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The Memphis Brooks Museum of Art Cleveland Museum of Art
Cleveland, OH
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Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany
10/20/2019 - 06/14/2020
Julia and Larry Pollock Focus Gallery | Gallery 010

Focusing on Louis Comfort Tiffany’s passion for stained glass as a way to bring nature’s splendid color into the home, this exhibition explores Tiffany’s vivid designs in relation to emerging artistic and craft movements at the turn of the 20th century. Through the dynamic, illuminated display of 20 of the designer’s finest stained glass table and floor lamps and featuring the iconic Hinds House stained glass window, Tiffany in Bloom introduces visitors to the magic that Tiffany created with thousands of shards of glass and the “newfangled” power of electric light. Period photographs and accounts of his artisans also provide a glimpse into Tiffany’s shop and studio. His method of design, production, and marketing; his reliance on women designers, such as Ohio native Clara Driscoll; and his alliances with both his father’s firm (Tiffany & Co.) and his European counterpart Siegfried Bing (Maison de l’Art Nouveau) lift the curtain on Tiffany’s special brand of artistic creation and success.

Rare masterworks such as the Wisteria, Peacock, Bamboo, and Peony lamps highlight important thematic groups that focus on Tiffany’s many stylistic influences, from Asian to Art Nouveau. The stained glass techniques used by Tiffany’s artisans reveal the firm’s unparalleled standard of quality and the designer’s love for the infinite possibilities of iridescence, texture, and color in manipulating light. Most of the works in this exhibition recently joined the museum’s collection through the generous bequest of Charles Maurer, a Cleveland industrialist and renowned collector of works by Louis Comfort Tiffany. Tiffany in Bloom celebrates this extraordinary gift by providing an unprecedented opportunity to view so many of Tiffany’s great lamps together in a veritable bouquet of splendor.

Major Sponsor
Margaret and Loyal Wilson

Supporting Sponsor
Julia and Larry Pollock

Liu Wei: Invisible Cities
Sun, 10/13/2019 to Sun, 02/16/2020
Mark Schwartz and Bettina Katz Photography Gallery | Gallery 230

The Cleveland Museum of Art collaborates with the Museum of Contemporary Art (moCa) Cleveland to mount the first solo US museum exhibition by internationally renowned artist Liu Wei (Chinese, b. 1972). Works by Liu Wei will be presented concurrently at both institutions, offering an expansive view of the artist’s diverse artistic practice.

The CMA’s presentation centers on Panorama No. 2 (2015–16), a recent gift to the museum by Mr. Richard Jeschelnig and Mrs. Michelle Shan Jeschelnig. The monumental diptych exemplifies a technical shift the artist introduced into his work in 2010, when he began using computer software to generate patterns of pixels that are converted onto canvas and subsequently filled with color. The semiabstract imagery of Panorama No. 2 recalls the vast skylines of megacities like Beijing. At the same time, the oscillating pattern of gray, orange, purple, and yellow generated by the software removes the work from functioning primarily as a social or political commentary. Instead, the painting’s abstract quality is so strong that it becomes unclear whether the viewer is looking at a landscape or a purely abstract pattern. Its complex architectural imagery comes off the wall into real space through a series of large-scale representations of architectural monuments made from animal edibles, primarily oxhide.

Liu Wei is among China’s most well-known contemporary artists, but his work has not been thoroughly contextualized for Western audiences. As part of a generation of artists whose careers emerged during a period of rapidly accelerating urbanization, his work explores the rigidly controlled social and political contradictions of modern Chinese society. Working with ready-made objects as well as a range of diverse media including photography, painting, sculpture, and installation, Liu Wei is known for crystallizing the visual and intellectual chaos of China’s myriad transformations. He frequently uses geometric and architectural forms in his work as a reference to his urban surroundings. These themes will be on view as part of moCa’s focused presentation of the artist’s oeuvre, which includes existing and new work.

Liu Wei lives and works in Beijing and graduated in 1996 from the National Academy of Fine Arts, Hangzhou, China. His work has been in numerous exhibitions at international venues including: PLATEAU, Samsung Museum of Art, Seoul (2016); Ullens Center for Contemporary Art, Beijing (2015); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2014); and Minsheng Art Museum, Shanghai (2011).

Organized by the Museum of Contemporary Art Cleveland in collaboration with the Cleveland Museum of Art, Liu Wei: Invisible Cities is presented with the generous support of Richard and Michelle Jeschelnig

The exhibition is made possible through a partnership of the Museum of Contemporary Art Cleveland with the artist’s studio; Lehmann Maupin, New York, Hong Kong, and Seoul; Long March Space, Beijing; White Cube; and the Beijing Contemporary Art Foundation.

Master/Apprentice: Imitation and Inspiration in the Renaissance
Sun, 10/13/2019 to Sun, 02/23/2020
James and Hanna Bartlett Prints and Drawings Gallery | Gallery 101

Michelangelo’s sculptures, paintings, and architectural projects have been the subject of artistic admiration for more than 500 years. As a companion to Michelangelo: Mind of the Master, on view in the Kelvin and Eleanor Smith Foundation Exhibition Hall from September 22, 2019, to January 5, 2020, Master/Apprentice: Imitation and Inspiration in the Renaissance surveys the impact of Michelangelo—his practice, his projects, and his biography—on artists working in the Renaissance and beyond. The works on view examine how Florentine artists modeled their approach to the human form and their working methods on those of Michelangelo, as well as how artists further afield emulated and reinterpreted his work. The exhibition features prints reproducing and quoting Michelangelo’s major projects alongside works that document his architectural impact on the city of Rome. Drawn entirely from the Cleveland Museum of Art’s collection, the prints, drawings, and sculpted plaques on view explore a range of responses to Michelangelo and his work.

Organized in collaboration with graduate students in the course After Michelangelo, taught by Dr. Emily Peters and associate professor Erin Benay in the CMA-CWRU Joint Program

Emeka Ogboh: Akwétè
Through 12/01/2019
Video Project Room | Gallery 224B

This video features footage of the production of akwétè cloths. One of West Africa’s oldest and most celebrated textile traditions, akwétè is named for an Igbo community in southeast Nigeria and woven exclusively by women. The boldly colored fabrics with striking patterns are worn on ceremonial and festive occasions—including at the ámà, or village square. The akwétè cloths showcased in this video were made for inclusion in Ámà: The Gathering Place, a site-specific commission by Emeka Ogboh on view in the museum’s Ames Family Atrium.

Presenting Sponsor
Sandy and Sally Cutler Strategic Opportunities Fund

Michelangelo: Mind of the Master
Sun, 09/22/2019 to Sun, 01/05/2020

Public Sale: Tickets on sale NOW

The name of the Italian Renaissance painter, sculptor, and architect Michelangelo Buonarroti (1475–1564) is synonymous with creative genius and virtuosity. The exhibition Michelangelo: Mind of the Master presents an unprecedented opportunity for museum visitors to experience the brilliance of Michelangelo’s achievements on an intimate scale through more than two dozen original drawings. Michelangelo’s genius is especially evident through his breathtaking draftsmanship on sheets filled with multiple figures and close studies of human anatomy. These working sketches invite us to look over the shoulder of one of Western art history’s most influential masters and to experience firsthand his boundless creativity and extraordinary mastery of the human form. These drawings demonstrate Michelangelo’s inventive preparations for his most important and groundbreaking commissions, including the Sistine Chapel ceiling fresco, sculptures for the tomb of Giuliano de’ Medici, and the dome of Saint Peter’s Basilica.

Michelangelo: Mind of the Master brings to the United States for the first time a group of drawings by Michelangelo from the remarkable collection of the Teylers Museum (Haarlem, The Netherlands), which was formed in the 18th century in part from the collection of Queen Christina of Sweden (1626–1689). Additional drawings from the collections of the Cleveland Museum of Art and the J. Paul Getty Museum round out the display. A fully illustrated catalogue accompanies the exhibition and includes essays by Emily J. Peters (Cleveland Museum of Art), Julian Brooks (J. Paul Getty Museum), and Carel van Tuyll van Serooskerken (Teylers Museum) that explore Michelangelo’s working methods and major projects, as well as the fascinating history of the ownership of his drawings after his death.

Because drawings can be damaged by light, the light levels must be kept low in the galleries. After you enter, give your eyes a moment to adjust.

In the last gallery, we invite you to sit and enjoy a selection of touchable reproductions of drawings from the exhibition.

An audio tour and large-print labels are available at the exhibition entrance.

Ámà: The Gathering Place
08/02/2019 - 12/01/2019
Ames Family Atrium

Ámà: The Gathering Place is an immersive site-specific installation integrating sound, textiles, and sculpture by Emeka Ogboh (Nigerian, b. 1977). It is the CMA’s first commissioned artwork for the Ames Family Atrium and part of an ongoing series of large-scale contemporary installations presented in that space. The work’s point of departure is the social role of the atrium within the museum: a soaring, light-filled space at the center of the building used by visitors as an area for communing and lively exchange. Ogboh compares it to the ámà—or village square—the physical and cultural center of Igbo life in southeast Nigeria. “Both sites,” he explains, “are contact zones, spaces of gathering and ritual activities in their respective settings.” On the occasion of the installation, parallels between the Ames Family Atrium and the Igbo village square will be activated, exemplifying the global scope of the CMA’s encyclopedic collection.

Presenting Sponsor
Sandy and Sally Cutler Strategic Opportunities Fund

Color and Comfort: Swedish Modern Design
Sun, 02/17/2019 to Sun, 02/09/2020
Arlene M. and Arthur S. Holden Textile Gallery | Gallery 234

Color and Comfort: Swedish Modern Design will present the modern styling of mid-twentieth-century Swedish design, featuring textiles, ceramics, and glass from the CMA’s collection. Iconic work by Josef Frank will be shown together with work by artisans such as Viola Gråsten, sisters Gocken and Lisbet Jobs, Stig Lindberg, Sven Markelius, and Elizabeth Ulrick, in an exhibition featuring themes of Nature and Pattern, Color and Contrast, Nostalgia for the Past, and Finding Modernity.

This dynamic installation will explore the idea of comfort and affordability in the modern Swedish home both before and after the Second World War. The introduction of bold, colorful patterning during the 1920s, the national nostalgia for Swedish cultural heritage during the 1930s, and the sparse lines of abstraction in the 1950s and ’60s will come together to reveal a particularly Swedish sensibility in modern design—one that has often been used to define a broader modern Scandinavian style.

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