, the artist will depict the story of fear and hope for Black families in every American community. </p>
<p>Speller is a Minnesota-based artist originally from Los Angeles. She is a recipient of a 2018 McKnight Visual Artist Fellowship, a 2018 Next Step Fund Grant, and a 2016 Jerome Emerging Artist Fellowship. She completed a residency at Second Shift Studio Space in St. Paul and was awarded the Carolyn Glasoe Bailey Foundation Minnesota Art Prize in 2021. Speller is represented by Aspect/Ratio Projects in Chicago. She holds a BFA in photography from Columbia College, Chicago, and studied art at the Maryland Institute College of Art. Her artwork, I Just Came Across the River, 2017, (2020.57) was acquired by Mia in 2020.</p>
<p>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.</p>
<p>Generous support for MAEP provided by:<br />
<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-1-768x138.png 768w" sizes="(max-width: 300px) 100vw, 300px" /></p>
<p>Additional support provided by RBC Wealth Management.</p>


Jovan C. Speller: Nurturing, and Other Rituals of Protection

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<span style="font-size:large">America is haunted. Ghosts from our history are an inescapable and unsettled part of daily life. Not merely the realm of metaphor but present and tangible, urgently calling for contact, these otherworldly visitors have been central to our national identity. They populate our literature, our entertainment, and our art. Through times of mourning and trauma, artists have been integral to visualizing ghosts, whether national or personal, and in doing so have embraced the mysterious and the inexplicable. This exhibition explores the numerous ways that artists in the United States have made sense of their own experiences of the paranormal and the supernatural, developing a rich visual culture of the intangible.</span>
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<u>Exhibition Tour:</u></p>
<li>June 12–September 5, 2021: Toledo Museum of Art</li>
<li>October 7, 2021–January 2, 2022: Speed Art Museum</li>
<li>February 19–May 15, 2022: Minneapolis Institute of Art</li>
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<img loading="lazy" src="https://new.artsmia.org/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v6-copy.jpg" alt="" width="1384" height="535" class="alignleft size-full wp-image-97243" srcset="https://new.artsmia.org/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v6-copy.jpg 1384w, https://new.artsmia.org/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v6-copy-855x331.jpg 855w, https://new.artsmia.org/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v6-copy-385x149.jpg 385w, https://new.artsmia.org/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v6-copy-768x297.jpg 768w" sizes="(max-width: 1384px) 100vw, 1384px" /></p>
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Related Blogs

Supernatural America: The Paranormal in American Art

<p>Woven textiles are inherently geometric. Vertical warp and horizontal weft threads impose a gridded framework that is necessarily linear and two-dimensional. It guides but it also constrains. Presented here is a group of newly acquired textile works, all on view for the first time, which bear witness to artistic experiments in color and form that both celebrate and defy this intrinsic geometry. </p>


2020.75

Parallel Lines: New Textile Masterworks Inspired by Geometry

<p>Kamoda Shōji (1933–1983) became one of Japan’s most celebrated potters. His groundbreaking approach to the interplay among material, form, and surface helped revolutionize the way Japanese artists approached ceramic production. Inquisitive, thoughtful, and tireless, Kamoda was driven to innovate and experiment. His astonishing output and creativity garnered him a considerable following in Japan, and more recently in the United States. Despite his untimely death at the age of 49, this admiration continues today. This exhibition, the first outside of Japan, features nearly 50 works from 10 private American collections and spans the breadth of his brilliant artistic career. </p>


Kamoda Shōji: The Art of Change

Envisioning Evil: &#8220;The Nazi Drawings&#8221; by Mauricio Lasansky

20 Dances: Japanese Calligraphy Then and Now

Unexpected Turns: Women Artists and the Making of American Basket-Weaving Traditions

The Contemporary Print: 20 Years at Highpoint Editions

<p>The son of Jewish immigrants in Argentina, Mauricio Lasansky (1914–2012) moved to the United States in 1943. He forged a flourishing career as a printmaker and draftsman, first in New York and then from studios in Iowa and Maine. His work often explored themes of war and violence. In 1961, coinciding with the televised trial of the Nazi war criminal Adolf Eichmann, he began a series of drawings to grapple with the Holocaust. Confronted with the atrocities, he said, “I was full of hate, poison, and I wanted to spit it out.” &#8220;The Nazi Drawings&#8221; are his visceral response to the horrors committed in Nazi concentration camps.</p>
<p>Brutal, haunting, and raw, “Envisioning Evil: &#8216;The Nazi Drawings&#8217; by Mauricio Lasansky” features his series of 33 monumental drawings made with pencil, turpentine, and earth colors. The exhibition, over 50 years after the series’ original tour, is its first comprehensive presentation in a generation. At Mia, archival media of the Eichmann trial and a selection of contemporary prints by Lasansky will also be shown. A catalogue examines Lasansky’s series, acquired in its entirety by Richard and Jeanne Levitt for their family foundation.<br />
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<h2 class="border-top-3">Virtual Tour</h2>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/641180289?h=b2d2f26f11&#038;color=ffffff&#038;byline=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div>
<p><script src="https://player.vimeo.com/api/player.js"></script></p>
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<p>Wath this virtual gallery talk for a behind-the-scenes look at the powerful work in “Envisioning Evil: ‘The Nazi Drawings’ by Mauricio Lasansky” with the authors of the exhibition’s catalogue: Rachel McGarry and Rabbi Barry Cytron.</p>
<p><a href="https://new.artsmia.org/event/virtual-gallery-talk-envisioning-evil" class="uppercase button button-link bg-none padding-none bottom-border-hover">Watch the recorded Conversation here</a></p>


https://new.artsmia.org/wp-content/uploads/2021/09/No.-24-1-855x570-1.jpg

https://new.artsmia.org/event/virtual-gallery-talk-envisioning-evil

<p>Yehudit Shendar, chief curator of the United Kingdom Holocaust Memorial and former senior art curator and deputy director of the museums division at Yad Vashem, the National Holocaust Remembrance Authority in Jerusalem, speaks about Holocaust memorials and exhibitions and their thought-provoking role in the 21st century.</p>
<p><a href="https://new.artsmia.org/event/virtual-event-the-holocaust-a-perspective-from-yad-veshem" class="uppercase button button-link bg-none padding-none bottom-border-hover>Watch the Recorded Conversation here</a> </p>


The Holocaust: A Perspective from Yad Veshem

https://new.artsmia.org/event/virtual-event-the-holocaust-a-perspective-from-yad-veshem

L2019.303.24

<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 (<em>tensho</em>), running script (<em>gyosho</em>), cursive script (<em>sosho</em>), clerical script (<em>reisho</em>), and standard script (<em>kaisho</em>). 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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<span class="Mia-bold">This exhibition will be presented in two rotations: </span></p>
<ul>
<li>Rotation 1: August 1, 2020 &#8211; June 6, 2021.</li>
<li> Rotation 2: June 19, 2021 &#8211; April 10, 2022.</li>
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</ul>
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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" /><p id="caption-attachment-84774" class="wp-caption-text">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</p></div>
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<p><b><span data-contrast="auto">Clerical Script</span></b><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">隸書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">.: </span><span data-contrast="auto">reisho</span><span data-contrast="auto">; Ch.: </span><span data-contrast="auto">lishu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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 </span><span data-contrast="auto">clerics, and</span><span data-contrast="auto"> was made possible with the advent of paper and silk as substrates, rather than stone or bamboo strips.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
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<p>&nbsp;<br />
<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" /><p id="caption-attachment-84775" class="wp-caption-text">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</p></div></p>
<p><b><span data-contrast="auto">Seal Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">篆書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">tensho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">zhuanshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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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" /><p id="caption-attachment-84776" class="wp-caption-text">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</p></div>
<p><b><span data-contrast="auto">Standard Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">楷書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">kaisho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">kaishu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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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" /><p id="caption-attachment-84777" class="wp-caption-text">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</p></div>
<p><b><span data-contrast="auto">Cursive Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">草書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">sōsho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">caoshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Similar to</span><span data-contrast="auto"> 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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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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" /><p id="caption-attachment-84778" class="wp-caption-text">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</p></div>
<p><b><span data-contrast="auto">Running Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">行書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">gyōsho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">xingshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">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.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Developed before 100 CE, it became the usual style of handwriting.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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<p><span style="font-weight: 400">American basketry is as culturally and technically diverse as the country’s inhabitants. Baskets can be coiled, crocheted, or composed of interlaced elements that travel over and under one another, as in a woven cloth. They can be made using local grasses, copper wire, celluloid film, porcupine quills, or tubular bugle beads. They can take the form of utilitarian vessels or abstract shapes.</span></p>
<p><span style="font-weight: 400">Across traditions, techniques, and styles</span><span style="font-weight: 400">, women have forged new and sometimes interconnected paths as innovators and mentors. This installation chronicles experiments in basketry—all made by American women artists from the 1800s to the present day—that explore the boundaries between utility and whimsy, weaving and sculpture. While some of the artists sought to maintain proper relationships with materials and environments, and others prioritized strengthening bonds with ancestors and communities, all balance individual artistic expression with centuries-old traditions.  </span></p>
<p><span style="font-weight: 400">Artists include Elizabeth Hickox (Karuk), Gail Tremblay (Mi’kmaq and Onondaga), Josie Robinson (Ojibwe), Mary Giles, Elaine Small, Ferne Jacobs, Carole Hetzel, Tracy Krumm, and Henrietta Snype (Gullah Geechee).</span></p>
<div style="margin-top: 30px"><a href="https://collections.artsmia.org/exhibitions/2877/unexpected-turns-women-artists-and-the-making-of-american-basket-weaving-traditions"><button class="background-black">Explore the Exhibition</button></a></div>
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<h2>Featured Artists:</h2>
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<h3 class="Mia-bold">Gail Tremblay</h3>
<p><div id="attachment_94075" style="width: 450px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-94075" loading="lazy" class=" wp-image-94075" src="https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay.jpg" alt="" width="440" height="440" srcset="https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay.jpg 720w, https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay-128x128.jpg 128w, https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay-32x32.jpg 32w, https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay-50x50.jpg 50w, https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay-64x64.jpg 64w, https://images.artsmia.org/wp-content/uploads/2021/01/08051450/GailTremblay-96x96.jpg 96w" sizes="(max-width: 440px) 100vw, 440px" /><p id="caption-attachment-94075" class="wp-caption-text">Gail Tremblay. Photograph courtesy of Museum of Arts and Design, New York, NY</p></div><span style="font-weight: 400"><br />
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“I use non-traditional materials to explore ways I can weave traditional Onondaga and Micmac basketry forms so that my work will comment on Indigenous life in the 21st century. I began making film baskets when I taught with Marge Brown, a filmmaker at The Evergreen State CollegeI asked our students for out-takes from their films. I found film was an interesting material to weave, and I enjoyed the notion of recycling film and gaining control over a medium that had historically been used by both Hollywood and documentary filmmakers to stereotype American Indians. I relished the irony of making film take on the traditional fancy stitch patterns of our ash splint and sweet grass baskets. Soon I began to develop more complex patterns. I also began to use recycled footage from films being thrown away by libraries so I could choose certain images that suited my themes. I enjoy creating titles to contextualize these baskets and often choose materials to ironic purpose. ”</span><br />
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<h3 class="Mia-bold">Henrietta Snype</h3>
<div id="attachment_94076" style="width: 461px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-94076" loading="lazy" class=" wp-image-94076" src="https://images.artsmia.org/wp-content/uploads/2021/01/08051657/1-Henrietta-by-Darrell-Johnson4-1-598x800.jpg" alt="" width="451" height="604" srcset="https://images.artsmia.org/wp-content/uploads/2021/01/08051657/1-Henrietta-by-Darrell-Johnson4-1-598x800.jpg 598w, https://images.artsmia.org/wp-content/uploads/2021/01/08051657/1-Henrietta-by-Darrell-Johnson4-1-768x1027.jpg 768w, https://images.artsmia.org/wp-content/uploads/2021/01/08051657/1-Henrietta-by-Darrell-Johnson4-1.jpg 891w" sizes="(max-width: 451px) 100vw, 451px" /><p id="caption-attachment-94076" class="wp-caption-text">Henrietta Snype. Photograph by Darrell Johnson.</p></div>
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<p><span style="font-weight: 400">Henrietta Snype descends from a lineage of basket makers in Mount Pleasant, South Carolina. This region is home to the Gullah Geechee, a group who takes pride in their centuries-old cultural links to West Africa – a connection reflected in local basketry traditions.  “When I first learned the craft at the age of 7, it was a mandatory skill. If I made a mistake, my grandmother would rip it out. It had to be perfection. I had to make the base over and over until I got it right and the next step was to learn the walls. My grandmother taught my mother, my mother taught me, I taught my daughter, and she taught hers. I’m the only basket maker left with five generations of weavers in a row in my family.”</span></p>
<p><span style="font-weight: 400">Snype is dedicated to sustaining her community’s style of basket weaving for current and future generations and regularly teaches the craft to K-12 students in South Carolina public schools.</span><br />
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<h3 class="Mia-bold">Tracy Krumm</h3>
<div id="attachment_94077" style="width: 450px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-94077" loading="lazy" class=" wp-image-94077" src="https://images.artsmia.org/wp-content/uploads/2021/01/08052011/Krumm-Headshot-2019-600x800.jpg" alt="" width="440" height="587" srcset="https://images.artsmia.org/wp-content/uploads/2021/01/08052011/Krumm-Headshot-2019-600x800.jpg 600w, https://images.artsmia.org/wp-content/uploads/2021/01/08052011/Krumm-Headshot-2019-768x1024.jpg 768w, https://images.artsmia.org/wp-content/uploads/2021/01/08052011/Krumm-Headshot-2019.jpg 900w" sizes="(max-width: 440px) 100vw, 440px" /><p id="caption-attachment-94077" class="wp-caption-text">Tracy Krumm. Photograph by Shelly Campbell</p></div>
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<p><span style="font-weight: 400">In 1982, Tracy Krumm was studying political ecology at The Evergreen State College in Olympia, Washington when a friend encouraged her to enroll in a design class taught by Gail Tremblay (whose work is also shown in this gallery). It set Krumm’s life on a new course. Years later, studying at the Vermont College of Fine Art, a chance encounter with some free copper wire outside the science labs sparked Krumm’s interest in working with metal elements. According to Krumm, “My artistic path was shaped by chance encounters, and Gail Tremblay was definitely one of my own unexpected turns.”</span></p>
<p><span style="font-weight: 400">Krumm continues: “Basketry is loaded symbolically and culturally. It is an ancient artform – some of the oldest evidence goes back 10,000 years, way before loom weaving. It was an art of necessity that allowed humans to do things and it fit with their portable lifestyle. Creating objects by hand, and making things to fill a need was nothing less than a miracle.”</span><br />
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<h2 class="Mia-bold">Major Sponsor:</h2>
<p><img loading="lazy" class="alignnone wp-image-93775" src="https://images.artsmia.org/wp-content/uploads/2021/01/25074202/ArtfulLiving_Logo-1200x342.png" alt="" width="200" height="57" srcset="https://images.artsmia.org/wp-content/uploads/2021/01/25074202/ArtfulLiving_Logo-1200x342.png 1200w, https://images.artsmia.org/wp-content/uploads/2021/01/25074202/ArtfulLiving_Logo-768x219.png 768w" sizes="(max-width: 200px) 100vw, 200px" />
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Related Events

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<h2>About the Exhibition</h2>
<p>Many boldface-name artists admire Highpoint Editions, the collaborative publishing arm of Highpoint Center for Printmaking, Minneapolis. Mia recently acquired Highpoint’s complete archive, comprising more than 325 published prints and multiples, plus hundreds of items of production material. These works, inspired proof of Highpoint’s impact on printmaking, will be on display at Mia in a sweeping exhibition, “The Contemporary Print: 20 Years at Highpoint Editions.”</p>
<p>“The Contemporary Print” showcases 175 artworks in a broad range of printmaking techniques, styles, and subjects. You’ll also find preliminary drawings and working proofs, as well as demonstrations to better appreciate this expressive art form. Featured visiting artists include Carlos Amorales, Julie Buffalohead, Willie Cole, Sarah Crowner, Jim Hodges, Delita Martin, Julie Mehretu, Todd Norsten, Chloe Piene, David Rathman, Do Ho Suh, and Dyani White Hawk.
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<h2>About Highpoint Editions</h2>
<p>Highpoint Center for Printmaking was established in 2001 and is the only community-oriented facility of its kind in the Upper Midwest. Until Highpoint opened its doors, broad public access to the printmaking arts was virtually nonexistent in this part of the country. The publishing arm, Highpoint Editions, produces fine art prints made by invited professional artists in collaboration with master printer Cole Rogers and Highpoint Editions staff. Highpoint advances the work of artists by presenting their projects to a broad public through gallery shows, lectures, and symposia and by placing Highpoint prints in important public and private collections around the<br />
world. Prints created at Highpoint Editions can be found in numerous public, corporate, and private collections, including the Museum of Modern Art, New York, the Museum of Fine Arts, Boston, the Whitney Museum of American Art, the Walker Art Center, the Los Angeles County Museum of Art, and the Centre Pompidou.
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<p>A digital catalogue raisonné documenting twenty years of workshop production at Highpoint Editions by 39 visiting artists. Edited by curator Dennis Michael Jon, with essays by Jon, Jill Ahlberg Yohe, and Jennifer Roberts, and an interview with Highpoint master printer Cole Rogers. </p>
<p><a class="uppercase button button-link bg-none padding-none bottom-border-hover" target="_blank" 
 href="https://artsmia.org/highpoint-editions">Explore the catalogue raisonné</a></p>


https://new.artsmia.org/wp-content/uploads/2021/02/HPE-cover-icon-for-web.jpeg

Highpoint Editions: A History & Catalogue, 2001–2021

<p>from the recent addition of the Highpoint Editions Archive to Mia’s permanent collection.</p>
<p><a class="uppercase button button-link bg-none padding-none bottom-border-hover" target="_blank" 
 href="https://new.artsmia.org/exhibitions/the-contemporary-print/">Explore Selected Works</a></p>


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https://new.artsmia.org/exhibitions/the-contemporary-print/

Current Exhibitions

Captive Beauties: Depictions of Women in Late Imperial China

In the Presence of Our Ancestors: Southern Perspectives in African American Art

Hindsight: American Documentary Photography, 1930-1950

Intimate Space: A Noblewoman&#8217;s Bedroom in Late Imperial China

<p><span data-contrast="auto">Beautiful yet lonely and melancholy—women from imperial China were often depicted in terms of their highly circumscribed lives, which were entirely dependent upon men.</span><span data-contrast="auto"> In some paintings, women engage in duties appropriate to their stations in life, according to patriarchal Confucian principles. Other paintings show women with fanciful coiffures and silk dresses, </span><span data-contrast="auto">serving as musicians or courtesans, existing to please men.</span><span data-contrast="auto"> Literary and visual artists often compared women to flowers: refined and delicate yet fragile, their beauty (meaning marriageability) transient. </span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559738&quot;:225,&quot;335559739&quot;:225,&quot;335559740&quot;:480}"> </span></p>
<p><span data-contrast="auto">But some artists hinted at</span> <span data-contrast="auto">suppressed urges and unacknowledged emotions, reflecting a growing interest in the inner lives of their subjects. In their paintings we see the equivalent of the following verses, sung by the female protagonist in the play </span><i><span data-contrast="auto">The Peony Pavilion</span></i><span data-contrast="auto"> (1598). Confined </span><span data-contrast="auto">to the </span><span data-contrast="auto">inner quarters of her home</span><span data-contrast="auto">, she laments a </span><span data-contrast="auto">brilliantly flowering</span><span data-contrast="auto"> spring scene in her isolated garden:</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559731&quot;:720,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p>
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<p style="text-align: left;"><span data-contrast="auto">The flowers in purple and red,</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559685&quot;:720,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p>
<p style="text-align: left;"><span data-contrast="auto">Scattering here and there,</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559685&quot;:720,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p>
<p style="text-align: left;"><span data-contrast="auto">Yet only accompanied by</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559685&quot;:720,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p>
<p style="text-align: left;"><span data-contrast="auto">Dry wells and ruined fence.</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335559685&quot;:720,&quot;335559739&quot;:160,&quot;335559740&quot;:480}"> </span></p>
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<a href="https://collections.artsmia.org/exhibitions/2811/captive-beauties-depictions-of-women-in-late-imperial-china" class="button">Explore the art in this exhibition from home.</a></p>


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<div style="margin-top: 35px"><a href="https://new.artsmia.org/art-artists/explore/in-the-presence-of-our-ancestors-southern-perspectives-in-african-american-art/"><button class="background-black">Enter the Exhibition</button></a></div>
<p><span style="font-weight: 400">“We as a people of Africa have a story to tell about a journey of four hundred years here in America.” &#8211; Joe Minter</span><span style="font-weight: 400">“</span></p>
<p><span style="font-weight: 400">In the Presence of Our Ancestors: Southern Perspectives in African American Art” brings together methods of visual storytelling and ancestral memory through the individual practices of artists from the “Black Belt” region of the American South—a term that refers to the region’s black soil, as well as the legacies of African Americans who shaped its social and agrarian culture. Spanning from Louisiana to Florida, and the mid-20th century to the present, the artists highlighted in this exhibition document rural life and traditions of metalwork, funerary and yard art, and quilt making. Here, we witness an evolution of regional artistic practice, as raw materials and found objects related to time, place, and accessibility take center stage.</span></p>
<p><span style="font-weight: 400">These artworks are sometimes called &#8220;folk&#8221; or &#8220;vernacular,&#8221; and the artists who made them labeled &#8220;self-taught.&#8221; Within the context of art museums, institutions rooted in colonial endeavors and oppression, such terms diminish the thoughtfulness and creative autonomy of both artwork and artist; for this reason, we do not use them here. The works speak for themselves, centering Black voices, material traditions, and visions.</span></p>
<p><span style="font-weight: 400">We invite you to embark on a spiritual journey, experiencing the artworks and lives they connect us with from home.  </span></p>
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<div style="margin-top: 35px"><a href="https://new.artsmia.org/art-artists/explore/in-the-presence-of-our-ancestors-southern-perspectives-in-african-american-art/"><button class="background-black">Enter the Exhibition</button></a></div>
<div style="margin-top: 35px"><a href="https://new.artsmia.org/wp-content/uploads/2021/09/In-the-Presence-of-Our-Ancestors-Teachers-Guide.pdf"><button class="background-black">Download the Teachers Guide</button></a></div>
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<h3>About the Souls Grown Deep Foundation</h3>
<p><span style="font-weight: 400">Founded in 2010 by the late collector and art historian William Arnett (1939–2020), the Souls Grown Deep Foundation is dedicated to documenting, preserving, and promoting the contributions of African American artists of the South and the cultural traditions in which they are rooted. Mia acquired 33 works in 2017 as part of the foundation’s initiative to introduce the collection to major museums across the nation. The foundation also collaborates with institutions each year to expand avenues of scholarship and professional development for college students of color. It prioritizes creative communal sustainability through grantmaking, artist’s rights, and more recently, Covid-19 relief and voting rights.</span></p>
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<p><i><span style="font-weight: 400">In honor of the Souls Grown Deep Foundation’s commitment to community, we recognize the contributions made by many to produce this exhibition. It is curated by inaugural Souls Grown Deep Foundation intern, Starasea Nidiala Camara, in collaboration with Mia’s BIPOC Curatorial Advisory Committee—Keisha Williams, Bayou Bay, Anniessa Antar, Tamira Amin, Frederica Simmons, Victoria Myers, Minna Jain, and Jeanine Pollard—with interpretation by visiting local artists through the Transcontinental Dialogue Project. A special thank-you goes to the 2019–2020 Souls Grown Deep Foundation intern cohort, and to the artists and their families who were such gracious hosts.</span></i></p>
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<p>Major Sponsor:<br />
<img loading="lazy" class="alignleft wp-image-91820 " src="https://images.artsmia.org/wp-content/uploads/2020/03/24155341/BofA_k.png" alt="" width="421" height="47" srcset="https://images.artsmia.org/wp-content/uploads/2020/03/24155341/BofA_k.png 1520w, https://images.artsmia.org/wp-content/uploads/2020/03/24155341/BofA_k-768x86.png 768w, https://images.artsmia.org/wp-content/uploads/2020/03/24155341/BofA_k-1200x134.png 1200w" sizes="(max-width: 421px) 100vw, 421px" /></p>
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2019.16.8

<p>Hindsight presents a case for the decisive impact of women upon the history of documentary photography through a selection of prints drawn from Mia’s collection as well as that of Dan Shogren and Susan Meyer. Centering the work of six American photographers—Margaret Bourke-White, Esther Bubley, Imogen Cunningham, Dorothea Lange, Genevieve Naylor, and Marion Post Wolcott—the exhibition showcases images that were created for a diverse range of projects, from governmental commissions to editorial assignments. Meant to communicate with audiences increasingly attuned to global social and political movements, these photographs provide insight into lives both everyday and extraordinary: the routines of working people in Brazil; the impact of industrialization upon rural Americans; Black Americans’ experiences of racial segregation and economic inequality; the nonviolent political resistance of Mahatma Gandhi against British colonial rule. In these ways, Hindsight reveals each photographer’s power in the making of historical memory.</p>


<p>In the male-dominated society of imperial China, most women were physically restricted to domestic spaces. The center of a woman’s life was the bedroom, where she would sit alone or with others, working or pursuing leisurely activities. The furniture and artwork featured in this exhibition, all drawn from Mia&#8217;s outstanding collection of Chinese art, would have been found in a typical imperial Chinese woman’s bedroom. These objects reflected a woman’s educated and well-read social status, while also indicating her subordinate position as a woman in a man’s world.</p>
<p><a href="https://collections.artsmia.org/exhibitions/2884/intimate-space-a-noblewoman-s-bedroom-in-late-imperial-china"><button class="background-black">Explore the artworks in this exhibition here.</button></a></p>
