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Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Fri.-Sun. December 5, 2025 Art Fairs NOW: Art Basel Miami Beach -Dec 7, 2025 at Art Basel: Miami Beach moCa NOW Donor Event: Invitation Only JOIN TODAY Exclusive Art Basel: Miami Beach access experience, featuring private tours, an intimate dinner, and a cocktail invitation. *Travel and accommodations not included. ART NOW Donor members will receive email communications on how to RSVP. Curator Level & above

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sat. October 18, 2025 Members Brunch 11AM-1PM at moCa Cleveland Free for moCa Members Join us for an exclusive moCa member experience on Sat. Oct 18 with moCa’s Deputy Director & Senior Curator DJ Hellerman. This Members Brunch will feature a tour of Clotilde Jiménez’s first expansive museum survey, Shapeshift , tracing his journey from early works at the Cleveland Institute of Art to pieces created for the 2024 Paris Olympic Games, and more. This intimate event includes a guided walkthrough of the exhibition, offering rare insight into Hellerman’s curatorial process and perspective working with artists. Enjoy light bites, then explore the work and engage with fellow moCa members. Become a member today to join the brunch.

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sat. October 18, 2025 Members Brunch 11AM-1PM at moCa Cleveland Free for moCa Members Join us for an exclusive moCa member experience on Sat. Oct 18 with moCa’s Deputy Director & Senior Curator DJ Hellerman. This Members Brunch will feature a tour of Clotilde Jiménez’s first expansive museum survey, Shapeshift , tracing his journey from early works at the Cleveland Institute of Art to pieces created for the 2024 Paris Olympic Games, and more. This intimate event includes a guided walkthrough of the exhibition, offering rare insight into Hellerman’s curatorial process and perspective working with artists. Enjoy light bites, then explore the work and engage with fellow moCa members. Become a member today to join the brunch.

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sun. October 26, 2025 Sensory Sundays 12-2:30PM at moCa Cleveland Free to all SIGN UP The last Sunday of the month at moCa. Sensory Sundays are designed for neurodiverse visitors and their families. Each session includes a touch table, sound and texture experiences, and audio descriptions of select artworks. Hosted in the Rayburn Practice Lab, these mornings create a calm, engaging environment for multi-sensory learning. Supported by

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sun. October 26, 2025 Sensory Sundays 12-2:30PM at moCa Cleveland Free to all SIGN UP The last Sunday of the month at moCa. Sensory Sundays are designed for neurodiverse visitors and their families. Each session includes a touch table, sound and texture experiences, and audio descriptions of select artworks. Hosted in the Rayburn Practice Lab, these mornings create a calm, engaging environment for multi-sensory learning. Supported by

moCa's building garners various reactions from those in our city. 11400 Euclid Avenue, often used as a personal mirror by passers-by, was designed to inspire dialog centered on creativity. It does so while reflecting a cosmopolitan area of Cleveland and those who bring it to life. The Building The Building About moCa mission The Building Staff & Jobs Board News Contact Us Farshid Moussavi moCa's building garners various reactions from those in our city. 11400 Euclid Avenue, often used as a personal mirror by passers-by, was designed to inspire dialog centered on creativity. It does so while reflecting a cosmopolitan area of Cleveland and those who bring it to life. moCa's physical structure is nearly 34,000-square-foot, 44 percent larger than moCa's former rented space. A museum expansion need not be large in scale to be ambitious. Both environmental and fiscal sustainability were key considerations within the design. Resulting in a landmark that is at once technically inventive and highly practical. Iranian-born, London-based Farshid Moussavi designed the dynamic structure, formerly with Foreign Office Architects (FOA) and now principal of Farshid Moussavi Architecture (FMA). moCa remains her first U.S. commission and her first museum. In addition to FMA, the design team included executive architects Westlake Reed Leskosky , headquartered in Cleveland, and designers of more than 50 cultural buildings throughout the United States. According to Moussavi, "museums today are not just homes for art, but serve multiple functions and host a variety of activities. Our design for moCa Cleveland aimed to provide an ideal environment for artists and visitors to foster creativity in a variety of exhibitions and programs." The four-story building, which anchors the Uptown district, rises 60 feet from a hexagonal base to a square top, where the primary exhibition space is situated. All four floors contain areas for either exhibitions or public programs. The exterior is primarily a mirror-finish of black Rimex stainless steel. Three of the building's six facets, one of them clad in transparent glass, flank a public plaza designed by James Corner Field Operations , a New York-based landscape architecture and urban design firm. The plaza serves as a public gathering place and links moCa to Uptown attractions and amenities. Upon entering the building, visitors find themselves in an atrium where they can experience the dynamic shape and structure of the building as it rises. This space leads to moCa's lobby and a double-height multi-purpose room for public programs and events. From there, visitors may take moCa's monumental staircase, a dominant architectural feature of the building, to the upper floors. On the top floor, the 6,000-square-foot gallery space has no fixed dividing walls, allowing for various configurations. This floor also contains a gallery designed for new media work and the Dick and Doreen Cahoon Lounge, which overlooks Toby's Plaza and Uptown.

Thank you for being a part of the first Cleveland CROWN Convention and sharing of yourself in the day! Artist Amber N. Ford has shared this incredible gallery of portraits from the day. If you find yourself below, please download for your use. If sharing on social, tag @ambernford and @moCacleveland. We hope to welcome you back soon and for next year's Convention. Thank you for being a part of the first Cleveland CROWN Convention and sharing of yourself in the day! Artist Amber N. Ford has shared this incredible gallery of portraits from the day. If you find yourself below, please download for your use. If sharing on social, tag @ambern.ford and @moCacleveland. We hope to welcome you back soon and for next year's Convention.

moCa Cleveland Job Application Application for Employment Please answer each question fully and accurately. No action will be taken on this application until all questions have been answered. In reading and answering the following questions, be aware that none of the questions are intended to imply illegal preferences or discrimination based upon non-job-related information. Position you are applying for:* Date submitted* First name* Last name* Email* Daytime phone* When are you available to begin working? Have you worked for moCa in the past?* No Yes If yes, when? I am seeking: Full-time (30+ hours) Part-time (1-29 hours) Volunteer Work (unpaid) Resume/Cover Letter Upload Upload File If applicable, link to professional website or portfolio. APPLY NOW An Equal Opportunity Employer moCa Cleveland provides equal employment opportunities to all employees and applicants for employment without regard to race, color, ancestry, national origin, gender, sexual orientation, marital status, religion, age, disability, gender identity, results of genetic testing, or service in the military. Equal employment opportunity applies to all terms and conditions of employment, including hiring, placement, promotion, termination, leave of absence, compensation, and training. Certification & Attestation I certify that all information provided in this employment application is true and complete. I understand that any false information or omission may disqualify me from consideration for employment and may result in my dismissal if discovered at a later date. If hired, I understand that I will need to provide proof of my eligibility to work in the United States. I authorize the investigation of any or all statements contained in this application. I also authorize, whether listed or not, any person, school, current employer, past employers and organizations to provide relevant information and opinions that may be useful in making a hiring decision. I release such persons and organizations from any legal liability in making such statements. I understand that this application, verbal statements by management, or subsequent employment does not create an express or implied contract of employment nor guarantee employment for any definite period of time. Only moCa’s Executive Director has the authority to enter into an agreement of employment for any specified period and such agreement must be in writing, signed by the Executive Director If employed, I understand that I have been hired at the will of the employer and my employment may be terminated at any time, with or without reason and with or without notice. I have read, understand, and by applying, consent to these statements. Senior Advancement Officer Senior Bookkeeper Engagement Guide Open Jobs

Jan 31, 2020-Jan 2, 2021 Margaret Kilgallen that's where the beauty is. Jan 31, 2020-Jan 2, 2021 Margaret Kilgallen, Money to Loan (Paintings for the San Francisco Bus Shelter Posters) , 2000. Mixed media on paper and fabric, 68 x 48 1/2 in (172.72 x 123.19 cm). Hammer Museum, Los Angeles. Gift of the estate of Margaret Kilgallen and partial purchase with funds provided by The Judith Rothschild Foundation. Photo: Tony Prikryl American artist Margaret Kilgallen (1967–2001) died at the young age of thirty-three, just as her work was gaining recognition and prominence. that’s where the beauty is. , brings to light the astonishing visual complexity of Kilgallen’s short career, highlighting the major themes that unify her multilayered practice. Kilgallen’s work brings front and center an aesthetic that reminds us we need not look only within the commercial mainstream or readily accessible narratives for inspiration and empowerment. Rather she celebrates the handmade, making heroes and heroines of those who live and work in the margins, and challenging traditional gender roles and hierarchies. Her work advocates for a quality of time, celebrating and emphasizing the impact that can come from hard work and individual expression. Organized by moCa’s Chief Curator Courtenay Finn for the Aspen Art Museum, that’s where the beauty is. is Kilgallen’s first posthumous museum exhibition, and the largest presentation of her work to date since her 2005 show, In the Sweet Bye & Bye , at REDCAT, Los Angeles. Working closely with Kilgallen’s estate, the exhibition re-creates versions of pivotal installations and presentations, including her first solo show at The Drawing Center (1997), her first museum exhibition, Hammer Projects: Margaret Kilgallen (2001), and her final installation, Main Drag , created for the exhibition East Meets West at the ICA in Philadelphia (2001). The show pairs key works of Kilgallen’s—now in the collections of the Hammer Museum, the Los Angeles County Museum, and the San Francisco Museum of Modern Art—with never before-seen works from the artist’s estate. Lead sponsorship provided by JOANN. Major support for the exhibition provided by an anonymous donor and the Murphy Foundation. Additional support provided by our WAVE MAKERS.

Nov 19, 2021-Jan 2, 2022 Terry Joshua The Pinkest Hue Nov 19, 2021-Jan 2, 2022 Terry Joshua, Symptoms of the Unsaid , 2021. Acrylic on canvas, 48 x 36 in. (121.92 x 91.44 cm). Courtesy the artist. Presented in partnership w/ Museum of Creative Human Art and moCa Cleveland Presented by the Museum of Creative Human Art, Terry Joshua’s first solo exhibition, The Pinkest Hue , brings together new paintings, sound, video, and writing that chronicle his journey from adolescence into adulthood. Beginning with a self-portrait as a young boy, the artist’s paintings act as a visual diary exploring the relationships that have shaped him—with his mother, lovers, God, and himself. Joshua uses his work to forge new connections with his audiences. Each painting is thoughtfully paired with a poem, journal entry, or proverb, and supported by a song to create an intimate environment that underscores the importance of relationship-building. Presented in partnership w/ About the Artist Terry Joshua Terry Joshua Terry Joshua, born to his mother S. Marie Johnson in Cleveland, Ohio, dates his earliest memory of creating art to exploring feelings he couldn’t articulate with words. Throughout his upbringing, he was immersed in poverty, often moving every couple of months to yearly. As a result, his art began to speak to and about his environment. By his teen years, Joshua had experienced various emotional and mental hardships that shaped his outlook on life. While being outspoken in school and involved in art programs, he would not put a brush to canvas until he was 18, during his junior year in high school. Although this first painting was the catalyst to his career as a visual artist, it was not a decision he chose; he recalls being forced by his art teacher to, “paint or fail.” Not only did this painting earn the artist a passing grade, but sent him on a journey into self-discovery, trauma, and confidence in his life and artistic abilities. Joshua characterizes his painting as a “visual love letter” both to those who support him and to the people that have shaped him and his perspective.

Feb 18-Jun 5, 2021 Imagine Otherwise Shikeith Imani Dennison Amber N. Ford Antwoine Washington Feb 18-Jun 5, 2021 Shikeith, Still Waters Run Deep (still), 2021, installation with video, dimensions variable. Courtesy the artist. “What happens when we proceed as if we know this, antiBlackness, to be the ground on which we stand, the ground from which we to attempt to speak, for instance, an “I” or a “we” who know, an “I” or a “we” who care?"—Christina Sharpe, In the Wake: On Blackness and Being Imagine Otherwise expresses the boundlessness and fierceness of Black imagination and love despite ongoing antiBlack violence as it thinks with Christina Sharpe’s groundbreaking book In the Wake: On Blackness and Being . Featuring artists Shikeith, Imani Dennison, Amber N. Ford, and Antwoine Washington, this multimedia exhibition spotlights Black pathways to self-determination and collective liberation through photographic, sculptural, mixed media, and video-based installations. This careful navigation, or “wake work,” to use Sharpe’s term, operates beyond representational politics as it interrogates spatial and temporal tensions of disenfranchisement, resistance, memory, visibility, loss, and (re)invention across Black cultures. Shikeith explores how Black queer re-making is a sacred space and practice in his two-part installation, still waters run deep / fall in your ways (2021). Using poetry, historical narratives, ambient recordings of children's rhymes, shades of blue, dance, and organic elements such as water, Shikeith maps Black men's negotiations of intimacy and routes toward freedom beyond architectural and societal constraints. Imani Dennison’s NO MAS- Irreversible Entanglements (2020), filmed on location in Johannesburg, South Africa, offers a dream-like meditation. In only eight minutes, vibrant imagery coupled with the fluid, yet energetic, free jazz and poetry of the Philadelphia, New York, Washington DC-based group Irreversible Entanglements presents an intoxicating, otherworldly Afro-futurist vision of Black people escaping all terrestrial confinements. Amber N. Ford’s detailed photographic attention to relationships of subjects and infinite patterning zooms in and out through Strands, Tracks & Naps (2021). Reminiscent of a display of coiffures in a hair salon, lush color portraits, small studies, and collage superimposed on a dense close-up of passion twists express the vast geography of Black ways of being. Antwoine Washington employs domestic furnishings and murals as visual storytelling in And Yeah, About that Seat at the Table (2021). The artist’s multimedia installation highlights how that proverbial access point to power is illusory for most Black people, while also honoring a long history of Black self-making. Organized by La Tanya S. Autry, Gund Curator in Residence, moCa Cleveland’s first on-staff Black curator creating exhibitions in its 52-year history, Imagine Otherwise is unlike any other curatorial project funded by the institution. As a manifestation of “wake work,” this city-wide initiative is sited at moCa Cleveland (Shikeith), ThirdSpace Action Lab in Glenville (Imani Dennison and Amber N. Ford), and Museum of Creative Human Art /Larchmere Arts (Antwoine Washington). Autry envisions possibilities beyond moCa Cleveland’s consistent antiBlack practices by partnering with these Black-led and centered organizations that regularly care for Black residents and others while challenged with far smaller budgets than many area white-led and centered arts institutions. Offered during another heightened time of national racial crisis, Imagine Otherwise is a limited, yet hopefully, significant prodding for an authentic, community-led institutional reckoning of moCa Cleveland and a soulful salute to the city’s Black dwellers who persist by always imagining otherwise. Exhibition locations ThirdSpace Action Lab , Glenville 1464 E 105th St #302, Cleveland, OH 44106 Museum of Creative Human Art (MOCHA) presented at Larchmere Arts 12726 Larchmere Blvd, Cleveland Museum of Contemporary Art Cleveland (moCa) , Cleveland 11400 Euclid Avenue, Cleveland, OH 44106 About the Artists Shikeith Shikeith (b. 1989 in Philadelphia, PA) lives and works in Pittsburgh, PA. He received a BA from The Pennsylvania State University (2010) and an MFA in Sculpture from The Yale School of Art (2018). His expansive practice investigates the experiences of black men within and around concepts of psychic space, the blues, and black queer fugitivity. He has shared his work nationally and internationally through recent exhibitions and screenings that include The Language Must Not Sweat , Locust Projects, Miami, FL; Notes Towards Becoming A Spill , Atlanta Contemporary, Atlanta, GA; Shikeith: This was his body/His body finally his , MAK Gallery, London, UK; Go Tell It: Civil Rights Photography , Seattle Art Museum, Seattle, WA; A Drop of Sun Under The Earth , MOCA LA, Los Angeles, CA; Labor Relations, Wroclaw Contemporary Museum, Poland; and Black Intimacy: An Evening With Shikeith , MoMA, New York, NY. Recent awards include the Painters & Sculptors Grant from The Joan Mitchell Foundation (2019), Art Matters Foundation Grant (2020), Leslie Lohman Museum Artist Fellowship (2020-2021). Imani Dennison Imani Dennison is a Multi-Hyphenate Creative, born in Louisville, Kentucky. Imani graduated from Howard University in Washington, DC where she studied Political Science and Photography. Upon completing her degree at Howard, she went on to earn a certificate in Photography at the Market Photo Workshop in Johannesburg, South Africa. Imani has been working as a Cinematographer based in Brooklyn New York where she has lensed short films, documentaries, branded campaigns and music videos. Imani's work explores themes of surrealism, Blackness, and Fantasy. Imani also works as a Photographer and has created bodies of portraiture and documentary work exploring global Blackness. Amber N. Ford Amber N. Ford is an artist based in Cleveland, OH. She received her BFA in Photography from the Cleveland Institute of Art (2016). Interested in race, and identity, she is best known for her work in portraiture, which she considers a “collaborative engagement between photographer and sitter.” Her work has been featured in exhibitions at Kent State University, Transformer Station, SPACES Gallery, The Morgan Conservatory, The Cleveland Print Room, Zygote Press, Waterloo Arts and in outdoor public space on the Capitol Theatre Building located at the corner of Detroit and West 65th. Recent awards include Gordon Square Arts District Artist-In-Residence (2019) and the Ohio Arts Council Individual Excellence Award (2017). Antoine Washington Antoine Washington, originally from Pontiac, MI, lives and works in Cleveland, OH. With his wife Carlise Washington, he has two children, Grayson and Luca. He earned his BA in Studio Art from Southern University and A&M College, Baton Rouge, LA. His studies of black history and art at Southern inspired Washington to continue the legacy of Harlem Renaissance artists such as Romare Bearden, Elizabeth Catlett, and Jacob Lawrence. Following a stroke he suffered in 2018, Washington found healing in his art. He has exhibited widely at the Cleveland Print Room, Worthington Yards, The Cleveland Hopkins International Airport, Rooms to Let and Artist Archives of the Western Reserve. His public art commission with Land Studios includes his 154 years mural located in Cleveland Public Square. In 2020, Washington co-founded Museum of Creative Human Art, a non-profit organization centered on teaching art.

Jan 27, 2023-Jan 7, 2024 Nina Chanel Abney Cafeteria 2 Jan 27, 2023-Jan 7, 2024 Nina Chanel Abney, Cafeteria 2 , installation view at moCa Cleveland, 2023. Site-specific vinyl mural, 313.5 x 536.5 in (796.29 x 1362.71 cm). Courtesy the artist. About the Exhibition Nina Chanel Abney’s site-specific mural, Cafeteria 2 , was first unveiled alongside her solo exhibition at moCa, Big Butch Synergy (Jan 27-Jun 11, 2023). This mural incorporates elements from Big Butch Synergy and expands on Fishing Was His Life , her series of collages inspired by Gordon Parks’s photographs documenting the 1940s fishing industry in Gloucester, MA and at New York City’s Fulton Fish Market. Abney transports audiences to a bustling cafeteria to explore themes of desire, loathing, and personal value in relation to gender and racial identity. Within this marketplace, sneakers, basketballs, and other goods are balanced by images of figures and price tags. She encourages visitors to think about how these goods are often read as masculine, contributing to the social dynamics that impact gender performance. Price tags connecting to the objects and figures highlight capitalism as a dominant power structure that we use to assign value to individuals based on race, class, gender, and social status. At the base of this larger-than-life image, the artist includes “I AM,” paying homage to the pivotal “I Am A Man” signage used in the 1968 Memphis Sanitation Strike during the Civil Rights Movement. By notably omitting the word “man,” Abney leaves space for her experiences; she shines a light on discriminatory systems that work to maintain heteronormative ideals–beliefs that assume heterosexuality as the default sexual orientation–while also highlighting how the objects depicted have supported the formation of her identity as a Black, queer, masculine-of-center woman. This omission opens up the phrase as a resource for self-advocacy, while also reminding us about how our biased systems continue to center certain identities over others. Lead support for Cafeteria 2 provided by Joanne Cohen & Morris Wheeler. Additional support provided by The Dominion Energy Charitable Foundation. Installation Images Nina Chanel Abney, Cafeteria 2 . Installation view at moCa Cleveland, 2023. Photo: Jacob Koestler About the Artist NIna Chanel Abney Nina Chanel Abney Nina Chanel Abney (b. 1982, Chicago) strives to signal narratives that speak to topics on politics, heritage, race, sexuality, and celebrity. The figures in her works typically appear as heavily stylized, graphic, geometric shapes against vivid backgrounds overlaid with symbols and patterns. Known for her frenetic, large-scale paintings, Abney has recently been commissioned to transform the Lincoln Center’s new David Geffen Hall’s façade in New York, drawing from the cultural heritage of the neighborhood previously known as San Juan Hill that comprised African American, Afro-Caribbean, and Puerto Rican families, which she similarly did recently for a public mural at the new Miami World Center inspired by Overtown, a historic Black neighborhood in Miami. Her first solo exhibition debuted in 2017 at Nasher Museum of Art, North Carolina, and subsequently toured to Chicago Cultural Center; Institute of Contemporary Art, Los Angeles and the California African American Museum; and the Neuberger Museum of Art, Purchase College, State University of New York. Recent exhibitions include The Gordon Parks Institute (2022), The Art Gallery of New South Wales (2021), ICA Boston (2020), The Contemporary Dayton (2019), The Norton Museum of Art (2019), and Palais de Tokyo (2018). Her work is in the collections of MoMA New York, The Rubell Family Collection, The Brooklyn Museum, Bronx Museum and the Burger Collection, Hong Kong. Exhibition Materials ▶ Wall Text ▶ Gallery Guide ▶ Videos