November 2016

KEVIN KALLAUGHER (KAL) with CHRISTIANE ANDERSSON, “CRITICAL CARTOONS: THE REFORMATION AND TODAY”

December 8, 2016 Pillsbury Auditorium 11AM

Christiane Andersson
Christiane Andersson

Christiane Andersson, Professor of Renaissance and Baroque art history at Bucknell University, Ohio, states, “Art history only makes sense if you know the context. That is where it gets interesting.” When studying artists’ works, she notes, the context reveals how art will often go beyond the bounds of tradition with aim at exploring thoughts or cultural values. Her mission, therefore, is to explore the cultural and historical implications of art.
Andersson extensively studies the relationship between Catholics and Lutherans. “Lutherans portrayed the Catholic Church as sinful and greedy, and they poked fun at the hierarchy of the Church in works of art. The Church’s censors in turn jailed the artists, publishers and printers and burned the anti-Catholic works they found.” Andersson further explains that works of art were left behind due to incapable censors, allowing viewers today to examine the Catholic-Protestant conflict during the Reformation Period. “If the censorship had been effective, I would have nothing to study.”
Andersson has also investigated the drawings of Urs Graf, a Swiss Renaissance artist whose works focused on societal rather than religious trends. Many of his pieces reflected contemporary political events and popular culture, so unlike other artists of that time period in art history.
Andersson received her PhD from Stanford University and was the chief curator in the paintings department at the Staedel Museum in Frankfurt. In addition to numerous fellowships, she has served on the Board of Advisors at the National Gallery of Art in Washington, DC.
Kevin Kallaugher (KAL)
Kevin Kallaugher (KAL)

Joining Andersson in conversation is Kevin Kallaugher, better known perhaps as KAL. KAL is the editorial cartoonist for the London-based magazine The Economist as well as The Baltimore Sun. After KAL graduated from Harvard University, he joined a bicycle tour of the British Isles and there joined the Brighton Basketball Club as a coach and player. To support himself after the financial troubles of the club, he began to draw caricatures of tourists in Trafalgar Square. In 1978, The Economist offered him the opportunity to become its first resident editorial cartoonist in their 145-year existence. He continued to draw in London for the next ten years, eventually returning to the US to join The Baltimore Sun as its editorial cartoonist. He has created over 4000 cartoons for both publications as well 140 covers and a 2008 board game.
KAL’s creations are distributed in worldwide publications, including Le Monde, The Australian, and The New York Times. KAL has won numerous awards including the 1990 award for Best Editorial Cartoon at the Witty World International Cartoon Festival in Budapest. He has also exhibited his work across the globe, including showings at the Tate Gallery in London as well as the Library of Congress in Washington, DC.
Reserve your ticket, starting November 15, at 612.870.6323 and https://tickets.artsmia.org/. Ticketing information is available at https://friends.artsmia.org/friends-newsletter/ticketing-information/.
The Mark and Mary Goff Fiterman Lectures are presented by the Friends of the Institute and Mia.

LECTURE DAY TOUR FOR FRIENDS MEMBERS

Please join us for a Friends Only pre-lecture tour complementing Kevin Kallaugher’s (KAL) and Christiane Andersson’s December 8 lecture, “Critical Cartoons: The Reformation and Today.” Tours begin promptly at 10AM, so please arrive early at the Mia meeting place in the Third Avenue Lobby under the Chihuly Sunburst. Seats will be reserved in the auditorium for tour attendees.
To reserve a place on this tour:
• Call 612.870.6323
• Request your lecture ticket and request a ticket for the tour.
Each member may reserve a place on the tour for the number of individuals listed on their account. Tour reservations, which are limited in number, are filled on a first come/first served basis. If you have reserved a place on the tour, it will be reflected on your lecture ticket.

Friends December Luncheon

Following a lecture by Kevin Kallaugher (KAL) and Christiane Andersson, “Critical Cartoons: The Reformation and Today,” please join us in the Villa Rosa Room for a delicious winter luncheon.
We will be feasting on  grilled chicken with honey crystallized ginger sauce and seasonal vegetables. Toffee cheesecake with ganache and caramel will complete the menu. You may request a vegetarian option when you reserve.
Reservations will open on November 15th. To RSVP call 612.870.6323 or click here. The cost is $25 and all reservations must be received by 5PM, November 30.
 

Special Event: An Evening with Deanna Thompson

Deanna Thompson
Deanna Thompson

The Friends are thrilled to host Deanna Thompson, professor of religion at Hamline University, for a special presentation on Martin Luther.
There is little doubt Martin Luther changed the course of history. His calls for reform contributed to the fracturing of medieval religion and deep societal unrest. On the eve of the 500th anniversary of the Reformation, the time is ripe to look again at Luther’s complicated legacy of far-reaching consequences that continue to the present day.
This event will include an optional docent-led tour* of the Martin Luther: Art and the Reformation, presented by Thrivent Financial. a cocktail reception, and a talk by Luther scholar Deanna Thompson.
5:30PM Reception
6PM Tour*
7PM Talk, The Ambiguity of Reform
Ticketed event;  to reserve your tickets  online follow this link: https://tickets.artsmia.org/ItemList.aspx?node_id=15408
or call: 612-870-6323
Tickets: $100 ($50 tax deductible)
Proceeds to support a Friends special project.
* Due to space constraints, tour is limited to 60. Spots filled on a first-come, first-served basis. Those who do not attend the tour will continue their cocktail reception.

A Glimpse into the Life of Martin Luther

November features a unique Collection Connection article that focuses on the new special exhibition Martin Luther: Art and the Reformation, presented by Thrivent Financial. The Friends are grateful to Deanna Thompson, speaker for the Friends upcoming event on December 1st, for sharing her knowledge on the subject of Luther. 
By: Deanna Thompson, Professor of Religion at Hamline University
Martin Luther did not set out to be a reformer. A monk who spent his days praying, studying the Bible, and following church teachings, Luther devoted all his time to his church and his God. But through his studies he came to the conclusion that the church was overstepping its bounds and laying claim to authority he didn’t believe it had.
So he spoke out, believing that challenging the church hierarchy from within would receive a hearing, and changes would follow.
But church authorities rejected his proposals and enlisted the emperor’s help in putting Luther on trial. When he refused to take back his calls for change, he was placed under house arrest, forbidden to speak out, and kicked out of the church.
Luther’s calls for reform ignited desire for change, not just in the religious realm but also in the wider society. Inspired by Luther’s protests against religious injustices, nuns and monks abandoned their cloisters, and peasants applied a similar logic to social and economic abuses of the princes and other governmental leaders.
Through his calls for religious reform, Luther helped unleash unrest through sixteenth century Europe. And the now-former monk who spent most of his time immersed in study and teaching and preaching was caught off guard by it all. He abandoned his sequestered life to face the agitation in the towns and countrysides. He preached patience, found shelter for runaway nuns, and argued with the peasants against their vision of social reform.
What followed were bloody battles where tens of thousands of peasants lost their lives. More voices of religious reform rose up, and Luther found himself embattled against them. His followers called themselves Lutherans over his objections, and he continued to face sanctions by church and state.
As we approach the 500th anniversary of the Reformation, what are we to make of Luther’s actions then and his legacy now and into the future? While many of us praise him for his courage to stand up to the abuses of late medieval religion, how do we also come to terms with the profound ambiguity of what his words and actions unleashed?
Martin Luther: Art and the Reformation
digtial_lockup_pastefrom_indesign_9-30-16_lg

November Lecture, James Snyder: “The Israel Museum, Jerusalem: Cultural Timelessness in Our Time”

James Snyder Photo by Elie Posner, Courtesy of the Israel Museum
James Snyder
Photo by Elie Posner, Courtesy of the Israel Museum

Thursday, November 10, 2016 Pillsbury Auditorium 11AM
Since 1997, James Snyder has spearheaded tremendous growth and success as director of the Israel Museum in Jerusalem. Within the museum exists not only an extensive collection of encyclopedic art but also the world’s most comprehensive collection of Jewish Art and Life and archeology of the Holy Land. In January 2017, Snyder becomes Director Emeritus, focusing on the museum’s global reach and influence.

A limited number of Pillsbury Auditorium tickets for this lecture are still available. To reserve a ticket follow this link, https://tickets.artsmia.org/. Those without tickets are invited to view a live HD video stream of the lecture while enjoying coffee and treats in the Wells Fargo Community Room.

The Mark and Mary Goff Fiterman Lectures are presented by the Friends of the Institute and Mia.

Friends Book Club

Join us on November 11 to explore The Shadow of the Wind, Carlos Ruiz Zafon’s tale of love, loss, mystery, and murder in post-World War II Spain. Our 10:30AM docent-led book tour is followed by discussion and light treats from 11:30AM-12:30PM. We meet in the Curtis L. Carlson Family Foundation Studio (114). Please call the Friends office, 612.870.3045, to register. We have spots for up to 25 members.
The Friends’ Book Club has no scheduled December meeting, but we hope you’ll find time for Mia’s regularly scheduled Tuesday morning and Thursday evening book tours. December’s title, Anchee Min’s Empress Orchid, is the story of Tzu Hsi (1834-1908), who rose from concubine to dowager empress of China.
Looking ahead…
January: West with the Night by Beryl Markham
February: The Immortal Life of Henrietta Lacks by Rebecca Skloot
March: My Antonia by Willa Cather
April : Geography of Genius: a Search for the World’s Most Creative Places from Ancient Athens to Silicon Valley by Eric Weiner

The St. Cloud Friends

The primary mission of the St. Cloud Friends of the Institute, which recently celebrated its 30-year commitment to Mia, is to provide transportation for private and public school students to attend docent led tours at the museum. Over the decades, thousands of children have been bussed to Mia from the St. Cloud area, each school district taking turns year after year. An additional means of fostering local students’ connection with art is the organization’s annual Best of Show prize money for Visual Arts Minnesota, a juried high school exhibit.
An ongoing goal of the St. Cloud Friends is to raise awareness of its presence and increase its membership in the local and extended community. Art patrons and enthusiasts from around St. Cloud, St. Joseph, Waite Park, Sauk Rapids, Sartell and Annandale are dedicated to supporting, enhancing and sustaining the collections, programs and influence of the Minneapolis Institute of Art 70 miles away! St. Cloud boasts the College of St. Benedict, St. John’s University and St. Cloud State University. These scholarly institutions bring resident and visiting artists into an already broadening art community. Last year regional fabric designer Laurie Jacobi presented her stunning one-of-a-kind nature inspired wool collection. Coming this February 7 to the Paramount Theater and Visual Arts Center is local watercolorist Dan Mondloch, a third generation landscape painter. (The Paramount itself is definitely worth a drive to St. Cloud.)
Mia curators are invited to speak at many St. Cloud Friends events. For example, last fall, Andreas Marks, Mia’s Curator of Japanese and Korean Art, delighted the audience with an evening of insights into the Burke Collection & Seven Masters. The St. Cloud Friends Board President Amanda Falloon reserves Mia curators well in advance to regale its close-knit members. On Tuesday, November 15, Mia’s John E. Andrus III Curator of Prints and Drawings, Tom Rassieur will be at APH (Automotive Parts HQ) in St. Cloud to present “Martin Luther: Art and the Reformation”.
The St. Cloud Friends enthusiastically invite you to attend its events. You’ll find its contact and event information at this link. More broadly, the next time you find yourself near the confluence of the Sauk River and the Mississippi, search Around the Cloud.org to attend any of the innumerable art events and venues in the St. Cloud area. You’ll be pleased you did!
Martin Luther: Art and the Reformation
digtial_lockup_pastefrom_indesign_9-30-16_lg

Double the Friends, Double the Fun!

November and December are Friends membership BOGO months! If you choose to renew your Friends membership any time during these two months, you can add a friend or family member for FREE. What a great way to show appreciation, celebrate a birthday or stuff a stocking!
If it’s not time for your annual renewal, no worries. Your next succeeding membership renewal date will be extended one year from its current renewal date.
This exceptional offer will be processed BY PHONE ONLY. Please contact 612.870.6323 (Mia’s central ticketing line) or 612.870.3045 (Friends office) Monday-Friday between 9AM and 4:30PM. Be sure to mention this BOGO offer and the name of the individual to whom the free membership is being given. Additionally, please have your friend or family member follow up with the Friends office (612.870.3045) at the time they receive your gift to ensure the Friends have all of the vital information on the new member.
 

Luminous Inspiration for 2017 Art in Bloom

“My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.”

– Odilon Redon

By Kay Miller, Mia docent
mia_aib2017_poster_graphic_stickerImagine going into your garden and gathering this lush bouquet of flowers. What dreams would it inspire? Vibrant, luminous blossoms in orange, blue, white, yellow and red float in an ephemeral, coppery cloud. We know anemones. But these are unexpected, mysterious, even transcendent. They exist in a mystical place out of time, or space. Symbolist painter Odilon Redon wanted his works to touch us within, saying he “placed the visible in the service of the invisible.”
“It’s one of the most beautiful paintings I’ve ever seen, an other-worldly jewel,” says Tom Rassieur, John E. Andrus III Curator of Prints and Drawings.
Redon was born in 1840 in the port city of Bordeaux, France the son of prosperous vintners. He was a sickly, solitary boy whose parents abandoned him to an elderly uncle to raise in a supposedly haunted mansion on the family estate of Peyrelebade. It was a wild, desolate place that caused Redon terrible nightmares and wild, dark fantasies. Left alone, he read, daydreamed and sketched nature from the Atlantic coast and dank marshes.
“I sought out shadows,” Redon wrote a friend. All the while, he was investigating the spiritual and the scientific. He was fascinated with Darwinian biology and teratology, the study of monsters and mutants. At age 20, he formed a close friendship with Armand Clavaud, curator of Bordeaux’s botanical gardens and a meticulous draftsman, whose flower drawings opened Redon’s imagination to the “imperceptible world, that life which lies between animal and plant.” From the late 1860s to 1880s, Redon’s work was dominated by his “black pictures” — macabre hybrids that were part plant, part animal — some 500 drawings, done in velvety charcoal. They were uniquely personal and instantly recognizable.
Then, at the peak of fame for these “decadent pictures,” Redon discovered love and color, and the joy of both. Like Eugene Delacroix, whom he idolized, Redon sculpted his flowers with color, not line. Delacroix had set the fashion for floral still life paintings in the 1850s. Initially, Redon incorporated flowery pastel environments into mythological and phantasmagorical subjects. Then in about 1903, he became obsessed with still life bouquets, which were hugely profitable and consumed the last 15 years of his life. Many incorporated anemones. None is more beautiful than this rapturous work.

Still Life with Anemones, c. 1900-1910, Odilon Redon, French 1840-1916, Oil on Canvas, Bequest of Bruce Dayton, 2016.33.58
Still Life with Anemones, c. 1900-1910, Odilon Redon, French 1840-1916, Oil on Canvas, Bequest of Bruce Dayton, 2016.33.58

Still Life with Anemones was a part of Bruce Dayton’s very last gift to Mia, one of thousands from his wife Ruth and him during his lifetime.  Highlights from this gift are currently on view in the Cargill Gallery, including Still Life with Anemones. After he passed away, an enormous bequest arrived at Mia, furthering his legacy of generosity. Originally, he loaned the painting for Rassieur’s charming 2010-11 exhibition Hot House: Flowers for after the Frost, and again last year for Mia’s monumental Delacroix’s Influence: The Rise of Modern Art from Cezanne to van Gogh, curated by Patrick Noon, Elizabeth MacMillan Chair of the Department of Paintings.
On a visit to see Bruce Dayton’s collection, Rassieur hoped to find works for his Hot House show. Bruce generously offered anything Tom would like for the exhibition. Rassieur had long admired the painting — calling it one of the most magical he has ever seen. Then, after the Delacroix show, Dayton said there was no need for Mia to return it.
Symbolist painters believed that art should reflect an emotion or idea, rather than be a realistic transcription of life. Redon rarely titled such works anything but Flowers, wanting to discourage any symbolic readings. Viewers are left, instead, to admire and delight, letting the picture fill their eyes and drift into their own imaginings.