Jun 172026
 

John Baldessari, “One and Three Persons (with Two Contexts-One Chaotic)”, 1994-2012, 14-color screenprint

California artist John Baldessari was born today, June 17, in 1931.  The print above was part of The Cleveland Museum of Art‘s 2024 exhibition, New Narratives: Contemporary Works on Paper.

From the museum about this work:

John Baldessari often incorporated appropriated (or “found”) imagery into his artwork, such as the photographs of architecture and rubble appearing in this print. He juxtaposed these elements with outlined figures in a typically obtuse manner to suggest a narrative or simply a feeling with strange or even ominous undertones. The artist’s interest in the formal qualities of art, such as dimensionality, highlighted by his use of the irregularly shaped sheet of paper, white cut-outs, and silhouettes, adds to the sense of suggestion and uncertainty in the print.

Jan 232026
 

“Berthe Morisot with a Muff”, c. 1871–72, Oil on canvas

Last week was Berthe Morisot‘s birthday and today it is her friend, brother-in-law, and fellow Impressionist, Édouard Manet‘s birthday. He was born on January 23rd, in 1832, and painted the portrait of her pictured above. It is part of the Cleveland Museum of Art‘s permanent collection.

From the museum about this work

This painting depicts Impressionist painter Berthe Morisot, who met Édouard Manet at the Musée du Louvre in Paris in 1868. This portrait vibrates with vitality. Morisot wears a coat and stylish hat from which wisps of her dark hair escape. Manet’s wide brushstrokes and cross-hatchings evoke the sketchy quality of Morisot’s own paintings, likely Manet’s nod to his subject’s identity as an artist.

He made nine portraits of her in oil, watercolor, lithography, and etching during 1868–74. Initially artistic colleagues and friends, they became family in December 1874 when Morisot married Manet’s younger brother, Eugène.

The painting is currently on loan to San Francisco’s de Young museum for their current exhibition Manet & Morisot, on view until 3/1. Organized by Fine Arts Museums of San Francisco in collaboration with the Cleveland Museum of Art, the show will move to Cleveland on 3/29/26, and will run until July 5th.

About Manet & Morisot from the Cleveland Museum of Art

Manet & Morisot is the first ever major exhibition dedicated to the artistic exchange between Édouard Manet, often referred to as the father of modern painting, and Berthe Morisot, the only woman among the founding members of the Impressionist movement. Unfolding over a period of roughly 15 years, between 1868 and 1883, theirs was perhaps the closest relationship between any two members of the Impressionist circle. As friends and colleagues—by turns collaborative and competitive—they collected one another’s work. Morisot posed for some of Manet’s most compelling portraits, several of which will be on view in the first gallery of the exhibition. When she married Manet’s younger brother, their professional connection deepened into a familial bond.

Thirty-six paintings and six drawings and prints borrowed from museums and private collections in the United States and Europe reveal the evolution of a singular friendship between two groundbreaking artists. Visitors will see beach and garden scenes made en plein air (out-of-doors) that demonstrate how Manet borrowed individual motifs and compositional ideas directly from Morisot. Portraits of fashionable Parisian women of the 1880s by the two artists show their different perspectives; Manet’s paintings were inspired by admiration and erotic interest while Morisot’s were informed by lived experience. The exhibition closes with a self-portrait by Morisot painted when she was in her mid-40s, revealing her perception of herself as a professional artist.

Jul 042025
 

Bang, 1994, by Kerry James Marshall was on view at the Cleveland Museum of Art in 2024.

From the museum about the painting-

One of Kerry James Marshall’s earliest and most iconic large-scale paintings, Bang depicts three Black children in a verdant suburban backyard, observing the Fourth of July. Invoking the grand tradition of European history painting, the work exemplifies Marshall’s commitment to, in the artist’s words, “representing Blackness in the extreme and letting it be beautiful. Bang embodies Marshall’s dedication to a vision of American culture that includes and honors Black histories.

 

Jun 062025
 

Pictured above is All that Glitters is Gold (for Liberace), 2000, from the portfolio 1989. A Portfolio of 11 Images Honoring Artists Lost to AIDS, by Lari Pittman. It was on view last year as part of Cleveland Museum of Art’s group exhibition, New Narratives: Contemporary Works on Paper.

From the museum about the work-

Lari Pittman made this print as part of a portfolio honoring visual and performing artists lost to the AIDS epidemic. Dedicated to pianist and singer Liberace (1919-1987), Pittman referenced the performer’s renowned love for glitz and glamour through what he calls over-decoration. The male profile (perhaps representing a young Liberace), diamonds, sunbursts, and undefined architectural elements in layers of bright, complementary colors celebrate artificiality, or in the artist’s words, “frippery” that defines both Pittman’s practice and Liberace’s public persona.

 Art21 also has several videos of Pittman discussing his work worth checking out.

Nov 152024
 

78th Street Studios, located in Cleveland, is the largest art and design complex in Northeast Ohio. The building is home to several art galleries, artist studios, performance spaces, and businesses, and is a great place to see local art.

Tonight, 11/15, the complex and several of its creative spaces will be open from 5-9pm for its monthly Third Friday event.

Below are some selections from April of this year.

Work by Mark Yasenchack and paintings by Jenniffer Omaitz

“Love Triangle” by Jenniffer Omaitz

Gallery 202 has a variety of work from local artists for sale and also hosts exhibitions. Above is work from Jennifer Omaitz’s exhibition Where Love Lives and mixed media work by Mark Yasenchack.

Sculptures and installations can be found throughout the building like the light sculpture pictured above by Dana L. Depew.

Rebecca Cross’ installation Rock Cloud, was part of her exhibition Mapping the Sensorial at HEDGE Gallery. The gallery focuses on promoting contemporary artists from Northeast Ohio.

Susan Snipes’ work, pictured above was part of a group exhibition at Understory.

You can also see artists at work in their studios. Above is work by Jessica Mia Vito.

Dawn Tekler encaustic wax paintings like the one pictured above, are on view in her studio.

The painting above is by Laurel Herbold, located outside her studio.

Walking through the halls you can also find artwork hanging outside several of the spaces- like the two paintings below.

David King, “Snow Day”, Oil on aluminum

Scott McIntire, “The Birds”, Enamel on canvas

May 222024
 

Artist and activist Andrea Bowers is based in Los Angeles but was born and raised in Ohio. This provides the connection to the work in Exist, Flourish, Evolve, currently on view at moCa Cleveland, which advocates for environmental protections for the area. The educational material informs the viewer, while the artwork reminds us how much beauty there is to lose.

From the museum-

LA-based artist Andrea Bowers bears witness in her work, drawing attention to and inspiring movement around the most urgent issues of our time. Her drawings, sculptures, installations, and films chronicle and preserve history as it occurs, documenting collective action and amplifying the labor and lived experiences of activists dedicated to socio-political change.

Developed through an ongoing partnership with the Community Environmental Legal Defense Fund (CELDF) and activist Tish O’Dell, Exist, Flourish, Evolve is a new, multi-site, multimedia campaign that builds awareness and action around the dangers facing Lake Erie and all of the Great Lakes ecosystems. It features a monumental neon sculpture installed on a waterfront balcony of the Great Lakes Science Center; a documentary investigating the impact of factory farming on Lake Erie’s ecosystem; and a presentation in moCa’s Lewis Gallery that includes a newly-created drawing of the Lake Erie Bill of Rights, first-of-its-kind legislation protecting an entire US ecosystem that is part of the global Rights of Nature Movement.

Bowers was raised in the small town of Huron, Ohio and spent her childhood on the shores of Lake Erie, connecting to the lake itself like a member of her family to be cared for, cherished, and protected. Yet, Lake Erie and its watershed are abused and endangered by corporate practices such as contaminant dumping, toxic runoff from industrial farming, and the introduction of non-native invasive species. Exist, Flourish, Evolve demands justice for the Great Lakes, urging us to prioritize the preservation of our natural ecology over industrialization and capitalism.

Within moCa’s gallery, a timeline connects Bowers’s new and recent artworks with historical facts and archival materials using two catastrophic climate events as bookends to Bowers’s life thus far: the 1969 fire on the Lake Erie-connected Cuyahoga River (a result of oil slicks covering the water) and the massive 2014 algae bloom that blanketed Lake Erie and invaded Toledo’s water systems, preventing residents from using tap water.

From the Maumee to the Cuyahoga, the works in Exist, Flourish, Evolve come together to share the histories of our water, demonstrate the interconnectedness of ourselves and our natural world, and remind us, as Dr. Vandana Shiva states, “nature is not out there; we are a part of it.”

 

This exhibition closes 5/25/24.

May 222024
 

The amount of detail in Manabu Ikeda’s pen and ink drawings is astounding. You could spend hours, if not longer, looking at the many works currently on view at moCa Cleveland for his exhibition Flowers from the Wreckage.

From the museum-

Manabu Ikeda, from Saga, Japan, specializes in highly technical and detailed pen-and-ink drawings. He grew up in the 1970s and 1980s, a period when Japanese anime gained wide spread popularity. Using a nib pen, Ikeda creates imagery on paper reflecting his interests in outdoor activities, pop culture, civilization, and nature, thereby bringing a unique perspective to his work.

Ikeda’s art often incorporates insects, animals, rock climbing, and fishing, allowing him to explore nature from various angles. His creations seamlessly blend daily life, spiritual beliefs, and cultural insights, creating a mix of truth and fiction that might resonate with viewers.

Central to Ikeda’s practice are metaphors of grief and the undeniable aspects of life that are often beyond society’s control, such as the fundamental forces of Mother Nature. Ikeda’s drawings also reveal human resillience and the ability to rise above devastating situations even when it seems impossible.

Flowers from the Wreckage is Ikeda’s first solo retrospective in North America. Showcasing over sixty artworks, the exhibition highlights the complexity of Ikeda’s artistic endeavour, introducing viewers to this master artist’s pictorial allegories and immanent messages about the interconnected world.

Many of the works also reference specific landmarks and events. Pictured above is Rebirth, created from 2013-16 at the Chazen Museum of Art in Wisconsin. Inspired by the Great East Japan Earthquake of 2011, it depicts a cherry blossom tree in bloom. On closer inspection the flowers are made up of artificial objects, and amidst the branches objects and landmarks that have been destroyed by disasters appear among the wreckage.

Meltdown (2013), pictured below, was inspired by the glaciers and lakes of the Canadian Rockies, and also references the Japanese nuclear power plant that was damaged in the 2011 earthquake.

The museum also reproduced History of Rise and Fall (2006), seen below, which depicts a tornado sweeping away a whole town and its history- from samurai battles to World War 2 and beyond.

This exhibition closes 5/25/24.

May 022024
 

 

Emil Robinson’s paintings for Interiors, on view at Abattoir Gallery in Cleveland, are a meditation on space. The doors, slightly ajar, closed, or allowing glimpses of the outside world, invite the viewer to think about their own interiors.

From the press release-

The work stems from conversations about the history of interior paintings which serve as both records of domestic spaces as well as vessels for psychological profiles. Robinson, a classically-trained painter from Ohio, spent the past year studying local spaces, ranging from abandoned university buildings to the personal spaces of home and studio. With this show, the artist has focused his virtuoso brushwork onto smaller scale compositions in order to capture the essence of place.

Robinson has exhibited in institutions and galleries throughout the Midwest as well as in San Francisco, New York, and London. He is the recipient of grants from the Elizabeth Greenshields Foundation and the Ohio Arts Council, among others.

Interior spaces invite a range of associations. Their open spaces welcome reflection and their spatial interludes are indicative of the various thresholds we encounter throughout our lives. The function and formal simplicity of the built environment is synonymous with psychological complexity in my paintings. I want the viewer to recognize my subjects while simultaneously losing a grip on the comfort of utility which rooms doors and all other functional spaces invite.

– Emil Robinson 

This exhibition is on view until 6/1/24.

Apr 102024
 

Nalani Stolz “Bread Bodies”, bread, ceramic, muslin

Nalani Stolz, “”like floating in thick waters”, fermented membrane, stainless steel

Nalani Stolz, “a small ocean swallowed” baking soda, ceramic, cheesecloth, vinegar, pump, latex

“a small ocean swallowed”, closer

Nalani Stolz, “a wild wetland in our gut” ceramic, plum vinegar, muslin, stuffing, salt

Nalani Stolz, “a wild wetland in our gut” ceramic, plum vinegar, muslin, stuffing, salt

The Sculpture Center in Cleveland is currently showing Nalani Stolz’s Bodies Still Becoming and Zachary Smoker’s Inured.

With the sound of water dripping, the bread stretching fabric, and growth covered vessels leaking into mattresses- Stolz’s sculptures engage the viewers senses, at times viscerally.

She has also included her film Traces in the exhibition. For this work she and her mother slowly sew their hair together through a sheet of gauze.

From the gallery about the exhibition

The bodies Nalani Stolz crafts bulge, grow, and break down. Materials such as rising dough expand and constrict, cloth sculptures leak and ooze, fermented membranes and porous clay forms seep vinegar, growing warts across their surfaces. These bodily processes draw on the often-gendered experiences of how our physical forms take in and expel matter; the feelings of expansion and fullness and those of emptying out, of breaking down when weeping, menstruating, and experiencing miscarriage, abortion, and pregnancy. These moments shift our seemingly solid edges and reveal our porous boundaries; reminding us that we are dying, changing, decaying vessels, loosely contained by skin, muscle, and bone.

Zachary Smoker’s sculptures for Inured address issues related to U.S. currency, power, capitalism, and material culture. In two of the works, familiar items ask questions about purpose. The whiffle ball bat /police baton combination mixes violence and play. Shopping carts now have associations with living on the street, as well as for buying goods in a store- which one will this be used for when assembled?

Zachary Smoker, “Crony Tikes”, Plastic Whiffle ball bats, pegboard, double hooks, 2024

Zachary Smoker, “Anyone can make Art, not everyone can buy it”, Demonetized U.S. currency, BFK Rives, Elmer’s glue stick, safety wire glass, poplar, enamel paint, paint marker, 2023

Zachary Smoker, “A place for everyone, and everyone in their place”, Steel shopping cart, polyurethane wheels, enamel paint, 2024

Both of these exhibitions close on 4/13/24.

Apr 072024
 

“Moon Setting into Fog Bank over Cape Cod Bay, Morning of the Total Lunar Eclipse”, 2007, printed 2023

“1:30-4:30a.m., Moon Rising, Antelope Lake”, 2011, printed 2023

“Sun Ball, Imnamatnoon Creek, Lochsa River Valley”, 1995, printed 2023

“Fireflies”, 2005

One of the smaller prints from the “Fireflies” series

There is something so peaceful about the photographs in Barbara Bosworth: Sun Light Moon Shadow, currently on view at Cleveland Museum of Art. These beautiful moments she has captured allow the viewer to share her sense of wonder.

From the museum about the exhibition-

“My childhood home is where all my photographs come from,” says American photographer Barbara Bosworth (born 1953). Growing up in Novelty, Ohio, Bosworth adored walking with her father and looking up at the night sky, a practice that became a lifelong passion. This exhibition -timed to coincide with the total solar eclipse visible in Cleveland on April 8— features the artist’s photographs of light, from eclipses, sunrises, and sunsets to the luminescent glow of fireflies and a flashlight. Her images both explore how we endow these phenomena with personal meaning and elucidate bonds between humans and the natural world that often go unnoticed.

Photography is an art form with its roots in science, even though the two disciplines are sometimes considered opposites. The term photography was coined in 1839 by British scientist and astronomer Sir John Herschel from Greek words meaning “drawing with light.” Bosworth notes that light is an essential ingredient in both astronomy and photography. The camera and telescope, used together as Bosworth has in a number of the photographs on view, each collect light.

Time is another integral component of photography: a photograph records the light that strikes a sensitized surface-such as film or, in the case of digital photography, a sensor-during a certain length of time. In making her photographs of the heavenly bodies, Bosworth says she wants “to be reminded of the mystery closer to home: the sheer strangeness that light — millions of years old, unfathomably old – can still land on my film and be seen.”

This exhibition is on view until 6/30/24.