Exhibitions

Upcoming Exhibitions

<p>The artistic flourishing of Renaissance Florence is among the most celebrated moments in cultural history, with Sandro Botticelli at the center of it. This exhibition puts his remarkable creativity in context, featuring more than 45 masterworks of painting, drawing, and sculpture lent by the Uffizi Galleries in Florence. With a dozen works by Botticelli himself, it is one of the most comprehensive shows on the artist ever staged in the United States.</p>
<p>Botticelli (1445–1510) lived almost his entire life in Florence, and this exhibition places his practice within the artistic culture of his time and place, with loaned works by his master and members of his circle, including Filippino Lippi, the Pollaiuolo brothers, Domenico Ghirlandaio, Perugino, and Lorenzo di Credi. Important Roman sculptures from the second century BCE to the second century CE—including five major works from the Uffizi’s collection—illuminate the integral role of ancient art in the Italian Renaissance and its influence on Botticelli and his circle.</p>


Botticelli and Renaissance Florence: Masterworks from the Uffizi

<p>Marcia Resnick (Brooklyn, born 1950) was one of the most ambitious and innovative American photographers of the 1970s. Combining social critique with poignant, often humorous performance, her photographs explore—in a conceptual vernacular—aesthetic, social, and political issues at once timely and timeless. A part of the now-mythic creative community in downtown New York, she created work that challenged traditional ideas about what a photograph could be. This exhibition brings together for the first time her extraordinary photographs from this period.</p>
<p>This exhibition was organized by the Bowdoin College Museum of Art, the Minneapolis Institute of Art, and the George Eastman Museum. </p>


2019.99.5

Marcia Resnick: As It Is or Could Be

<p>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. <em>My Being</em>, 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. </p>


Teo Nguyen: Việt Nam Peace Project

<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 olive groves of Saint-Rémy deeply inspired Vincent van Gogh in his last year of life, and the paintings he made of them are among his most moving works. This exhibition unites Mia’s own <em>Olive Trees</em> with three more paintings from the series, along with two other Van Gogh landscapes and three works on paper. Highlighting recent scientific research led by the Van Gogh Museum, the exhibition sheds new light on the artist’s methods and materials, his passionate investigation of color and line, and his choice of the olive groves as an evocative subject.</p>
<p>Van Gogh created the olive grove paintings between June and December of 1889, during his stay at the psychiatric hospital in Saint-Rémy. Mia recently lent its <em>Olive Trees</em> to a larger exhibition presenting the new research, hosted by the Van Gogh Museum and the Dallas Museum of Art. In turn, these museums offered to lend the five paintings for this exhibition at Mia, an intimate opportunity to explore Van Gogh’s extraordinary art and practice.</p>


Van Gogh and the Olive Groves

<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>
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Related Events

Dressed by Nature: Textiles of Japan

<p>Writing, geometric forms, and textures collide in the works of Maki Haku (1924-2000). Although he never received formal training, Maki learned about printmaking by associating with artists of sōsaku hanga (creative print movement), who valued the artist’s hand in the creation of prints. Maki made his own printing blocks by carving a motif onto a piece of plywood, filling the carved-out areas with cement paste, and passing the print several times through a press to achieve various textures. Calligraphy is central to his works; he sometimes manipulates calligraphy to defy reading, thereby drawing attention to the form of Chinese characters. This exhibition features prints given to Mia from the extensive collection of Sue Y.S. Kimm and Seymour Grufferman. </p>


2019.78.216

The Poetic Abstractions of Maki Haku: Prints from the Kimm-Grufferman Collection

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

Rituals of Resilience

Amano Kazumi: Prints from the Kimm-Grufferman Collection

Parska/Shada

<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.</p>
<h2 class="border-top=3">Self-Guided Tour</h2>
<p>This self-guided tour provides you with questions to ask yourself as you visit the exhibition.<br />
<a href="https://new.artsmia.org/wp-content/uploads/2019/10/LIN221411_Evil_Tour_FINAL.pdf"><button class="background-black">DOWNLOAD THE SELF-GUIDED TOUR</button></a><br />
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<h2 class="border-top-3">Virtual Tour</h2>
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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>


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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

Related Blogs

L2019.303.24

<p>&#8220;Rituals of Resilience<i>&#8221; </i>is<i> </i>an audio-visual experience, co-curated by the Twin Cities-based musician and community organizer Chaka Mkali (aka I Self Devine). The experience creates dialog between works by Black visual artists from the United States, Africa, and the greater African Diaspora and new music created for the exhibition by Mkali and his collaborators. Artworks by Kevin Beasley, Bisa Butler, Jordan Casteel, Wangechi Mutu, Robert Pruitt, Cinga Samson, and others explore themes of identity, culture, spirituality, and power through the embodiment of Black lived experience. The accompanying <a href="https://lnk.to/ejSBGyRI">album </a>grew from in-depth research on the work of each artist, and approaches their individual visual practice as a means to access and articulate a collective Black consciousness that transcends time and space.</p>
<p>Chaka Mkali explains, “&#8217;Rituals of Resilience<em>&#8216;</em> is about the act of survival under intense pressure and heat. A place to hide when being in your body isn’t safe. A reimagining of new worlds and possibilities. The creative culture of Indigenous and diasporic ethnic groups of African descent surviving and dismantling 400 hundred years of white supremacy &#8230; through a visceral fabric of repetitious intentional movements, vibrations, gatherings, acts, symbols, and codes.”</p>
<p><em>&#8220;Rituals of Resilience&#8221; is co-curated by Chaka Mkali and Gabriel Ritter, Mia’s former Curator and Head of Contemporary Art. The <a href="https://lnk.to/ejSBGyRI">album </a>is executive produced by Orko Eloheim, Medium Zach and I Self Devine, with features from The Lioness, SoloStar, Tish Jones, Izell Pyramid, Muja Messiah, Greg Grease, I-BE and others. </p>
<p>Under the curatorial guidance of Chaka Mkali, this exhibition has been re-installed (to protect light-sensitive artworks) and the closing date extended until July 31, 2022. The new display introduces artworks by Edgar Arceneaux, Bisa Butler, Alfred Amadu Conteh, Adebunmi Gbadebo, Robert Pruitt, Faith Ringgold, Mitchell Squire, Renée Stout, and others. </em></p>
<div style="margin-top: 30px"><a href="https://collections.artsmia.org/exhibitions/2875/rituals-of-resilience/room/all"><button class="background-black"> Explore the Exhibition </button></a></div>
<p> <a href="https://new.artsmia.org/wp-content/uploads/2021/02/Rituals-of-Resilience-Lyrics.pdf"><button class="background-black"> Album Lyrics </button></a><br />
<a href="https://lnk.to/ejSBGyRI"><button class="background-black">Buy The Album Here</button></a></p>
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<h2>Rituals of Resilience Orientation</h2>
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2021.115.11

<p>In 1964, a young David Hockney won First Prize at the International Exhibition of Drawings and Engravings in Lugano, Switzerland; at the same event, Amano Kazumi received an excellence award for prints of his abstract Moral series. Amano first studied under Munakata Shikō, Japan’s best-known contemporary print artist, who is famous for his roughly executed black-and-white designs. Amano’s early works emulate Munakata’s style but take on subjects of his home, Toyama, such as dances associated with the iron mills. In the early 1960s, Amano radically changed his style and from then on created abstract shapes in strong and bright colors. In 1971, Amano left Japan and moved with his family to New York. This exhibition focuses on Amano’s time in Japan and presents prints from the extensive collection of Sue Y. S. Kimm and Seymour Grufferman.</p>
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<a href="https://collections.artsmia.org/exhibitions/2904/amano-kazumi/room/all"><button class="background-black">Explore Exhibition</button></a>
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<p><span style="font-size:x-large">Explore Mia’s collection of Pueblo art highlighting Keresan, Tewa, Towa, and Hopi voices and culture. Curated by Juan Lucero (Isleta Pueblo), Mia’s Mdewakanton Native Art Fellow, this exhibition transports visitors to the oldest villages in the United States for a <em>parska</em> (in Keresan) or <em>shada</em> (in Tewa) community dance. Over 40 works of art—watercolor paintings, bow guards, <em>manta</em> weavings, ceramics, and Hopi <em>katsinam</em> dolls—come together to create one ceremonial spirit. Through the breath of memory and longing, you can experience the emotions of distant drums and songs as you travel from Grandma’s house to the ceremonial plaza. There, sights and sounds create kinship, family, and tradition to be handed from generation to generation. </span></p>
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Current Exhibitions

Supernatural America: The Paranormal in American Art

Creativity Academy

Fly Zine Archive: A Chronicle of Punk, Queer, and Anarchist Counterculture

Sixties Psychedelia: San Francisco Rock Posters from the Paul Maurer Collection

<div style="margin-top: 20px;"><a href="https://tickets.artsmia.org/events/017e457c-5abd-1b96-c421-06557ac7e486"><button class="background-black">Purchase Tickets</button></a></div>
<div style="margin-top: 20px;"><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></div>
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<p><u>Exhibition Tour:</u></p>
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<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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<p>Creativity Academy is a museum-school partnership that jumpstarts creative expression through multiple lessons. This year, over 500 Creativity Academy artists—fourth graders at Battle Creek Elementary, Bethune Community School, Hennepin Elementary, Jefferson Elementary, King Elementary, Prodeo Academy, and St. Paul Music Academy—participated virtually, developing problem-solving skills and expressing themselves in artworks using various materials. Enjoy selected works by Creativity Academy artists, all inspired by Mia’s collection, shown in the Community Commons Gallery.</p>
<p>Creativity Academy Major Sponsor:<br />
<a href="https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-scaled.jpg"><img loading="lazy" class="alignnone  wp-image-101174" src="https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-2000x365.jpg" alt="" width="416" height="76" srcset="https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-2000x365.jpg 2000w, https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-855x156.jpg 855w, https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-385x70.jpg 385w, https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-768x140.jpg 768w, https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-1536x280.jpg 1536w, https://images.artsmia.org/wp-content/uploads/2022/03/12150231/e.a_michelson_logotype_horizontal_full_color-2048x373.jpg 2048w" sizes="(max-width: 416px) 100vw, 416px" /></a></p>


<p>This exhibition introduces Mia’s groundbreaking acquisition of the Fly Zine Archive, a thematically focused collection of nearly 2,000 zines, comics, and underground publications by a diverse range of punk, anarchist, feminist, and LGBTQ+ artists and writers active in the United States, Europe, and elsewhere. Compiled by the New York–based artist and activist Fly NYC, the archive chronicles the graphic art and printed ephemera connecting the alternative subcultures that flourished in urban centers in the 1980s, 1990s, and early 2000s. The display will feature a selection of punk fanzines, anarchist pamphlets, squatting ephemera, mini-comics distributed at protests, illustrated political booklets, and other counterculture publications. </p>
<p>The Fly Zine Archive exhibition was organized by Ian Karp, John E. Andrus III Curatorial Fellow in Mia’s Department of Prints and Drawings.</p>


<p>The 1960s marked a tumultuous period in the social, political, and cultural history of the United States. Amid a generational reckoning with racial injustice, authoritarian patriarchy, and an escalating war in Vietnam, San Francisco emerged as the primary locus for a youth-oriented, anti-establishment counterculture that embraced a progressive idealism, which included broad-minded acceptance of sexual expression and experimentation with mind-altering hallucinogens. Inventive forms of music and art flourished among the movement’s devotees, fueling the rise of what became known as psychedelic rock, a musical genre rooted in early blues, jazz, and folk-based rock. Dance concerts, often accompanied by light shows, became the principal venue for the new sound, while the concert poster was its promotional vehicle.</p>
<p>In 2019, Minneapolis collector Paul Maurer gave more than 200 concert posters to Mia&#8217;s permanent collection. Most of them date to the “golden age” of psychedelic poster design (1966–69) and were commissioned to promote rock acts performing at the leading San Francisco concert venues of the day. In celebration of this generous gift, Mia is presenting a selection of more than 25 eye-dazzling psychedelic posters created by the period’s leading concert-poster designers, including Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, Wes Wilson, and Bob Fried.</p>
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<h2>Listen</h2>
<p>to some of the musicians promoted on the posters—including live concert recordings—on <a href="https://open.spotify.com/playlist/5wyREIzOH2OFA6hQj5qdST">Mia’s Sixties Psychedelia playlist on Spotify</a>.  </p>
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