Exhibitions

Upcoming Exhibitions

<h1>
 The Contemporary Print:
 
 20 Years at Highpoint Editions
 
 </h1>
 
 <h2>October 9, 2021 - January 9, 2022</h2>

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.
Lead Sponsor: Thomson Reuters 
Generous support provided by the Gale Family Endowment
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<a style="color:black" href="https://new.artsmia.org/art-artists/curatorial-departments/japanese-and-korean-art">The collection of Japanese art at Mia includes more than 9,000 works, 
ranging from prehistoric pottery to contemporary photography, and is 
among the top five collections in the United States. </a>
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https://images.artsmia.org/wp-content/uploads/2020/03/11100616/7505-1200x445.jpg

https://new.artsmia.org/art-artists/curatorial-departments/japanese-and-korean-art

Dressed by Nature: Textiles of Japan

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.
Exhibition Tour:
June 12 &#8211; September 5, 2021: Toledo Museum of Art
October 7, 2021 &#8211; January 2, 2022: Speed Art Museum
February 19 &#8211; May 15, 2022: Minneapolis Institute of Art
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Lead Sponsors: Thomson Reuters, Terra Foundation for American Art, National Endowment for the Humanities
Major Supporters: Art Bridges, National Endowment for the Arts
Generous Supporter: Wyeth Foundation
This exhibition is organized by the Minneapolis Institute of Art. 
Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.
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<img loading="lazy" src="https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5.png" alt="" width="3000" height="1500" class="aligncenter size-full wp-image-95223" srcset="https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5.png 3000w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-855x428.png 855w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-2000x1000.png 2000w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-385x193.png 385w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-768x384.png 768w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-1536x768.png 1536w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-2048x1024.png 2048w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2021/01/Supernatural_sponsorlockup_v5-800x400.png 800w" sizes="(max-width: 3000px) 100vw, 3000px" />
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Supernatural America: The Paranormal in American Art

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.” The Nazi Drawings are his visceral response to the horrors committed in Nazi concentration camps.
Brutal, haunting, and raw, “Envisioning Evil: The Nazi Drawings 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.
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“Envisioning Evil: The Nazi Drawings by Mauricio Lasansky” is organized by the Minneapolis Institute of Art and lent by The Levitt Foundation.
Generous support provided by Margaret and Angus Wurtele, Beverly Grossman, John and Ruth Huss Fund, Erwin and Miriam Kelen, John and Nancy Lindahl, Sheila Morgan, Donna and James Pohlad, through the Eloise and Carl Pohlad Family Fund, the Lynne and Andrew Redleaf Foundation, Laurie and Ronald Eibensteiner, Stephen and Sheila Lieberman, Sheldon and Lili Chester, Andrew Grossman, Irving and Marjorie Weiser, and John and Marsha Soucheray.

Envisioning Evil: The Nazi Drawings by Mauricio Lasansky

Mia has acquired the complete archive of works by Highpoint Editions, the publishing arm of Highpoint Center for Printmaking, a nonprofit organization established in Minneapolis in 2001 to advance the art of printmaking. The Highpoint Editions Archive comprises more than 300 published prints and multiples, plus hundreds of items of preparatory material from 40 nationally and internationally prominent artists, including 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.
“The Contemporary Print: 20 Years at Highpoint Editions” showcases 175 of these artworks in a broad range of printmaking techniques, styles, and subjects. Highlights include Willie Cole’s “The Beauties,” a series of 28 large-scale intaglio prints made from flattened metal ironing boards; a selection of relief and intaglio prints by Carlos Amorales, using imagery from his long-running “Liquid Archive” project; and Dyani White Hawk’s suite of prints inspired by Plains-style women’s dentalium dresses. The exhibition also features ancillary production material—preliminary drawings, trial and working proofs, printing matrices—as well as printmaking demonstrations to enlighten and inspire.

The Contemporary Print: 20 Years at Highpoint Editions

Leslie Barlow’s MAEP exhibition &#8220;Within, Between, and Beyond&#8221; comprises paintings and video interviews that feature 16 subjects who identify as mixed race people or transracial adoptees. The project documents the historically marginalized narratives of mixed race, multiracial, or transracial adoptee identified individuals. By insightfully centering mixed race experiences, Barlow provides a platform for issues of race and identity.
Barlow lives and works in Minneapolis. Primarily an oil painter, she shares stories through figural relationships that explore the politics of representation, identity, otherness, and racial constructs. Barlow is a recipient of the 2019 McKnight Visual Artist Fellowship, the 20/20 Springboard Fellowship, MN State Arts Board Artist Initiative Grant in 2016 and 2018, and was named artist of the year by City Pages in 2016. In 2018, she received the Minnesota Museum of American Art Purchase Award in the Minnesota State Fair Juried Exhibition. Barlow received her BFA in 2011 from the University of Wisconsin-Stout and her MFA in 2016 from the Minneapolis College of Art and Design. Interviews were conducted and created in partnership with Lola Osunkoya, MA LPCC, and Ryan Stopera of Free Truth Media.
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="http://live-artsmia.pantheonsite.io/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" />
Additional support provided by RBC Wealth Management.

Leslie Barlow: Within, Between, and Beyond

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.

Amano Kazumi: Prints from the Kimm-Grufferman Collection

“A bridge divides what is &#8216;above&#8217; the bridge, what is &#8216;below&#8217; the bridge, what is &#8216;before&#8217; the bridge and what is &#8216;after&#8217; the bridge, but at the same time it brings totality and turns it into a neighborhood.”—Siah Armajani
Siah Armajani (1939–2020, born Lahijan, Iran) left his native Iran to study at Macalester College in St. Paul in 1960, when he was 21, and called Minnesota home thereafter until his death last year. Throughout his career, Armajani blurred the boundaries between architecture, art, philosophy, and his personal experiences. This installation of Armajani’s work celebrates a core facet of his practice, the act of bridging: creating spaces and structures that both divide and connect. For Armajani, bridging also illustrated the intersection between cultures at which many immigrants stand. 
Armajani’s work has been exhibited and collected by numerous museums in the United States and abroad. In 2011, he was awarded the Chevalier de L’Ordre des Arts et des Lettres by the French government and received the McKnight Foundation’s Distinguished Artist Award. In 2018–2019, his work was featured by the Walker Art Center and the Metropolitan Museum of Art in a survey exhibition, “Siah Armajani: Follow This Line.”
<a href="https://collections.artsmia.org/exhibitions/2893/siah-armajani/room/all"><button class="background-black">Explore the Exhibition</button></a>
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<h2>Siah Armajani, An Exile Dreaming Of Saint Adorno</h2>
In this work, Armajani explores exile as a physical, political, and emotional condition. 
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Siah Armajani's "An Exile Dreaming of Saint Adorno" at Minneapolis Institute of Art.

Siah Armajani: A Bridge Divides, A Bridge Transforms

Engineered for Domestic Bliss

Abstract Prints by Hagiwara Hideo

Nicole Havekost: Chthonic

Captive Beauties: Depictions of Women in Late Imperial China

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

Originally a painter trained in oil, Hagiwara Hideo (1913–2007) became ill with tuberculosis and turned to printmaking in 1954. From the start his prints were of an abstract nature, and for 50 years he was a constant innovator in his choice of motifs, style, and technique. This first major U.S. retrospective exhibition of Hagiwara&#8217;s work showcases his enormous versatility. More than 30 prints span his early work of the 1950s to the Greek Mythology series in 1965, and from his celebrated series of novel views of Mount Fuji in the 1980s and 1990s to his enormously laborious prints of the Face, Memory, and Mandala series.
This exhibition will be presented in two rotations: Rotation 1: December 14, 2019 &#8211; October 25, 2020. Rotation 2: October 31, 2020 &#8211; May 23, 2021.
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L2018.109.8

Nicole Havekost will explore the simultaneous joy, sublime embarrassment, and disorderly beauty of the human body through her anthropomorphic sculptures.
Havekost lives and works in Rochester, Minnesota. She earned a BFA in printmaking from the Rhode Island School of Design and an MFA from the University of New Mexico, also in printmaking. Havekost has exhibited her work in Boston, Dallas; Eureka, California; and Tasmania. She is a 2013 and 2018 recipient of the Minnesota State Arts Board&#8217;s Artist Initiative grant.
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<h2 class="Mia-bold">Artist Talk</h2>
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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 U.S. Bank Gallery.
Generous support for MAEP provided by: 
<img loading="lazy" class="alignnone wp-image-69432 " src="https://live-artsmia.pantheonsite.io/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" />
Additional support provided by RBC Wealth Management.
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MAEP; Nicole Havekost; Chthonic

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. 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, serving as musicians or courtesans, existing to please men. Literary and visual artists often compared women to flowers: refined and delicate yet fragile, their beauty (meaning marriageability) transient.  
But some artists hinted at 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 The Peony Pavilion (1598). Confined to the inner quarters of her home, she laments a brilliantly flowering spring scene in her isolated garden: 
The flowers in purple and red, 
Scattering here and there, 
Yet only accompanied by 
Dry wells and ruined fence. 
<a class="Hyperlink SCXW188038203 BCX2" href="https://collections.artsmia.org/exhibitions/2811/captive-beauties-depictions-of-women-in-late-imperial-china" target="_blank" rel="noreferrer noopener">Explore the art in this exhibition from home.</a>

Current Exhibitions

The Enduring Soul

Rembrandt in Conversation

Challenging Stereotypes Series by Art Team

Keep the Fire Alive Youth Mural Project

A collaboration of Mia and the <a href="http://www.culturalwellnesscenter.org/">Cultural Wellness Center</a>, &#8220;The Enduring Soul&#8221; presents artwork by African and African American artists that honors the connection between ancestors and the living, and between what is seen and the invisible. The artworks on view hold historical, personal, and community memory.
Mia and the Cultural Wellness Center work to co-create methods for each organization to transform mainstream institutions. This includes widening interpretations of art, sharing authority, decolonizing collections in museums, and museum staff working in collaboration with cultural elders and subject experts. This partnership advances the work of both organizations as they work to establish museums as sites for social action.
<div id="attachment_80711" style="width: 813px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-80711" loading="lazy" class="wp-image-80711" src="https://images.artsmia.org/wp-content/uploads/2019/11/08105903/191126_mia327_4191-e1586379569225.jpg" alt="" width="803" height="348" />&#8220;The Enduring Soul.&#8221; Saturday, October 26, 2019–Sunday, July 12, 2020. Gallery 375, Modern and Contemporary Galleries, Minneapolis Institute of Art. Organized by the Cultural Wellness Center and the Minneapolis Institute of Art.</div>
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<h2 class="Mia-bold">A Welcome from the Cultural Wellness Center</h2>
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We welcome you with the greetings of the Ancestors.  
<center><img loading="lazy" class="wp-image-80717 alignnone" src="https://images.artsmia.org/wp-content/uploads/2019/11/08113126/Hotep-2.jpg" alt="" width="151" height="87" srcset="https://images.artsmia.org/wp-content/uploads/2019/11/08113126/Hotep-2.jpg 800w, https://images.artsmia.org/wp-content/uploads/2019/11/08113126/Hotep-2-768x442.jpg 768w" sizes="(max-width: 151px) 100vw, 151px" /></center>
Be at Peace. Be at Rest. Be Free. 
Africa and the Knowledge of the Ancestors: Spirituality Symbol Mythos Harmonium
At the Cultural Wellness Center, we stress the capacity of Africans to produce knowledge, to have authority over knowledge, and to place significant pressure on dominant societies, institutions, and communities to accurately credit the source and impact of this knowledge. 
To our Ancestors, the Metu Neturu 
<img loading="lazy" class="wp-image-80718 aligncenter" src="https://images.artsmia.org/wp-content/uploads/2019/11/08113253/EnduringSoul_Hieroglyphics_04082020MetuNeturu.jpg" alt="" width="164" height="67" />   is a unique form of symbolic writing and thinking. Symbolic thinking reflects and illustrates the dynamic process of divine thought. Each sign is a symbol that reveals its true meaning only to initiated readers by means of a divinely inspired process.  
After 500 years, the African is returning to our original ways of knowing and being in creation.  
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Your experience in this gallery is a result of a collaboration between Mia and the Cultural Wellness Center. The perspective labels were authored by Cultural Wellness Center faculty: Seba Ahmad Azzahir, Elder Atum Azzahir, Sister SandjockLikinè, Elder Semerit Seankh-Ka, Brother Kemii Aptezzi, and Brother Minkara Tezet.
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<h2 class="Mia-bold">Highlighted Works</h2>
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<div style="margin-top: 45px;"><img loading="lazy" class="alignnone size-full wp-image-82851" src="https://images.artsmia.org/wp-content/uploads/2019/11/05030917/mia_80195941.jpg" alt="Photography of Leonardo Benzants artwork haning in Mia's Cultural Wellness Center" width="322" height="551" /> 
Leonardo Benzant, American, born 1972, Radiations of the Midnight Walker, Victorious in Round Number 8, He Who Moves Inside of the Womb of Magik and Timelessness, He Who Moves Here, There, and Everywhere Chanting: I AM THE GREATEST! And Chanting: WITCHCRAFT WILL NEVER TOUCH ME!, 2016, mixed medium. Private collection; promised gift on long-term loan to Mia  L2019.164.1 
Long tubular structures, like tentacles, 
Larger than life, 
Speak of what is required for the African 
To emerge victorious 
No matter how many rounds it takes.It starts with long strands of multicolored Czech glass beads, wrapped around handstitched appendages crafted from bundled fabric, bits of soil, plant life, rum, bone, or even saliva.The artist says, “There is a prayer inside each of these forms, a prayer, coins, or other things that are symbolic.”Thus, the work delves into the collective unconscious, encodes and remembers African cultural memory, and offers it as an invitation to healing.Moving us outside of time 
Connecting us through strands of DNA, 
Quite literally, to the Ancestors—their knowledge-spirituality 
Their stature, their power.</div>
<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82823" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015039/mia_8019610.jpg" alt="Image of Yoruba, Nigeria or Benin, Africa, Egungun ceremonial outfit, 1930–50, Cotton, velvet, silk, felt, synthetic fibers, wool, aluminum, wood, buttons, yarn, plastic, string. The Simmons Family Endowment for Textiles and gift of funds from Jim Harris, 2011.31 " width="551" height="412" /> 
Yoruba, Nigeria or Benin, Africa, Egungun ceremonial outfit, 1930–50, cotton, velvet, silk, felt, synthetic fibers, wool, aluminum, wood, buttons, yarn, plastic, string. The Simmons Family Endowment for Textiles and gift of funds from Jim Harris  2011.31<img loading="lazy" class="alignnone size-full wp-image-82849" src="https://images.artsmia.org/wp-content/uploads/2019/11/05030237/anotherVersion1-514x800.jpg" alt="" width="514" height="800" srcset="https://images.artsmia.org/wp-content/uploads/2019/11/05030237/anotherVersion1-514x800.jpg 514w, https://images.artsmia.org/wp-content/uploads/2019/11/05030237/anotherVersion1.jpg 719w" sizes="(max-width: 514px) 100vw, 514px" /></div>
<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82826" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015043/PCD19980109_3814_IMG0005.jpg" alt="Kalabari, Nigeria, Africa, Funerary screen, 19th century, Wood, raffia, pigment. The John R. Van Derlip Fund, 74.22 " width="412" height="551" /> 
Kalabari, Nigeria, Africa, Funerary screen, 19th century, wood, raffia, pigment. The John R. Van Derlip Fund  74.22.Among the Kalabari people, Warriors Wives carved a funerary screen, like this one, to announce the end of their watch and perform the depth of their love to beat the drum of affection for the Drum Chief. On a funerary screen, the Drum Chief sits in an armchair, dressed in a piece of white cloth with an eagle feather attached to the forehead.The Drum Chief usually holds a sword in his left hand and a human skull in his right hand, though those sacred pieces are missing here. Like on this funerary screen, two protective spirits always sit beside the Drum Chief.
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Have you heard about The Seating of the Amaryanabo King? It’s a story from the Kelekeibari people, who live along the Niger River Delta. People could not pronounce their name so Kelekeibari commonly became Kalabari.
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<div style="margin-top: 50px;"><img loading="lazy" class="alignnone wp-image-82820 size-full" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015035/mia_8019579.jpg" alt="Image of Richard Burnside's Work The Ancient King" width="551" height="412" /> 
Richard Burnside, American, 1944, The Ancient King, 1987, paint on wood. The Ethel Morrison Van Derlip Fund and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection  2019.16.9  ©Richard Burnside / Artists Rights Society (ARS), New York
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Richard Burnside has painted a very black, very simple face.
A face devoid of any illusion of realism.
A face through which shines the truth of essence.
A face, perhaps, we do not want to meet.
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The artist titles his work The Ancient King.
What is the ancient part of us?
Is it present in our life?
Is it King in our life?
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The face, as it is painted, is the ancient hieroglyph, Heer.
In Kemet*, the face told the entire story of one’s life.
In Kemet, there is a homonym of the hieroglyph Heer
Which means “the perfected state.”
The ancient King is fulfilled and realized in the face.
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In this work, the face is surrounded by simple geometric shapes,
In repetition and patterns of 3s and 4s.
They are the basic building blocks;
The code of life.
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* Kemet: Ancient Egypt
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<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82822" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015038/mia_8019601.jpg" alt="Photography of Joe Minter's artwork haning in Mia's Cultural Wellness Center" width="412" height="551" /> 
Joe Minter, American, born 1943, Voyage in Chains, 2000, mixed media. Private collection; promised gift on long-term loan to Mia  L2019.154.2The secret force of a powerful primeval energy within the soul. Voyage in chains connects me to my birth in the Mississippi Delta in 1943: beautiful circular motion of objects used by sharecropping farmers to cultivate the hard rock dry lands in rural Mississippi.I remember my father’s daily motions, rhythms, and expressions of joy at sunrise.I remember my father’s cosmic spirituality and laborious meditation, a sacred tradition of hard work and unceasing effort. My father and ancestors of his generation came to a place of the sounds and rhythms of the souls’ wisdom.The pitchfork, the hoe, the shovel, the irons: a quadruple expression of symbols evoking the core consciousness of man’s soul. A visible manifestation of the hand of man. The will of man connected to the forces in creation. The serpents’ tongue probing the heavens in alignment with the soul of creator in creation.
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<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82819" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015032/mia_5049980.jpg" alt="Image of Renee Stouts Work" width="551" height="412" /> 
Renée Stout, American, 1958, Crossroads Marker with Little Hand, Reaching, 2015, metal, glass, wood, pigments, other materials. The Blythe Brenden Endowment for Art Acquisition  2016.2  ©2015 Renée Stout 
The blessing at the crossroads
Tradition of Maat 
Of reciprocity, balance, truth, and harmony 
Sia, our Intelligence of the Heart 
The limitless keys to access
These words, I write, are African existence. 
From the Ancient King to Voyage in Chains, 
Feeling the burnt from the cross 
Passing the crosses to listen to 
The story of The Seating of the Amaryanabo King. 
Stop at the imprint of our DNA spread across the globe 
From Haiti to Virginia, 
Swimming in the Delta river on the way 
To pay respect to Egungun. 
These are the stories of our humanity.
The legacy of 1619 
From the sign of Kongo 
I mark with my little hand 
In metal, and in glass 
Wood and pigments
We became acquisitions 
From water to land and other materials 
The Endowment of this Voyage in Chains 
I mark with my little hand 
In metal, and in glass 
Wood and pigments
To heal our souls is to reconnect 
From the crossroad 
I mark with my little hand 
In metal, and in glass 
Wood and pigments
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<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82818" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015030/190306_mia334_5370.jpg" alt="Image of Lonnie Holley's artwork" width="412" height="551" /> 
Lonnie Holley, American, 1950, Pressure from the Burn, 1995, found wood, fire hose, nails. The Ethel Morrison Van Derlip Fund and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection  2019.16.11  ©Lonnie Holley / Artists Rights Society (ARS), New York 
Lonnie Holley takes discarded and wasted materials from our modern human experiences and transforms them into something enlivened with our present lived experience.Holley’s work transforms what would be trash into enduring expressions of the soul. He converts human debris into lessons of purpose and value. “Having to put out a fire inside yourself, no matter how bad the blaze you been in, you got to go on carrying your burden,” Holley states. His work forces the question: What is in your true nature that endures in spite of brutality and horror in this modern life, where everything will eventually become trash, garbage, or debris? The pressure from the internal burn can be unbearable. Yet it is this very pressure that creates the elemental that produces the catalyst for personal and social transformation.</div>
<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82825" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015041/mia_8019625.jpg" alt="Image of Serge Jolimeau Work Haiti" width="412" height="551" /> 
Serge Jolimeau, Haitian, 1952, Crucifix, 1983, sheet metal, pigment. The Christina N. and Swan J. Turnblad Memorial Fund  97.3  ©The artist, artist&#8217;s estate, or assigneesInterwoven throughout Haitian history, a tumultuous crossroads plays out between African spirituality and official, socially acceptable, Haitian life. In the small crossroads town of Croix des Bouquets, on the outskirts of the capital city, four generations of men, mechanics or blacksmiths by day, have forged an art form imbued in the Principles of Fire and Metal at the crossroads of Vodun and Christianity. In Crucifix, the personified Principle of the Cross organically looms large and subsumes the iconic figure of Christ dying on the cross.There is a larger reality at play here—four birds bring further organicity while simultaneously depicting spirit’s enduring capacity to cycle through birth, death, and rebirth. Powerfully reclaiming the cross, this work brings to life African spirituality’s crossroads between mundane natural life and the truth of the Invisible.
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<div style="margin-top: 50px;"><img loading="lazy" class="alignnone size-full wp-image-82824" src="https://images.artsmia.org/wp-content/uploads/2019/11/05015040/mia_8019624.jpg" alt="Image of Moss Tolliver's Art work" width="412" height="551" /> 
Mose Tolliver, American, 1921–2006, Cross of a White Jesus with a French Bird, a Mountain Bird, and Pinto Bird, 1987, Paint and masonite on paneling. The Ethel Morrison Van Derlip Fund and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection  2019.16.33  ©Mose Tolliver / Artists Rights Society (ARS), New York </div>
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Mose Tolliver painted a cross within a cross.
The images on the outer cross must be looked at symbolically. 
The diminutive “white Jesus” bears wings 
And is of the same size as the birds in the natural Creation, 
Who have been specifically named and identified.
Birds are about the spirit and travel within the inner world. 
The inner cross shows an array of dots and lines 
Reminiscent of an African transmission. 
This coded language is what our spirits need 
To fly free like the birds.
There is a sweetness emanating from this cross 
With a code rather than a body hanging on it. 
This cross invites us to life 
Rather than death.
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<h2 class="Mia-bold">Gallery Installation</h2>
<img loading="lazy" class="alignnone wp-image-80712 " src="https://images.artsmia.org/wp-content/uploads/2019/11/08110033/191126_mia327_4192-e1586379654731.jpg" alt="" width="801" height="382" />
<img loading="lazy" class="alignnone wp-image-80713 " src="https://images.artsmia.org/wp-content/uploads/2019/11/08110133/191126_mia327_4193-e1586379729980.jpg" alt="" width="800" height="480" />
<div id="attachment_80714" style="width: 811px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-80714" loading="lazy" class="wp-image-80714" src="https://images.artsmia.org/wp-content/uploads/2019/11/08110403/191126_mia327_4197-e1586379866738.jpg" alt="" width="801" height="426" />&#8220;The Enduring Soul,&#8221; Saturday, October 26, 2019–Sunday, July 12, 2020. Gallery 375, Modern and Contemporary Galleries, Minneapolis Institute of Art. Organized by the Cultural Wellness Center and the Minneapolis Institute of Art.</div>
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A main thread in the history of art is the centuries-long conversation between artists. Many paid attention to what others had done or were doing and then responded— sometimes obviously, sometimes not; sometimes approvingly, sometimes not. Rembrandt was an avid participant in the discussion. He had a tremendous knowledge of historical art. He also had a competitive streak. This exhibition takes a sample of Rembrandt’s prints and puts them in the company of art that triggered his interest. Also included is the work of other artists reacting to Rembrandt. We can almost hear the ideas bouncing around the room. 
<a href="https://lume.space/mia/group/rembrandt-in-conversation">Explore the art in this exhibition from home.</a>

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Art Team is a group of 8-10 young Mia staff members that work as a team to create opportunities for young people, support Family Day and create community &amp; grow together.
This series came to be through brainstorming around topics that are important to us as young people at the end of 2019. We were due to host an event centered around ‘challenging stereotypes’ for teens earlier in 2020, and when the global pandemic hit the U.S. that all changed.
We created these artworks in early 2020 as a tool of reflection and conversation as a team. We are passionate about taking apart these stereotypes and creating a new reality. The world has drastically changed since we created this series (pre-covid). We invite you to reflect with us on ‘challenging stereotypes’, also considering how this is relevant to the current moment in time, in our city, nation and world.
To learn more about the Art Team, <a href="https://new.artsmia.org/programs/teen/art-team/">click here</a>.

In Summer 2020, Mia partnered with All Nations Indian Church, Indigenous Peoples Task Force, and SAMHSA Native Connections to help create a mural with the Keep the Fire Alive theater troupe.
Watch the video below to learn more about the mural.
<iframe src="https://player.vimeo.com/video/462802179?dnt=1&amp;app_id=122963" width="500" height="281" frameborder="0" allow="autoplay; fullscreen" allowfullscreen title="Keep the Fire Alive Youth Mural Summer 2020"></iframe>
 From the Keep the Fire Alive theater troupe We are a Native youth theater troupe. Social distancing cancelled our performances.  However, the need to express emotions, celebrate culture, and connect did not end. The stage changed from a crowded auditorium to a gray wall on All Nations Indian Church. A wall passed by the Indigenous Peoples Task Force (IPTF) teens who came together for programming. Recently, the wall has become a place of graffiti, litter, &amp; injection drug use. Displaying the challenges faced within the community.
Our elder Linda Eagle Speaker opened the process teaching us that we are all human beings first, no group greater, but all equal. The entire 2,048 square foot wall displays creativity and messages of the young artists. With the support of partners (All Nations Indian Church, IPTF, SAMHSA Native Connections, and the Minneapolis Institute of Art), the project moved from an idea to colorful cans of paint quickly.
Our 18 youth and staff worked with lead artist Bree Green.  Bree helped us identify the themes that were important to the group: traditional medicines, equality (Black Lives Matter, Missing and Murdered Indigenous Women), growth, our own diversity, and Native American culture. Photography and videography of the process was done by Ruti Mejia.
Time spent at the wall was full of laughter, creativity, bright colors, teamwork, music, pride and sweat!  That is what makes the mural so beautiful.