Exhibitions

Upcoming Exhibitions

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.

Tia Keobounpheng: Revealing Threads

Minneapolis-based artist Monica Sheets will turn the gallery into a large-scale exploration of civic participation and history with her archive and installation, Das Fundbuero (2007-ongoing). Das Fundbuero, or the Lost and Found Office, is an archive of interviews, documents, and objects from East Germany and the United States. The artist asks visitors to reflect on their own relationships to democracy and citizenship as they explore the archive.
Sheets creates spaces for dialogue and engagement that explore topics such as urban development, economics, and civics. Born and raised in Toledo, the experience of growing up in the American Rust Belt influenced her desire to connect with audiences who might not normally visit galleries and museums. Work by the artist has been exhibited or been on public display at Art Center Waco, Texas; Art Shanty Projects, Minnesota; Chevy Commons, Flint, Mich; Claypool-Young Art Gallery, Moorehead State University, Moorehead, Ky; Galerie im Malzhaus, Kunstverein Plauen-Vogtland, Germany; marke.6, Weimar, Germany; Society for Contemporary Craft, Pittsburgh; Völkerschlachtdenkmal, Leipzig, DE; and Weisman Art Museum, Minneapolis. She has received A Blade of Grass Fellowship for Socially Engaged Art (2019); a Minnesota State Arts Board Artist Initiative Grant (2005, 2015, 2017); Cultural Foundation of the Free State of Saxony (2011), Santo Foundation Individual Artist Grant (2009), and Jerome Foundation Fellow for Emerging Artists (2005/2006). Sheets holds an MFA from the Bauhaus-University Weimar, Weimar, Germany, and a BFA from the Cleveland Institute of Art. 
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.

Monica Sheets: Das Fundbuero—Civics Lessons

In Renaissance Florence, artists saw art anew, inspired by ancient marbles and myths as well as the humanism of ruler and patron Lorenzo de’ Medici. At the center of it all was Sandro Botticelli (1445–1510), whose genius for transforming classical themes into wholly original art inspired new ideals of beauty. Now, in a remarkable partnership with the Uffizi Galleries, Mia is hosting a major exhibition exploring the fevered creativity that defined this time and place. Paintings, sculptures, and prints from Mia’s collection will be shown alongside masterworks from the Uffizi, including rare paintings and drawings by Botticelli, such as his masterful Pallas and the Centaur (c. 1482); works by his teacher (Fra Filippo Lippi) and colleagues (Domenico Ghirlandaio, Cosimo Rosselli, Perugino); and ancient Greek and Roman marbles that the Florentine artists saw and studied. Mia is privileged to be the single stop for this exhibition, an enviable opportunity to see Uffizi stars that rarely travel outside Italy.
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Related Events

Botticelli and Renaissance Florence: Masterworks from the Uffizi

This exhibition presents 15 works made by artists in present-day Ecuador, Peru, and Bolivia during Spanish colonial rule. One of the largest and longest-lasting European empires, the Spanish realms spanned from South Asia to South America and lasted nearly 500 years. Spanish South American art was a dynamic, unique combination of styles and influences, as European prototypes were translated and adapted by local hands. The paintings and sculptures on view adorned churches and convents across Spanish America, though most of the paintings hung in private homes for personal contemplation and prayer. The works belong to the Carl &amp; Marilynn Thoma Collection, which is committed to promoting the art of the Spanish Americas through scholarship and exhibition of its extensive collection from South America and the Caribbean.
Organized by the Carl and Marilynn Thoma Foundation.

Paintings from the Spanish Americas: The Thoma Collection

Paintings from South America: The Thoma Collection (1600–1800)

Engineered for Domestic Bliss

20 Dances: Japanese Calligraphy Then and Now

Joshua McGarvey: POSTURING

Parallel Lines: New Textile Masterworks Inspired by Geometry

The Three Perfections: Image, Poem, and Calligraphy in Chinese Painting

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

<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: 
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<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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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.
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.
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.

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.

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Western viewers are often curious about why Chinese artists write on their paintings and what the characters say. This exhibition answers such questions and explores the idea of integrating fine painting, poetry, and calligraphy, known as the “Three Perfections,” in a single artwork. 
In traditional China, painting was regarded as “silent poetry,” and poetry as “painting with sound.” Both could only be manifested through the “art of handwriting”—calligraphy. Scholars and scholar-artists used calligraphic brushstrokes in their paintings and considered their artworks to be vehicles of self-expression. As a result, painting was not only considered the only art pure and lyrical enough to stand on an equal footing with poetry and contemplative thought, but also something through which one could experience sight, sound, smell, touch, and emotions.

Current Exhibitions

Van Gogh and the Olive Groves

Dressed by Nature: Textiles of Japan

Parska/Shada

Virgil Ortiz: Convergence

Floral Affair: A Bouquet for the Friends&#8217; Centennial

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*Buy tickets to “Dressed by Nature” and “Van Gogh” to save 25% on each. Visit both exhibitions at a discounted price. 
<a href="https://tickets.artsmia.org/events/4e95aa09-91bc-4811-c871-96177f3a1d44"><button class="background-black" style="margin-top:16px">Buy Tickets</button></a>
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 Olive Trees 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.
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 Olive Trees 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.
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One-hundred thirty-three years ago, on a day in late November, Vincent van Gogh reached for his freshly painted canvas. It was during his self-imposed stay at a psychiatric hospital in Saint-Rémy-de-Provence, in the south of France, where his windows overlooked a grove of craggy olive trees with a mountainous backdrop&#8230;
<a class="uppercase button button-link bg-none padding-none bottom-border-hover" href="https://new.artsmia.org/stories/touched-by-van-gogh-what-a-newly-discovered-fingerprint-tells-us-about-a-mia-masterwork">Continue reading</a>

Touched by Van Gogh: What a newly discovered fingerprint tells us about a Mia masterwork

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https://new.artsmia.org/stories/touched-by-van-gogh-what-a-newly-discovered-fingerprint-tells-us-about-a-mia-masterwork

Long before Vincent van Gogh died young, poor, and under-appreciated, artists had gotten the message: you have to suffer for your art. But where did this template of the starving artist come from? And is there any truth to it or is it a myth, a romantic misreading of how great art is made?
<a class="uppercase button button-link bg-none padding-none bottom-border-hover" href="https://soundcloud.com/theobjectpodcast/bohemian-rhapsody-the-myth-of-the-starving-artist">Listen here</a>

Bohemian Rhapsody: The Myth of the Starving Artist

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https://soundcloud.com/theobjectpodcast/bohemian-rhapsody-the-myth-of-the-starving-artist

In 2015, the Minneapolis Institute of Art commissioned renowned crop artist Stan Herd to create a planted version of the beloved van Gogh’s Olive Trees painting, featured in Van Gogh and the Olive Trees.
<a class="uppercase button button-link bg-none padding-none bottom-border-hover" href="https://vimeo.com/139016244">Watch here</a>

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July 7 &#8211; September 1 
Have questions about the exhibition? Guides will be on hand to talk with you before or after your visit. Second floor, under the marble staircase. Tuesdays through Sundays, 1 to 3 pm, and Thursday nights, 6 to 8 pm.

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Stories

*Buy tickets to “Dressed by Nature” and “Van Gogh” to save 25% on each. Visit both exhibitions at a discounted price. 
<a href="https://tickets.artsmia.org/events/01808a7c-e0b0-fa4a-59b7-d75bfb4a0d4a"><button class="background-black" style="margin-top:16px">Buy Tickets</button></a>
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.

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 parska (in Keresan) or shada (in Tewa) community dance. Over 40 works of art—watercolor paintings, bow guards, manta weavings, ceramics, and Hopi katsinam 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. 
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This immersive experience celebrates the futuristic worlds created by multidisciplinary artist Virgil Ortiz (Cochiti Pueblo). Ortiz creates mythical superheroes living in the year 2180 from video, hand-coiled ceramics, lithographs, and photography. The warrior figures imagined by Ortiz transcend time and space. These characters are inspired by the largest uprising in North American history: in 1680, Pueblo communities banded together to defeat a brutal colonial Spanish regime in the Southwest. This past informs the future in Ortiz’s 1680/2180 series, and offers contemporary Pueblo people sources of strength for creating future realities that recognize Pueblo sovereignty and survival. 
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<h2>Conversations with Virgil Ortiz: Part 1</h2>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/665765515?h=e2353a5ecd&#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>
<a href="https://vimeo.com/665765515">Conversation with Virgil Ortiz &#8212; Part 1: Concepts and History</a> from <a href="https://vimeo.com/artsmia">Minneapolis Institute of Art</a> on <a href="https://vimeo.com">Vimeo</a>.
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<h2>Conversations with Virgil Ortiz: Part 2</h2>
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/665758990?h=529a73505b&#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>
<a href="https://vimeo.com/665758990">Conversation with Virgil Ortiz &#8212; Part 2: Process</a> from <a href="https://vimeo.com/artsmia">Minneapolis Institute of Art</a> on <a href="https://vimeo.com">Vimeo</a>.
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This year, Mia’s Friends organization celebrates its centennial. Among their many activities, the Friends have since 1984 treated the community to &#8220;Art in Bloom,&#8221; a much-loved annual floral festival that uses Mia’s art collection as a source of inspiration. This exhibition revisits works of art featured on past &#8220;Art in Bloom&#8221; posters. The centerpiece of the show is a gorgeous still-life of dahlias painted by Eugène Delacroix. The Friends contributed the extraordinarily generous lead gift that recently allowed Mia to acquire the masterpiece, thus continuing the Friends’ long tradition of helping Mia to inspire wonder through the power of art.
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<div style="margin-bottom: 30px"><img loading="lazy" class="size-large wp-image-100780" src="https://new.artsmia.org/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1.jpg" alt="" width="442" height="158" srcset="https://new.artsmia.org/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1.jpg 442w, https://new.artsmia.org/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1-385x138.jpg 385w" sizes="(max-width: 442px) 100vw, 442px" /></div>