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Bizen ware, characterized by its rich reddish-brown clay with natural ash glaze, is one of Japan’s six pottery traditions. Originating from today’s Okayama prefecture on the Seto Inland Sea, its history reaches back to the 14th century. It peaked during the late 16th century when the tea masters in and around Kyoto, the center of culture in Japan, found it most appealing. With the modernization of Japan in the mid-19th century, Bizen almost disappeared, but the tradition was revived in the 1930s and many artists since have explored its potential. While some have stayed closer to conventional forms, others have surprised with new shapes while staying true to the core of Bizen. This exhibition showcases the journey in Bizen from the 16th century to the 21st.

2019.92.4

Bizen: Contemporary Expressions of an Ancient Japanese Pottery

Some people go bungee jumping or cave exploring for fun, but most of us would rather watch a scary movie or listen to a ghost story when we need a little fright in our lives. It wasn’t much different in the 1700s and the 1800s. Artists reveled in the Sublime, the flip side of the Age of Enlightenment, in which Romantics opened themselves to the sensation of forces beyond human comprehension and control. They gave their audiences terrifying images—sometimes for giggles, sometimes for soulful contemplation. In this exhibition, artists such as Giovanni Battista Piranesi, Francisco Goya, and William Blake stir the cauldron with images so peculiar that it was—and still is—hard to know what to make of them.

Dark Visions

This magnificent group of robes from Mia’s collection belonged to high-ranking Buddhist priests. Known as kashaya, they were designed to be draped over the left shoulder, under the right arm, and fastened in front under the left shoulder, and are more elaborate than the robes worn by most Buddhist monks. Yet they were fabricated from small squares sewn together, symbolizing the humble nature of Buddha. Within these patchwork squares are various Buddhist motifs and sometimes imperial imagery in which dragons cavort in the celestial landscape. Rich with courtly symbolism, the robes were likely worn in Buddhist ceremonies at monasteries patronized by the court or within the Forbidden City itself.

Splendid Patchwork: Buddhist Monastic Robes

&#8220;Tibetan Buddhist Shrine Room: The Alice S. Kandell Collection&#8221; includes more than two hundred gilt-bronze sculptures, paintings, silk hangings, and carpets that were created in Tibet between the 1300s and early 1900s. Buddhist ritual objects are displayed in the context of an elaborate private household shrine, a space used for offerings, devotional prayer, rituals, and contemplation. With its flickering candlelight, sonorous chanting, and the subtle smell of incense, the glittering room provides an oasis for peaceful contemplation within the galleries at Mia.
Tour a selection of objects in this guide. 
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L2023.76.198

Tibetan Buddhist Shrine Room: The Alice S. Kandell Collection

An aristocratic transplant to the bohemian haunts of Paris, Henri de Toulouse-Lautrec captured the nightclubs and cabarets of Montmartre in the 1880s and ’90s, setting to canvas and paper their glittering lights and dazzling entertainments. Among his favorite spots were Le Chat Noir, Le Mirliton, and, above all others, the Moulin Rouge. One of his most remarkable paintings, At the Moulin Rouge, captures a night at the legendary nightclub with a band of regulars, including several of its most famous performers and Toulouse-Lautrec himself.
On loan from the Art Institute of Chicago, At the Moulin Rouge is at the center of this exhibition about Toulouse-Lautrec, his circle of fellow artists, and how they depicted the transformation of Parisian nightlife at the turn of the century. The exhibition features a dozen rarely seen works from Mia’s collection, including French posters and drawings from the era.
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Major Sponsor:
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Image of At the Moulin Rouge, a painting by Henri de Toulouse-Lautrec

At the Moulin Rouge

In 2016, while working in Spoleto, Italy, JoAnn Verburg experienced three major earthquakes. The aftershocks, which continued for months, unnerved her. With parts of buildings still falling around her, she couldn’t shake a sense of impending catastrophe. Her anxieties were enhanced by the major events that followed, from the murder of George Floyd in Minneapolis to the global pandemic. For Verburg, as for so many others, the world felt dangerously out of balance.
Long known for her exquisite landscapes and innovative techniques in photography and video, Verburg questioned how to continue making beautiful art amid the devastating reality of world events. Beneath the surface of the mesmerizing images of nature in &#8220;Aftershocks,&#8221; the question lingers, as she explores loss, dread, and the healing power of art in a time of worldwide change and upheaval.
Presenting Sponsor: David Wilson and Michael Peterman
Major Sponsors: Samuel Heins and Stacey Mills Heins
Supporting Sponsor: UBS Financial Services

JoAnn Verburg Catalog

JoAnn Verburg: Aftershocks

A potter from Kha&#8217;p&#8217;o Owingeh (Santa Clara Pueblo, New Mexico), Jody Folwell has revolutionized Pueblo pottery—and Native art more broadly—over the past five decades. The first Pueblo artist to place personal, political and social narratives on her pottery, she has pushed the boundaries of form, content, and design while remaining firmly within the art traditions of her community.
This exhibition, &#8220;O’ Powa O’ Meng&#8221; (“I came here, I got here, I’m still going”), was organized by Mia and the Fralin Museum of Art at the University of Virginia. These iconic works span the breadth of Folwell&#8217;s groundbreaking career, demonstrating the arc of her artistic development and integrating a trailblazing Native American artist within the wider canon of contemporary American art.
This exhibition was organized by the Fralin Museum of Art and the Minneapolis Institute of Art.
This catalogue and exhibition are made possible through support from the Terra Foundation for American Art.
Major support for Mia&#8217;s presentation provided by Lorraine R Hart.

O’ Powa O’ Meng: The Art and Legacy of Jody Folwell

Art from Latin America and the Caribbean has been collected by Mia since the 1940s, particularly in the form of ceramics, objects in gold, and textiles produced by artmakers of the ancient civilizations that populated Central and South America. The collection has significantly increased over the years largely because of donations and purchases of works by historical and contemporary artists. These artworks constitute today the foundation in which the museum plans to build a more consistent and inclusive collection, one that can better represent the diversity and creativity of Latin American artists.

Latin American Art at Mia II

The exuberant 20-century ceramic artist Clarice Cliff famously said, in response to critics, “Having a little fun at my work does not make me any less of an artist, and people who appreciate truly beautiful and original creations in pottery are not frightened by innocent tomfoolery.&#8221;
Drawing from the collection of the Minneapolis Institute of Art, along with promised gifts from the Tamara and Michael Root collection of studio ceramics, this exhibition at the Wells Fargo Center in downtown Minneapolis showcases the delights and talents of women in the fields of modern and contemporary industrial design and craft. The exhibition features examples of design from Cliff as well as British silver designer Kate Harris, American inventor Marion Weeber, and prolific designer Eva Zeisel. Studio ceramics include works from important American ceramic educator Laura Andreson, Finnish contemporary artist Kirsi Kivivirta, and clay sculptor Karen Karnes, among others. The exhibition is on view in twenty cases in the ground-floor concourse and skyway levels of the Wells Fargo Center in downtown Minneapolis.
Wells Fargo Center Hours: Monday-Friday, 9 a.m. &#8211; 5 p.m. 
Generous support provided by:  <img loading="lazy" decoding="async" class="alignnone size-full wp-image-69398" src="https://images.artsmia.org/wp-content/uploads/2018/07/01101447/LOGO-std_blk1web.png" alt="" width="85" height="85" srcset="https://images.artsmia.org/wp-content/uploads/2018/07/01101447/LOGO-std_blk1web.png 85w, https://images.artsmia.org/wp-content/uploads/2018/07/01101447/LOGO-std_blk1web.png 32w, https://images.artsmia.org/wp-content/uploads/2018/07/01101447/LOGO-std_blk1web.png 50w, https://images.artsmia.org/wp-content/uploads/2018/07/01101447/LOGO-std_blk1web.png 64w" sizes="(max-width: 85px) 100vw, 85px" />

A Little Fun at My Work: Women in Design and Craft

Age does not hinder artistic expression. This exhibition features art made by participants in two Vitality Arts workshops for older adults 55 and better, that took place this summer. Working with two well-known local street artists, Luis Fitch and Cadex Herrera, the students explored the exciting world of street art, graffiti, and mural making.
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Major Supporter:
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"Vitality Arts: Street Art Workshop with Luis Fitch" at Mia

Taking It to the Streets: Vitality Arts at Mia

Living on an archipelago, surrounded by water on all sides, the Japanese have always had a close relationship with the sea. The marine life depicted in Japanese art, however, is often more symbolic than real, meant to convey literary, visual, or seasonal associations. Sometimes, even the connections to the sea are abstract, such as geometric patterns meant to evoke fishnets or scales on dishes and clothing. This exhibition explores the sea creatures that permeate Japanese art and culture, and dives into their deeper meaning.
<h2>Name That Fish</h2>
You’re invited to help name a sculpture featured in the exhibition. Between October 10 and 31, 2024, Mia is hosting a naming content for Imai Sadamasa&#8217;s fish sculpture (pictured above).
You can click the button below to submit your entry, or participate via Instagram and Facebook or in person at Mia using a QR code.
<a href="https://docs.google.com/forms/d/e/1FAIpQLSdJBV4mdrqZHG_MfOSZRrRrFq3Oumd533Lu0mngMigf1Yd8RQ/viewform?usp=pp_url&amp;entry.1695263847=I'd+like+to+receive+emails+from+Mia+about+upcoming+events+and+exhibitions." rel="noopener"><button class="background-black">SUBMIT YOUR NAME</button></a> 
The artist will personally choose the winning name, which we’ll announce on social media. The lucky winner will receive a custom plush replica of the sculpture. In-person participants can claim a unique enamel pin featuring Sadamasa’s fish.

L2024.29.1

Catch of the Day: Humans and Marine Animals in Japan

Otto Dix (1891–1969) served in the German army during World War I. For three years, he led a machine-gun unit and experienced the horror of trench warfare firsthand. When the war ended, in 1918, many of Dix’s countrymen wanted to celebrate the valor of military service and rebuild German power; others wanted to forget and move forward. Dix belonged to a smaller cohort who wanted to scrutinize how a war that raged for four years and left ten million dead could happen in the first place. In the early 1920s, Dix created a series of fifty raw etchings—published as Der Krieg (The War)—that are less an account of Dix’s wartime activity than a sequence of PTSD-induced flashbacks.
Content advisory: This exhibition contains images of suffering, death, and bodily decay.

Black and white etching by Otto Dix of soldiers in gas masks during Word War I.

Otto Dix: The War Portfolio

One of the leading peintres-graveurs, or painter-printmakers, of late nineteenth-century Paris, Mary Cassatt (1844–1926) applied her painterly skill to a variety of print techniques. Balancing color, line, and texture, she breathed life into intimate scenes of domestic labor and leisure. &#8220;Cassatt on Paper&#8221; presents highlights from Mia’s collection of prints by Cassatt, offering a rare view into the life and art of this important woman artist.

Cassatt on Paper

The narrative painting genre has been popular in Chinese art since the Han dynasty nearly two thousand years ago. The subjects of these paintings vary widely, from mythology and classic literature to history and political satire. For centuries, the most popular subjects were transcendent scenes evoking Buddhist and Taoist doctrines. Over time, many artists shifted their focus to the more mundane world—scenes of scholar-officials and ordinary people going about their lives. This gallery features paintings from Mia’s permanent collection that showcase how Chinese artists have used narrative painting to illustrate tales from both the divine and mortal realms.

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Friday, November 22, 2024

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Art & Wine After Dark

Art & Dining After Dark

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Friday, November 22, 2024

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Ongoing Exhibitions

Bizen: Contemporary Expressions of an Ancient Japanese Pottery

Dark Visions

Splendid Patchwork: Buddhist Monastic Robes