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<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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Dressed by Nature: Textiles of Japan

<div class="gmail_default">In East Asia, calligraphy has been hailed as the highest of all art forms for more than 15 centuries. It’s not hard to understand why: With more than 80,000 Chinese characters and infinite graphic variations, the expressive potential is unlimited. The results, as seen in this exhibition, speak for themselves. Each work is a unique expression of the artist’s personality, offering a glimpse into the culture that held calligraphy in such high esteem.</div>
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<div class="gmail_default" style="margin-bottom: 30px">The Japanese writing system was adopted from Chinese characters; given the Japanese reverence for Chinese artistic traditions, these works explore the full range of scripts possible with these characters: seal script (<em>tensho</em>), running script (<em>gyosho</em>), cursive script (<em>sosho</em>), clerical script (<em>reisho</em>), and standard script (<em>kaisho</em>). Calligraphy’s emphasis on movement and timing suggests dancing, and each script has its own rhythm, from the formal strictness of seal script to the wild dance of cursive writing.</div>
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<span class="Mia-bold">This exhibition will be presented in three rotations: </span></p>
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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" /><p id="caption-attachment-84774" class="wp-caption-text">Maki Ryōkō, 1787–1833, Lu Tong&#8217;s Tea Song, 19th century (detail), hanging scroll; ink on silk, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.19</p></div>
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<p><b><span data-contrast="auto">Clerical Script</span></b><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">隸書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">.: </span><span data-contrast="auto">reisho</span><span data-contrast="auto">; Ch.: </span><span data-contrast="auto">lishu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Clerical script was the starting point for stylized calligraphy: curved lines were straightened, radicals (graphic components that indicate the meaning of the character) were simplified and merged, the number of strokes were reduced. The script developed in China around 300 BCE and became increasingly important during the Han Dynasty (206 BCE–220 CE) as the territory expanded and an increasing number of imperial edicts needed to be copied and distributed across the country. This job fell to the official </span><span data-contrast="auto">clerics, and</span><span data-contrast="auto"> was made possible with the advent of paper and silk as substrates, rather than stone or bamboo strips.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:240}"> </span></p>
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<div id="attachment_84775" style="width: 426px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84775" loading="lazy" class="wp-image-84775 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20092832/mia_6017309_Cropped-e1595273349404.jpg" alt="" width="416" height="500" /><p id="caption-attachment-84775" class="wp-caption-text">Nakai Tōjū, 1608–48, Bring the Qin, 17th century (detail), hanging scroll; ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.24</p></div></p>
<p><b><span data-contrast="auto">Seal Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">篆書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">tensho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">zhuanshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Seal script reflects the earliest form of Chinese calligraphy. It developed during the Zhou Dynasty (c. 1045–256 BCE) and was standardized around 300 to 200 BCE. Ultimately the script fell out of favor due to its linearity, which did not lend itself to the fluid strokes of the calligrapher’s brush. It did, however, continue to be used for seal carvings, which were generally made of stone and were used to apply an individual’s official signature or identifying mark to a document or other object.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">The script underwent a revival from around 1600 to 1900 CE, and was used as visual shorthand for archaism, a reference to the ancient world. It was especially favored by scholars interested in Chinese antiquity.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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<div id="attachment_84776" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84776" loading="lazy" class="wp-image-84776 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093050/mia_8010159_Detail-e1595273480871.jpg" alt="" width="500" height="428" /><p id="caption-attachment-84776" class="wp-caption-text">Suda Kokuta, 1906–90, Words Concerned with Existence, 1984 (detail), ink on paper, Gift of the Clark Center for Japanese Art &amp; Culture, 2013.29.1337.1-2, © Suda Kokuta</p></div>
<p><b><span data-contrast="auto">Standard Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">楷書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">kaisho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">kaishu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">The next step in calligraphy’s innovation was the development of a standard script. Standard or regular script is used when clarity is of the utmost importance, such as for formal documents, books, etc. It was also the script most commonly used for mass printing, which was first invented in China around 800 CE, while movable type developed around 1000 to 1100 CE.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Though standard script’s crisp lines would seemingly require less skill, such regularity requires a steady hand and an understanding of how much ink to load onto the brush to achieve a consistent stroke—any error or irregularity would be glaringly obvious.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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<div id="attachment_84777" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84777" loading="lazy" class="wp-image-84777 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093208/mia_6017316_Cropped_Detail-e1595273559782.jpg" alt="" width="500" height="347" /><p id="caption-attachment-84777" class="wp-caption-text">Ōtagaki Rengetsu, 1791–1875, Letter to Tomioka Tessai, 19th century (detail), Ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.6</p></div>
<p><b><span data-contrast="auto">Cursive Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">草書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">sōsho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">caoshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Similar to</span><span data-contrast="auto"> Western shorthand, cursive script may have appeared as early as 200 BCE out of a need for a rapid, simplified way of writing clerical script. Cursive script was used chiefly for private and informal communications as well as for poetry.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">The shapes of the characters are greatly abbreviated and sometimes altered to such an extent that they do not resemble the standard forms. Brush strokes are wave-shaped and made rapidly. The difficulty of reading this fluid script is further increased because several characters are often vertically connected without interruption.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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<div id="attachment_84778" style="width: 510px" class="wp-caption alignnone"><img aria-describedby="caption-attachment-84778" loading="lazy" class="wp-image-84778 size-full" src="https://images.artsmia.org/wp-content/uploads/2020/07/20093330/mia_6017329_Cropped-e1595273637706.jpg" alt="" width="500" height="396" /><p id="caption-attachment-84778" class="wp-caption-text">Ema Saikō, 1787–1861, On Becoming Fifty, 1836 (detail), hanging scroll; ink on paper, Gift of Stephen Addiss and Audrey Yoshiko Seo, 2013.63.37</p></div>
<p><b><span data-contrast="auto">Running Script</span></b><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">行書</span><span data-contrast="auto"> (</span><span data-contrast="auto">Jp</span><span data-contrast="auto">: </span><span data-contrast="auto">gyōsho</span><span data-contrast="auto">; Ch: </span><span data-contrast="auto">xingshu</span><span data-contrast="auto">)</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Running or semi-cursive script is an intermediate form between standard script and cursive script. As it is not as abbreviated as cursive script it can be read by most people who can read standard script.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
<p><span data-contrast="auto">Developed before 100 CE, it became the usual style of handwriting.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}"> </span></p>
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20 Dances: Japanese Calligraphy Then and Now

<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><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>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>
<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>
<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>
<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>
<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

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<a href="https://tickets.artsmia.org/events/4e95aa09-91bc-4811-c871-96177f3a1d44"><button class="background-black">Buy Tickets</button></a></p>
<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.
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<p>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;</p>
<p><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></p>


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

<p>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?</p>
<p><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></p>


Bohemian Rhapsody: The Myth of the Starving Artist

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

<p>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.</p>
<p><a class="uppercase button button-link bg-none padding-none bottom-border-hover" href="https://vimeo.com/139016244">Watch here</a></p>


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<p>July 7 &#8211; September 1<br />
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.</p>


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Van Gogh and the Olive Groves

<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>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

<p>In the mid-1800s, many French and Belgian artists rejected grandiose images of mythology and history to focus on everyday lives, especially those of rural folk, laborers, and the disaffected—people most vulnerable to the whims of the powerful. These artists called themselves Realists. Their social concerns, artistic talent, and frequently journalistic approach resonated with University of Minnesota Professor Gabriel P. Weisberg and his wife, Yvonne. Fifty years ago, they engaged in deep, original research into the Realists, often rediscovering significant but neglected artists. They began to collect drawings and small paintings by these Realists, later adding examples of Symbolism and Art Nouveau. The result is a fascinating, irreplaceable collection that the Weisbergs have designated as a promised gift to Mia. Come celebrate their generosity and explore these intimate works of art.</p>
<p>This exhibition will be presented in two rotations:</p>
<p>Rotation 1, Works 1830–1900: May 14, 2022 – February 19, 2023</p>
<p>Rotation 2, Works 1900–1930: March 4 &#8211; December 10, 2023</p>


L2007.89.30

Reflections on Reality: Drawings and Paintings from the Weisberg Collection

<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>


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Saturday, July 2, 2022

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Public Tour: Inspired by Books

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Saturday, July 2, 2022

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Ongoing Exhibitions

Dressed by Nature: Textiles of Japan

20 Dances: Japanese Calligraphy Then and Now

Rituals of Resilience