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Minneapolis Institute of Art To Present Two Exhibitions Exploring the Impact of the Vietnam War Artists Reflect: Contemporary Views on the American War September 29, 2019–January 5, 2020 Organized by the Minneapolis Institute of Art Artists Respond: American Art and the Vietnam War, 1965–1975 September 29, 2019–January 5, 2020 Organized by the Smithsonian American Art Museum | |||
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MINNEAPOLIS—July 25, 2019— To accompany “Artists Respond: American Art and the Vietnam War, 1965–1975”—the critically acclaimed exhibition organized by the Smithsonian American Art Museum (SAAM)—the Minneapolis Institute of Art (Mia) will present “Artists Reflect: Contemporary Views on the American War,” featuring works by Southeast Asian diaspora artists, who explore the impact and legacy of the conflict. Drawings, textiles, video, photography, and installation work by Tiffany Chung (b. 1969, Vietnam), Pao Houa Her (b. 1982, Laos), An-My Lê (b. 1960, Vietnam), Dinh Q. Lê (b. 1968, Vietnam), Hương Ngô (b. 1979, Hong Kong) and Hồng-An Trương (b. 1976, USA), Teo Nguyen (b. 1977, Vietnam), Tuan Andrew Nguyen (b. 1976, Vietnam), Pipo Nguyen-duy (b. 1962, Vietnam), Cy Thao (b. 1972, Laos), and Thi Bui (b. 1975, Vietnam) reflect on migration, memory, the effect of violence on the landscape and on communities, healing, and trauma, while bringing attention to the war’s living effects on the population most affected by its long history (predating and postdating U.S. involvement). “Artists Reflect” coincides with “Artists Respond”; both are on view in Target Galleries September 29, 2019, through January 5, 2020. The exhibition is organized by Robert Cozzolino, Patrick and Aimee Butler Curator of Paintings at the Minneapolis Institute of Art. “‘Artists Reflect’ picks up where the Smithsonian American Art Museum’s important exhibition ‘Artists Respond’ ends,” Cozzolino said. “It gives visitors the chance to see how the American War impacted artists whose families lived in Vietnam and Laos. Their artwork explores the ongoing legacy of the war on their communities. It examines migration, the lives of veterans, landscape as witness, and the way memory is passed down through generations. The artists offer a fascinating and emotionally complex perspective of the impact of this war.” Highlights of “Artists Reflect: Contemporary Views on the American War” include “The opposite of looking is not invisibility. The opposite of yellow is not gold” a collaboration between Hương Ngô and Hồng-An Trương exploring immigration and refugee experience through the lens of their family photographs; Pao Houa Her’s photographs honoring Hmong veterans of the American war; Tuan Andrew Nguyen’s memorial to Thích Quảng Đức, a Buddhist monk who in 1963 set himself on fire to protest the repressive South Vietnamese government; Thi Bui’s original drawings for her memoir The Best We Could Do and the children’s book A Different Pond; and Tiffany Chung’s large embroidered map tracing migration routes in the wake of the wars in Southeast Asia. | |||
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“Artists Respond: American Art and the Vietnam War, 1965–1975,” curated by Melissa Ho, debuted at the Smithsonian American Art Museum in spring 2019. The exhibition presents art created amid the United States’ pitched conflict with Vietnam and on the home front as Americans bitterly fought over whether they should be involved in this war. The exhibition spans the period from President Lyndon B. Johnson’s fateful decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Sài Gòn 10 years later. “Artists Respond” is the most comprehensive exhibition to examine the contemporary impact of the Vietnam War on American art. It brings together nearly 100 works by 58 of the most visionary and provocative artists of the period, including T. C. Cannon (1946–1978, USA), Judy Chicago (b. 1939, USA), Dan Flavin (1933–1996, USA), Leon Golub (1922–2004, USA), David Hammons (b. 1943, USA), Yayoi Kusama (b. 1929, Japan), Bruce Nauman (b. 1941, USA), Liliana Porter (b. 1941, Argentina), Claus Oldenburg (1929, Sweden), Yoko Ono (b. 1933, Japan), Faith Ringgold (b. 1930, USA), Martha Rosler (b. 1943, USA), Peter Saul (b. 1934, USA), Nancy Spero (1926–2009, USA), Jesse Treviño (b. 1946, Mexico), and others. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, influencing developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism. This exhibition presents both well-known and rarely discussed works, and offers an expanded view of American art during the war, introducing a diversity of previously marginalized artistic voices, including women, African Americans, Latinos, and Asian Americans. The exhibition makes vivid an era in which artists endeavored to respond to the turbulent times and openly questioned issues central to American civic life. A 416-page catalogue accompanies “Artists Respond: American Art and the Vietnam War, 1965–1975.” Published by the Smithsonian American Art Museum in association with Princeton University Press, the hardcover book will be available for purchase at The Store at Mia for $65. Programming for the exhibition includes the following events:
· October 17: Third Thursday: Artists Respond invites visitors to connect and create with artist activists responding to relevant contemporary issues today. The free event will feature thought-provoking live performances, visual artwork, and art-making activities, as audiences discover the impact of creativity as a change-maker in today's world. All My Mia members will enjoy complimentary tickets to the exhibition during the event.
· September 28: Study Day: Artists & the Vietnam War will feature talks by prominent artists and leading scholars, as well as performances, small-group dialogues, and art activations. Featured speakers include curators Melissa Ho and Robert Cozzolino, scholar Karen Mary Davalos, and artists Martha Rosler, Peter Saul, Rupert Garcia, Jesse Trevino, Pao Her, Thi Bui, and Tiffany Chung. Conversations will explore experiences during 1965–75, pose critical questions about our current time, and reflect on the half-century that separates the two. This program is made possible by a grant from the National Endowment for the Arts. Tickets are $30, $20 for My Mia members, and $10 for members of Contemporary Art and Paintings Affinity Groups.
“Artists Respond: American Art and the Vietnam War, 1965–1975” is organized by the Smithsonian American Art Museum with generous support from Anonymous, the Diane and Norman Bernstein Foundation, Sheri and Joe Boulos, the Gene Davis Memorial Fund, Glenstone Foundation, Norbert Hornstein and Amy Weinberg, the Henry Luce Foundation, Nion McEvoy and Leslie Berriman, Cindy Miscikowski, Daniel C. and Teresa Moran Schwartz, the Smithsonian Scholarly Studies Awards, and the Terra Foundation for American Art. The exhibition was made possible at the Minneapolis Institute of Art thanks to lead sponsor Thomson Reuters. Major sponsors include the National Endowment for the Arts and the Boris Lurie Art Foundation. Additional generous support was provided by Nivin MacMillan, Richard and Jennie Carlson, Hubert Joly, John and Nancy Lindahl, Marianne Short and Raymond Skowyra, Jr., Page Knudsen Cowles and Jay Cowles, Shannon Evenstad, Alfred and Ingrid Lenz Harrison, Martha Head, Diane and David Lilly, Reid and Ann MacDonald, Sheila Morgan, Lewis and Connie Remele, Joan and John Rex, Katie Simpson, Laysha Ward and Bill Kiffmeyer, and donors to the 2019 Mia Gala.
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Showing posts with label Minneapolis Institute of Art. Show all posts
Showing posts with label Minneapolis Institute of Art. Show all posts
Thursday, July 25, 2019
Minneapolis Institute of Art, presents “Artists Respond: American Art and the Vietnam War, 1965–1975” September 9, 2019,- January 5, 2020
Monday, February 22, 2016
First Exhibition Marking 500th Anniversary of Martin Luther’s “Ninety-Five Theses” Presented by Minneapolis Institute of Art
Exhibition Features Newly Excavated Objects Offering New Insights into Luther’s Personal Life and Many Works of Art Never-Before-Seen Outside of Germany
Exhibition Launches International Collaboration with Germany’s Leading Institutions Preserving Luther’s Legacy
MINNEAPOLIS, MN [February 22, 2016] – This fall, the Minneapolis Institute of Art (Mia) will mark the 500th anniversary of Martin Luther’s “Ninety-Five Theses on the Power and Efficacy of Indulgences” by presenting the first exhibition in the United States to explore the indelible impact of the Protestant Reformation through major works of art. On view from October 30, 2016 through January 15, 2017, “Martin Luther: Art of the Reformation” will feature paintings, sculptures, gold, textiles, and works on paper—many of which have never before left Germany—as well as Luther’s personal possessions and recent archeological finds from his homes to shed new light on the critical religious, cultural and societal changes of this tumultuous and transformative period. The exhibition is the first in a series of international initiatives commemorating this important moment, which will be observed around the world on October 31, 2017.
“Martin Luther: Art of the Reformation” at Mia is organized in partnership with four German institutions—the State Museum of Prehistory in Halle, Luther Memorials Foundation in Saxony-Anhalt, German Historical Museum in Berlin, and Foundation Schloss Friedenstein in Gotha. The Luther House in Wittenberg, Germany is closed in 2016 for major renewals of its permanent exhibition for the Jubilee Year 2017, which has allowed key works to travel to Mia for this first-of-its-kind exhibition.
“We are thrilled to launch the international commemoration of this watershed moment in history with such an extraordinary exhibition,” said Kaywin Feldman, the Duncan and Nivin MacMillan Director and President of Mia. “Minnesota is home to one of the largest Lutheran populations in the nation, so this story has a special resonance here. We are proud to partner with our peers in Germany, and look forward to engaging our local audiences and visitors from around the world with the art and objects that were at the heart of the Reformation.”
“Martin Luther: Art of the Reformation” will place particular emphasis on Luther’s support of art as a tool for worship, teaching, and propaganda. Among the works on view will be paintings by Lucas Cranach the Elder (1472-1553), who was inspired by Luther’s preaching to develop didactic paintings that vividly depict the viewer’s choice between salvation and damnation. Cranach’s narrative paintings illustrate biblical stories in brilliant colors and ravishing—sometimes gory—detail, and his stylized portraits capture the humanist spirit of the age. Additionally, several vandalized objects by other artists will be presented to underscore the intense emotional reaction in the wake of Luther’s protest.
A major portion of the exhibition devoted to Luther’s personal life will feature recent archaeological finds from his boyhood homes in the towns of Eisleben and Mansfeld, as well as his house in Wittenberg, the base for his history-making activities. Excavations, undertaken in 2004 and 2005, uncovered household goods that reveal new information about Luther and his family. A selection of those objects will be displayed for the first time in the United States and offer new insights into Luther’s daily life, especially his childhood.
“The objects in this exhibition have strong visual and emotional presence. Not only do they tell the fascinating story of the man and his impact on religion and politics, but they also continue to reverberate today,” said Tom Rassieur, Mia’s John E. Andrus III Curator of Prints. “With the incredibly generous support of our German colleagues, we are excited to be able to share spectacular works of art and new discoveries with the public, and to vividly bring Luther’s world to life for contemporary audiences.”
Exhibition Themes and Highlights
“Martin Luther: Art of the Reformation” will be organized chronologically and comprise eight primary sections:
- “Boyhood,” in which the archeological findings at Luther’s childhood homes will be displayed;
- “Secular Power,” which features rare paintings, prints, sculpture depicting the rulers and courtly life of the era, as well as opulent status symbols belonging to the most powerful men of the age;
- “Pre-Reformation Piety,” which presents paintings, carvings, goldsmith’s work, and vestments associated with late medieval and early renaissance Catholic practice;
- “Luther as Monk, Scholar, and Preacher” includes the notorious indulgence chest of Wittenburg, a 1517 printed copy of the “Ninety-Five Theses,” and the final pulpit from which Luther preached—newly-restored for the exhibition;
- “Luther’s Theology” features Lucas Cranach’s Law and Grace, the 157-panel Gotha Altar, and some of Luther’s own hand-written notes for his translation of the Bible;
- “Luther’s House as the hub of the Reformation,” featuring the furniture from his studio, his personal possessions, portraits of Luther, his wife Katarina von Bora, and their associates, as well as additional archeological finds from Luther’s home—from jewelry and pen knives to tiles and glass—that embody his daily life and international status;
- “Polemics and Conflicts” underscores the turbulence of the era through vandalized works of art, satirical woodcuts, weaponry and war trophies; and
- “The Legend,” which highlights the establishment of Luther’s posthumous reputation through memorial objects such as the model for his grave marker, the debating stand of the University of Wittenburg, and relics that gave his followers tangible bonds to their spiritual leader.
Additional highlights from the exhibition include:
[if !supportLists]• [endif]Sixteen paintings from Lucas Cranach the Elder’s studio, two-thirds of which are autographed, including Martin Luther (c. 1541), The Death of Holophernes (1531), and Law and Grace (1529), one of the most influential allegories of the Reformation, which underscores Luther’s belief in faith as the path to salvation. Several of these works also showcase a shift from the lifelike compositions of the Renaissance to more stylized figural representations, solidifying Luther’s use of art as a tool for communicating to a broader public.
[if !supportLists]• [endif]Old and New Testament, the so-called Ortenburg Bible (1535), a hand-colored copy of Luther’s complete translation of the Bible into German.
[if !supportLists]• [endif]Luther’s studio furniture and other personal effects, including his ornate folding travel spoon and his beer stein.
[if !supportLists]• [endif]Rarely seen 16th-century editions of the Bible in contemporary German vernacular, as well as a selection of 16th-century publications that demonstrate Luther’s intolerance of corruption and his concern for women.
[if !supportLists]• [endif]The Altar of the Virgin Mary from Naumburg Cathedral, a carved and polychromed altar produced around 1500.
[if !supportLists]• [endif]The Heiltumsbuch of Friedrich the Wise, the first illustrated manuscript ever printed.
[if !supportLists]• [endif]Pope Leo X’s Bull of Excommunication against Luther, in three early editions.
[if !supportLists]• [endif]Recently discovered remains of an alchemist’s laboratory.
Programming and Catalogue
“Martin Luther: Art of the Reformation” will be accompanied by a fully illustrated catalogue, as well as a new book of essays, which will serve as a fundamental work resource in Luther studies for the next decade. In the book of essays, forty European and American authors tackle subjects that set the stage for Luther’s activities. They closely examine the various phases of his life, his theology and his translation of the Bible, as well as his intellectual, spiritual, and economic environment; the Reformation as a media revolution; his relationship with Jews and Muslims; reformation art and architecture, Lutheran memorial culture, Lutheranism in America, Martin Luther and Martin Luther King, in addition to other topics. Both volumes will appear in English and German.
Programming related to the exhibition will include a lecture series featuring Professor Harald Meller, Director of the State Museum of Pre-History, Halle, who conceived of the exhibition; Professor Christiane Andersson, Bucknell University, an expert on Reformation art and censorship; and, Tom Rassieur, Mia’s curator collaborating on the exhibition. Mia will engage youth groups through programs on protest art. Additional programming details will be announced in the coming months.
Programming related to the exhibition will include a lecture series featuring Professor Harald Meller, Director of the State Museum of Pre-History, Halle, who conceived of the exhibition; Professor Christiane Andersson, Bucknell University, an expert on Reformation art and censorship; and, Tom Rassieur, Mia’s curator collaborating on the exhibition. Mia will engage youth groups through programs on protest art. Additional programming details will be announced in the coming months.
Support
“Martin Luther: Art of the Reformation” has been made possible by the support of the Foreign Office of the Federal Republic of Germany within the framework of the Luther Decade and is presented by Thrivent Financial. Lead sponsors for this exhibition are John and Nancy Lindahl, The Hognander Foundation, the K.A.H.R. Foundation, and Thomson Reuters.
About Martin Luther
When Martin Luther (1483-1546) posted his “Ninety-Five Theses on the Power and Efficacy of Indulgences” on the doors of the Castle Church in Wittenberg, he cracked the foundations of papal authority and set in motion a revolution that would reshape Western civilization. Luther’s story is intimately connected to the collapse of medieval society and the birth of the modern age—by translating the Bible into contemporary German vernacular and disseminating his teachings through the newly invented printing press, he not only eroded Catholic authority, but also epitomized how the right tools, and strategic use of technology, could spur near-immediate and irreversible change.
Luther was born to a mining family in Germany in 1483. At age seven, he enrolled in school and became an avid student of grammar, rhetoric and logic, eventually entering the University of Erfurt to earn a Master of Arts degree in the field. Although he initially intended to practice law, Luther became increasingly interested in theology, philosophy and scripture as a source for assurances about life. In 1507, he was ordained to the priesthood, and later awarded his Doctor of Theology from the University of Wittenberg, at which he spent the remainder of his career as a professor of theology.
It was shortly after entering the monastery that Luther began to doubt that the Church could offer salvation. A visit to Rome in 1511 solidified this view as he witnessed rampant corruption, and was particularly outraged by the issue of “indulgences,” or certificates that could be purchased to gain forgiveness of sins and freedom from purgatory. On October 31, 1517, Luther decided to publish his opinions on the matter of indulgences—and the conclusion that faith, not the Church, would guarantee salvation—by posting the “Ninety-Five Theses” to the door of the Castle Church. These were then taken to the university printing press and produced in Latin and German, and within four weeks had spread far beyond Germany—ultimately giving rise to what would become the Protestant tradition.
Luther was born to a mining family in Germany in 1483. At age seven, he enrolled in school and became an avid student of grammar, rhetoric and logic, eventually entering the University of Erfurt to earn a Master of Arts degree in the field. Although he initially intended to practice law, Luther became increasingly interested in theology, philosophy and scripture as a source for assurances about life. In 1507, he was ordained to the priesthood, and later awarded his Doctor of Theology from the University of Wittenberg, at which he spent the remainder of his career as a professor of theology.
It was shortly after entering the monastery that Luther began to doubt that the Church could offer salvation. A visit to Rome in 1511 solidified this view as he witnessed rampant corruption, and was particularly outraged by the issue of “indulgences,” or certificates that could be purchased to gain forgiveness of sins and freedom from purgatory. On October 31, 1517, Luther decided to publish his opinions on the matter of indulgences—and the conclusion that faith, not the Church, would guarantee salvation—by posting the “Ninety-Five Theses” to the door of the Castle Church. These were then taken to the university printing press and produced in Latin and German, and within four weeks had spread far beyond Germany—ultimately giving rise to what would become the Protestant tradition.
About The Minneapolis Institute of Art
Home to more than 89,000 works of art representing 5,000 years of world history, the Minneapolis Institute of Art (Mia) inspires wonder, spurs creativity, and nourishes the imagination. With extraordinary exhibitions and one of the finest wide-ranging art collections in the country—Rembrandt to van Gogh, Monet to Matisse, Asian to African—Mia links the past to the present, enables global conversations, and offers an exceptional setting for inspiration.
General admission to Mia is always free. Some special exhibitions have a nominal admission fee. General admission for “Martin Luther: Art of the Reformation” is $20.
Museum Hours
Tuesday, Wednesday, Saturday 10am–5pm
Thursday, Friday 10am–9pm
Sunday 11am–5pm
Monday Closed
For more information, call + 1 612 870 3000 or visit artsmia.org
General admission to Mia is always free. Some special exhibitions have a nominal admission fee. General admission for “Martin Luther: Art of the Reformation” is $20.
Museum Hours
Tuesday, Wednesday, Saturday 10am–5pm
Thursday, Friday 10am–9pm
Sunday 11am–5pm
Monday Closed
For more information, call + 1 612 870 3000 or visit artsmia.org
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