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<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://live-artsmia.pantheonsite.io/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

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

<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>
<ul>
<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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Related Events

Supernatural America: The Paranormal in American Art

<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://live-artsmia.pantheonsite.io/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

Rituals of Resilience

<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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Amano Kazumi: Prints from the Kimm-Grufferman Collection

<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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<a href="https://shakopeedakota.org/"><img loading="lazy" class="alignnone wp-image-72159" src="https://images.artsmia.org/wp-content/uploads/2019/04/09101927/SMSC_Imprints-01_black.eps_.jpg" alt="" width="387" height="125" /></a>
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Parska/Shada

<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://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" /></p>
<p>Additional support provided by RBC Wealth Management.</p>


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

<p>The tradition of English watercolor began in the 1700s. It started with a topographical bent, but quickly evolved into a poetic world steeped in beauty, the wonder of nature, and often a search for a romantic past. Artists looked to ancient castles, modest cottages, stony cliffs, and quiet back roads all over their country and occasionally beyond. We might think of these works as forerunners to the escapist pleasures of travel and nature shows so popular on TV today. </p>


96.83.2 British Watercolor Landscapes

<p>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. </p>
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<h2>Conversations with Virgil Ortiz: Part 1</h2>
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<p><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>.</p>
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<h2>Conversations with Virgil Ortiz: Part 2</h2>
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<p><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>.</p>
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Virgil Ortiz: Convergence

<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>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. </p>
<p>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.</p>


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

<p>By the 1700s, the once mighty seafaring republic of Venice had been in decline for 300 years. Yet the island city still had one undiminished power—magic. Grand palaces, churches, flotillas of elegant gondolas floated above luminous reflections. Intricate systems of canals and walkways offered endless unexpected perspectives. Centuries of exquisite art could be found everywhere.</p>
<p>With much support from tourists who flocked to see the city’s wonders, Venice’s artistic tradition continued to flourish. Three great artists and their families dominated: Antonio Canale (known as Canaletto), Giambattista Tiepolo, and Francesco Guardi. Mia has long had fine prints and drawings by the first two. This presentation celebrates the recent addition of Mia&#8217;s first outstanding Guardi drawing.</p>


2021.25

Venice in the 1700s

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<span>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.</span>
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<div style="margin-bottom: 30px"><img loading="lazy" class="size-large wp-image-100780" src="https://live-artsmia.pantheonsite.io/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1.jpg" alt="" width="442" height="158" srcset="https://live-artsmia.pantheonsite.io/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1.jpg 442w, https://live-artsmia.pantheonsite.io/wp-content/uploads/2022/03/ADV221413-AIB-Sponsor-Lockup-HORIZ-1-385x138.jpg 385w" sizes="(max-width: 442px) 100vw, 442px" /></div>


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

<p>Photographs are both things and ideas. Before they were pixels on a smartphone or stashed up in the cloud, photographs were objects printed on tangible goods. Individually or as multiples, they were treasured, touched, written on, and sometimes torn in anger, their physical fragility paradoxically underscoring their emotional power.</p>
<p>The notion of objective truth remains complicated in photography. Most people understand that pictures cannot be separated from who made them, and why; where they were taken, and whether the people or places contained in them had a say in their making. Someone’s finger was and always has been on the shutter.</p>
<p>Presenting a range of photographic objects, from historic postcards, coffee cans, and pajamas to fine-art prints, this exhibition provides a new view of the material potential of photography to shape our world.</p>


Objectivity: Metaphorical and Material Lives of Photographs

<p>In this striking series of images, visual artist Yee I-Lann creates graphically distinctive photographic assemblages to address the legacies of Dutch colonialism in Indonesia and elsewhere in Southeast Asia. By appropriating historical photographs sourced from colonial archives in the Netherlands, and arranging them with her own photography, the artist provides new grounds for interpreting the visual record of imperialism in Southeast Asia. The resulting images are purposefully surreal: by removing most of the background context for the figures in these images, the artist underscores the selective nature of any historical account. As the Malaysian daughter of a New Zealand–born mother and Sino-Kadazan father, Yee I-Lann draws on her own transnational and transcultural heritage to present a counternarrative to the Dutch historical record.</p>


Calendar

Tuesday, May 17, 2022

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Featured Events

Public Tour: Inspired by Books

Public Tour: Current Conversations

Artist Talk and Short Film Screening: Jovan C. Speller

Calendar

Tuesday, May 17, 2022

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Ongoing Exhibitions

Envisioning Evil: “The Nazi Drawings” by Mauricio Lasansky

Supernatural America: The Paranormal in American Art

Rituals of Resilience