Every Sunday for the past eighteen years, Byron Kim has taken the time to look upward and capture a portrait of the sky onto a fourteen-by-fourteen-inch canvas. The ongoing series—aptly titled Sunday Paintings—captures the ever-changing colors of our shared sky while simultaneously operating as a record of Kim’s life. In addition to soft washes of color—vibrant blue, stormy gray, wispy white—each painting contains a short rumination on the day or week, which Kim writes directly onto the surface of the canvas, alongside the specific time and place where the painting was created.
Catherine Opie’s site-responsive work The Outside-Inside, Installation for moCa Cleveland (2019) reimagines the interior architecture of moCa as a window onto the larger landscape of Lake Erie. Applied directly to the surfaces of moCa’s Gund Commons and Kohl Atrium & Monumental Staircase, Opie’s installation consists of eight different images, each of which was shot in Cleveland as part of a 2011 commission for the Cleveland Clinic.
Liu Wei’s first solo museum exhibition in the United States, Invisible Cities, takes its title from Italian writer Italo Calvino’s novella of the same name. Presented across two institutions (moCa and the Cleveland Museum of Art) and developed in direct response to both spaces’ architecture, Invisible Cities presents a constellation of works that employs abstraction and fragmentation to create new narratives. Like Calvino’s book—an imagined set of conversations between traveler Marco Polo and the emperor of the thirteenth-century Mongol Empire, Kublai Khan—Liu’s work exami
In Louise Lawler’s Birdcalls (1978–81), the names of twenty-nine well-known male artists have been sounded out into birdcalls. Using her own voice, Lawler transforms each artist’s first and last name into a nuanced birdcall, ranging from a shrill squawk to manic chatter.
CORRECTIONS: There were several factual errors in the “Claus Oldenburg” section of our exhibition brochure for Abe Frajndlich: Portraits of Our Early Years (March 16 – August 11, 2019). The monumental sculpture, Standing Mitt with Ball (1973) was acquired by and installed at the home of Albrecht and Agnes Gund Saalfield, not Albrecht and Melissa Saalfield, as wrongly cited. Albrecht and Agnes were introduced to Oldenburg by The New Gallery co-founder Nina Sundell.
In celebration of its 50th Anniversary, the Museum of Contemporary Art (moCa) Cleveland presents Double Takes: Historic and Contemporary Film + Video, an eleven-month film and video exhibition program presented in collaboration with KADIST, a global contemporary art organization located in Paris and San Francisco. Each month from October 19, 2018 until September 2, 2019, we will present one seminal work of early video or film with a contemporary video work from KADIST’s expansive international collection.
As the centerpiece of moCa’s 50th anniversary celebration suite of exhibitions, we present a group of seminal works by famed Taiwanese artist Lee Mingwei. You Are Not a Stranger continues a dialogue with the artist, who we presented in his first solo exhibition in a US museum twenty years ago. From March 15—July 28, 2019, this presentation, which includes sculpture, photography, installation, and performance, offers a series of unique and powerful interactive experiences with art.
As the inaugural recipient of Toby’s Prize—a biennial award made possible by Toby Devan Lewis, philanthropist and a founding board member of moCa Cleveland—Sondra Perry (1986, Perth Amboy, NJ) presents A Terrible Thing, a new video and installation-based work. A Terrible Thing offers new ways of experiencing the often-invisible yet ever-present architecture, labor, and infrastructure of institutions, and in this case moCa Cleveland itself.
The Museum of Contemporary Art (moCa) Cleveland was founded in 1968 by three intrepid women—Marjorie Talalay, Nina Sundell, and Agnes Gund—and was originally called The New Gallery, which was then Cleveland’s first art gallery dedicated to global contemporary art.
MOCA Cleveland presents the first major US solo museum exhibition of Aleksandra Domanović (b. 1981, Novi Sad, Yugoslavia). This exhibition brings together recent sculptures and a newly commissioned film.
Domanović is widely acclaimed for her work in sculpture, video, photography, and mixed-media. Her research-based practice pays particular attention to the role of specific individuals and historic developments that emerged over the last few decades at the intersections of science and technology, with an emphasis on the underrepresented role of women.