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Title Round J. Bennett Fitts Arroyo Seco Driving Range , 2004 Chromogenic print 30 x 42 inches Estimated Value Range: $3,000 - $5,000 Starting Bid: $1,500 Bidding increments: $250 J. Benntt Fitts’s photograph suggests the experience that many of us have on the putting green - so many attempts that never quite make it to the hole. Set at night, the humorous image implies that the golfer has literally been trying all day , still standing on the green, waiting for one to sink. Fitts explores the intersection of the artificial and natural in his photographs, presenting familiar, everyday environments in new and unexpected ways. His Arroyo Seco Driving Range series transforms a common landscape—the golf course—into a strange, surreal environment. Devoid of human presence, these images show only the evidence of human effort. The interplay of light and shadow accentuates the surreal quality of the golf course, where exaggerated nighttime shadows contrast with brightly colored greens and flags. This tension between the controlled nature of the course and the night’s unpredictable shadows creates a sense of quiet waiting that pervades the work. More: J. Bennett Fitts Artist Statement “In photography, my interest has always been in landscapes; not the heroic imagery most people associate with the term landscape, but the beautifully subtle and banal work of the photographers associated with the new topographics movement. The sense of quiet and isolation that pervades Baltz’s series on Irvine warehouses is something I always strive to capture in my own imagery. The photographers in the New Topographics exhibition focused on the ‘social landscape,’ exploring the way in which man impacts the natural environment. They created imagery that avoided the common themes of beauty and emotion. However, at a certain point, I feel I break from the strict doctrine of some of these photographers. Unlike them, I have chosen non-industrial subject matter and, intentionally, I set out to achieve a sense of aesthetic beauty in my images. I want someone with no interest in golf to walk into the gallery and feel a sense of contentment from viewing my work. This series is not made for golfers; it is an attempt to recontextualize the golf landscape and open it to a broader audience. My ideal viewer is someone with no preconceived notions of the game who can engage with the imagery on a purely visual level. My personal connection to golf comes from living in Colorado Springs. I resided in a townhouse next to a golf course designed by Pete Dye. Though my view was mostly limited to a 40-foot dry grass hill, I could see the surreal colors of the course just beyond. I would often wander over the hill in the evening to observe the strange hues of this man-made environment. I recall the course’s lake being dyed from green to blue to meet the golfer's ideal of what a lake should look like, or the futile attempts to dye the brown winter grass green. These artificial interventions in the natural landscape sparked my interest in the golf course as a site for my own project, especially at night. The nighttime golf course, lit with sodium vapor lights, creates a hyperreal environment so artificial and theatrical that it's almost impossible to discern whether it's day or night. This artificiality, and the vibrant tones of the course, is what makes this project so fascinating to me.” Biography J. Bennett Fitts is a graduate of the Art Center College of Design, located in Pasadena, California, where he now lives and works. His photographic series Arroyo Seco Driving Range exemplifies his keen interest in landscapes, emphasizing the tension between the artificial and the natural. Fitts’s work takes familiar scenes and transforms them into haunting, surreal interpretations, inviting viewers to experience ordinary spaces in extraordinary ways.

T.E.A.M. T.E.A.M. Teen Engagement Ambassadors at moCa Teen Residency The T.E.A.M. co-hort coming together to create. The T.E.A.M. program is currently on hold. For information on other ways to connect with moCa, please contact engagement@moCaCleveland.org . The Teen Engagement Ambassadors at moCa (TEAM) program brings Cleveland-area teens together to learn how museums work and give each teen agency to create new art programming for their peers. During this 8-month program, six selected participants met from 4-6PM every other Thursday. While getting to know each other, TEAM members developed their own artistic practices and dove into art interpretation.

Title Round Mark Mothersbaugh Untitled (My Struggle prints) , 2016 Spray paint on laser print 65 x 49 x 4 inches Estimated Value Range: $4,000 - $6,000 Starting Bid: $2,000 Bidding increments: $250 Among visitor favorite exhibitions at moCa, Mark Mothersbaugh: Myopia (2016) ranks near the top. No surprise, given Mark’s hometown connection, his legendary rock status, and his exceptionally creative and unusual artistic practice which merges visual, musical, and literary art. This artwork blows up and reimagines a page from the artist’s 1978 book, My Struggle by Booji Boy , a fictitious character he often performed as with his band, Devo. Mark Mothersbaugh (b. 1950, Akron, OH) is an American artist, musician, and composer whose multifaceted creative output spans visual art, music, performance, and more. Best known for his pioneering role in the band DEVO, Mothersbaugh’s work interrogates themes of de-evolution, societal collapse, and the absurdity of contemporary life. His Untitled (My Struggle Prints) from 2016 highlights the artist’s ongoing exploration of collage, absurdism, and the dissection of American identity. The prints serve as an extension of his My Struggle series, which incorporates a vast range of visual elements, from scientific illustrations to commercial ads, reflecting the peculiar, fragmented nature of contemporary culture. More: Mark Mothersbaugh Artistic Practice Mothersbaugh’s practice is deeply rooted in both his early life experiences and his involvement with DEVO. After being diagnosed with severe nearsightedness and becoming legally blind, he began creating art as a way to compensate for his altered vision, leading to an obsession with imagery and illustrations. This early experience of "seeing the world differently" can be seen throughout his body of work, especially in his My Struggle prints. These works combine collage, photography, and his signature blend of pop culture commentary, often humorously disfiguring bodies and texts to create unsettling yet compelling visuals. The My Struggle series offers a disorienting glimpse into a world where the lines between the sacred, the absurd, and the terrifying are blurred. Notable Works and Exhibitions The My Struggle Prints are part of a broader body of work that spans multiple mediums, from mail art and postcards to music videos and stage shows. Mothersbaugh’s prolific output includes daily postcard drawings—over 25,000 of which he’s created since the 1980s. These works began as personal diaries but became a crucial aspect of his artistic identity, shared in exhibitions such as HOMEFRONT INVASION! in 2003. His photographic work, Beautiful Mutants , also demonstrates his obsession with visual symmetry and "corrected" imagery, challenging norms of representation and visual harmony. Mothersbaugh’s art has been featured in numerous solo and group exhibitions, including retrospectives at the Museum of Contemporary Art Denver and national touring shows. His major exhibition Mark Mothersbaugh: Myopia (2014) brought together a comprehensive look at his art and music, accompanied by a catalog and postcard collection titled Mark Mothersbaugh: Collected Facts & Lies (2015). These exhibitions have cemented his legacy as a significant visual artist and have provided a platform for his ongoing exploration of personal and societal mythologies. About the Artist Mothersbaugh’s work has been informed by his formative years in Akron, Ohio, and his time with DEVO. DEVO, formed after the Kent State shootings in 1970, was instrumental in shaping the band’s core philosophy of de-evolution , a theory that critiques the decline of society through the lens of pop culture, politics, and technological progress. Through the band, and in his solo works, Mothersbaugh has explored the absurdities of modern life, creating works that challenge conventional narratives about art, identity, and culture. His music compositions for films like Peewee’s Playhouse and for Wes Anderson’s films are just as integral to his artistic practice as his visual work, reflecting his ability to merge sound and image into one cohesive narrative. Selected Exhibitions and Collections Myopia Retrospective, Museum of Contemporary Art Denver, Denver, CO HOMEFRONT INVASION! (2003), National Tour BEAUTIFUL MUTANTS (2004), National Tour Mark Mothersbaugh: Myopia (2014), Princeton Architectural Press Mark Mothersbaugh: Collected Facts & Lies (2015) Postcard Book Mark Mothersbaugh: Untitled (My Struggle Prints) , 2016 Collections: Museum of Contemporary Art Denver, Denver, CO; The Museum of Modern Art, New York, NY

Museum of Creative Human Art x moCa Museum of Creative Human Art x moCa Institutional Residency Jul 2021-Jun 2022 Installation of the exhibition Stina Aleah: "Helping" Hands in the Lewis Gallery. In July 2021, the Museum of Contemporary Art Cleveland (moCa) and the Museum of Creative Human Art (MCHA) co-created and launched an institutional residency project. This residency is designed to explore how organizations of different sizes but with similar missions and commitments can work collaboratively in space and programming, learn from one another, and mutually advance goals of equity, education, and creativity. MCHA is a new art world change agent focused on presenting a diversity of artists, creative spaces, perspectives, programs, and activations intended to serve and inspire mission-aligned Black creators. moCa has been both conduit and catalyst for contemporary artists for more than 50 years, supporting and sharing the art and ideas of our time through artist first exhibitions, programs, special projects, and publications. During this residency, MCHA is curating its ambitious exhibition program at moCa’s building with assistance from moCa’s team. moCa and MCHA are creating joint programming for audiences of all ages that springboards from each exhibition and the residency concept-at-large. This institutional residency reinforces MCHA and moCa’s shared missions to advance and improve humanity through art. Ultimately, MCHA and moCa hope that the project could model new approaches to long-form, shared space organizational partnerships that provide both autonomous and collaborative work that prioritizes equity, education, and creativity. Generous support from Margaret Cohen & Kevin Rahilly, The Cleveland Foundation, and the Callahan Foundation Related Exhibitions ▶ Where We Overlap ▶ Honey Pierre: Bloodlines ▶ Ryan Harris: Sincerely, Us ▶ Terry Joshua: The Pinkest Hue ▶ Lawrence Baker: Taking Another Look ▶ Stina Aleah: "Helping" Hands ▶ Aawful Aaron by Aaron D. Williams

Opening Night Artist Talk Feb 3, 2024 FREE for all Join artist Manabu Ikeda as he discusses the creative process behind his monumental ink drawings with exhibition curator Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, Audain Art Museum. This talk is part of the Opening Night Celebration. Doors open at 7PM. The season includes three new exhibitions: The United States debut of Manabu Ikeda: Flowers from the Wreckage ; A two-location experience of Andrea Bowers: Exist, Flourish, Evolve , located at moCa and the Great Lakes Science Center; and a new immersive mural Ariel Vergez: SCRD GRDN , presented in partnership with Julia de Burgos Cultural Arts Center. Experience the exhibitions, sips from the bar, and local tasty bites. Paid valet available. If you have questions or if there are additional access services or accommodations that can make your experience more inclusive, please contact access@mocacleveland.org . 1-2 week’s advance notice is recommended but not required. IMAGE: Manabu Ikeda, Foretoken , 2008, pen and acrylic ink on paper, mounted on board. 190 × 340 cm. Collection of Sustainable Investor Co., Ltd. (Kagura Salon). Photo: Yasuhide Kuge About FREE for all Join artist Manabu Ikeda as he discusses the creative process behind his monumental ink drawings with exhibition curator Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, Audain Art Museum. This talk is part of the Opening Night Celebration. Doors open at 7PM. The season includes three new exhibitions: The United States debut of Manabu Ikeda: Flowers from the Wreckage ; A two-location experience of Andrea Bowers: Exist, Flourish, Evolve , located at moCa and the Great Lakes Science Center; and a new immersive mural Ariel Vergez: SCRD GRDN , presented in partnership with Julia de Burgos Cultural Arts Center. Experience the exhibitions, sips from the bar, and local tasty bites. Paid valet available. If you have questions or if there are additional access services or accommodations that can make your experience more inclusive, please contact access@mocacleveland.org . 1-2 week’s advance notice is recommended but not required. IMAGE: Manabu Ikeda, Foretoken , 2008, pen and acrylic ink on paper, mounted on board. 190 × 340 cm. Collection of Sustainable Investor Co., Ltd. (Kagura Salon). Photo: Yasuhide Kuge FREE for all Join artist Manabu Ikeda as he discusses the creative process behind his monumental ink drawings with exhibition curator Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, Audain Art Museum. This talk is part of the Opening Night Celebration. Doors open at 7PM. The season includes three new exhibitions: The United States debut of Manabu Ikeda: Flowers from the Wreckage ; A two-location experience of Andrea Bowers: Exist, Flourish, Evolve , located at moCa and the Great Lakes Science Center; and a new immersive mural Ariel Vergez: SCRD GRDN , presented in partnership with Julia de Burgos Cultural Arts Center. Experience the exhibitions, sips from the bar, and local tasty bites. Paid valet available. If you have questions or if there are additional access services or accommodations that can make your experience more inclusive, please contact access@mocacleveland.org . 1-2 week’s advance notice is recommended but not required. IMAGE: Manabu Ikeda, Foretoken , 2008, pen and acrylic ink on paper, mounted on board. 190 × 340 cm. Collection of Sustainable Investor Co., Ltd. (Kagura Salon). Photo: Yasuhide Kuge

DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP ◼ DONOR MEMBERSHIP CORPORATE MEMBERSHIP moCa NOW offers corporate membership levels tailored to fit your company’s needs. $2,500/ ◼$1,000 Connect with culture through moCa NOW programs like preview parties and VIP event access. ◼ For nonprofits & businesses w/ fewer than 50 employees $5,000* Expand your client and employee appreciation through private exhibition tours and artist/curator engagement events. $10,000* Leverage customized employee development experiences at moCa and deepen client cultivation through exclusive moCa programs and discounted space rentals. Includes seasonal crediting in moCa promotions. $25,000* Connect your business with international culture through special VIP access to high-profile artists and arts professionals, art fairs, and private experiences. One complimentary 10-person table at moCa’s gala and one waived space rental fee. Includes annual special crediting in moCa promotions. MORE ways to support ▶ moCa NOW ▶ Donor Membership ▶ General Membership ▶ Annual Fund WANT TO GO DEEPER? Check out the moCa NOW Donor Membership Levels. + more Questions? Contact Zakia Frontz, Senior Advancement Officer at zfrontz@moCacleveland.org or 216.658.6934. ◼ Insider Circle ◼ $500-$999 Access to semiannual exhibition supporter previews and all General Member events including brunches.* Join NOW ● Patron Circle ● $1,000-$2,499 Experience select quarterly VIP moCa NOW events that bring you closer to art and culture.* Join NOW ■ Curator Circle ■ $2,500-$4,999 Delight in monthly curated moCa NOW events, private access to artists and curators, and exclusive culinary adventures.* Join NOW ★ Director Circle ★ $5,000+ Enjoy the full spectrum of moCa NOW, including premium invitations to international art fairs, high-profile collaborations, and once-in-a-lifetime cultural experiences.* Join NOW

Grants, sponsorships, and major gifts are critical to moCa Cleveland’s ability to present outstanding exhibitions and public programs and to provide education and enrichment programs for local youth and families. We thank you for the vital funding that helps moCa support artists and serve community. Institutional Giving Institutional Giving Grants, sponsorships, and major gifts are critical to moCa Cleveland’s ability to present outstanding exhibitions and public programs and to provide education and enrichment programs for local youth and families. We thank you for the vital funding that helps moCa support artists and serve community. moCa Cleveland invites individuals, businesses, and foundations to partner with us to make exhibitions and programs possible. To explore institutional giving opportunities, please contact: Amy Cronauer, Grants Stewardship Director 216.658.6920 acronauer@mocacleveland.org Donate Membership Annual Fund Institutional Giving Patrons INSTITUTIONAL SUPPORTERS moCa Cleveland also receives lead institutional support in part from the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Ohio Arts Council, which receives support from the National Endowment for the Arts, a federal agency, and the continuing support of the museum’s Board of Directors, patrons, and members. CURRENT LEADERSHIP SUPPORTERS Leadership donors supporting moCa's mission include gifts to Art Now: Anonymous, Yuval Brisker, Joanne Cohen & Morris Wheeler, Margaret Cohen & Kevin Rahilly, Dealer Tire, Agnes Gund, Jan Lewis, Roy Minoff, The Robert H. Reakirt Foundation, and The Sunday Painter Connecting Audiences: Dick & Doreen Cahoon, The Cleveland Foundation, The Char and Chuck Fowler Family Foundation, the George Gund Foundation, The Louise H. and David S. Ingalls Foundation, Jack, Joseph, and Morton Mandel Foundation, David & Inez Myers Foundation, PNC, the Nord Family Foundation, and Nicholas & Erin Reif Sustaining Pathways: The Callahan Foundation, Grosvie & Charlie Cooley, Becky Dunn, Harriet Goldberg, Google.org, the Leonard Krieger Fund of the Cleveland Foundation, the John P. Murphy Foundation, Boake Sells, and Edward Smith. moCa SATURDAYS Family Fun supported by PNC. TOBY'S PRIZE Toby’s Prize is generously supported by Toby Devan Lewis* *In memory

Title Round Daniel Kelly Noir , 2024 Woodblock, Echizen Kozo paper unframed, 23 x 28 inches Estimated Value Range: $2,500 - $3,500 Starting Bid: $1,250 Bidding increments: $250 The Fowlers met Daniel Kelly in a bar in Japan. As fellow Americans traveling abroad, they began talking and sharing their travels and interests. Drawn to Kelly’s devotion to Japanese culture and intrigued by his aesthetic, the Fowlers acquired several of his artworks over the years and maintained a strong friendship with the artist. Kelly (b. 1947, Idaho Falls, ID) is an American painter, printmaker, and multimedia artist based in Kyoto, Japan. His work seamlessly blends Western and Eastern influences, particularly through his expertise in Japanese woodblock printing, while also embracing contemporary techniques. Kelly’s art reflects a deep exploration of texture, cultural fusion, and symbolic narratives, offering a unique perspective on both personal and collective histories. More: Daniel Kelly Artistic Practice Kelly’s artistic process begins with creating three-dimensional collages, which often incorporate materials indigenous to Japan, such as tatami mats and bamboo. These collages serve as a foundation for his mixed-media paintings, where he explores the relationship between space, form, and symbolism. In his printmaking, Kelly works primarily with woodblock and lithography, using chine-collé techniques to integrate elements like antique Japanese book pages, ukiyo-e prints, and calligraphy. By fusing these materials into his prints, Kelly creates intricate visual narratives that draw from both Eastern traditions and his Western background. Kelly’s woodblock prints are notable for their large scale—he is believed to have created the largest woodblock prints ever made in Japan. The detailed and layered nature of his work is both a technical feat and a rich reflection of his ongoing dialogue with cultural memory. In his paintings, Kelly continues to explore the themes of texture, cultural exchange, and the natural world, often incorporating elements of personal and mythological symbolism to infuse his work with deep emotional resonance. Notable Works and Exhibitions Kelly’s work has been featured in major exhibitions and collections worldwide, and his prints and paintings are celebrated for their striking technical precision and cultural depth. His exhibitions have spanned continents, showcasing his contributions to the world of printmaking and painting. He has also been instrumental in bringing traditional Japanese techniques to a wider audience, all while incorporating elements of his own cultural heritage. About the Artist Kelly’s interest in art began in childhood, particularly through his exposure to the Western works of C.M. Russell, whose depictions of the American West left a lasting impression. His formal art education began at the University of Oregon, where he studied glassblowing and ceramics before discovering his passion for Japanese art. A pivotal moment came when he purchased a book about Japanese woodblock prints by Tomikichirō Tokuriki, which led him to travel to Kyoto. There, he studied under Tokuriki, eventually becoming an apprentice. This apprenticeship would shape his artistic voice and propel him into a career dedicated to the exploration of traditional printmaking techniques within a modern context. Kelly’s prints and paintings blend the historical with the contemporary, inviting viewers to contemplate themes of identity, history, and the natural environment. His work, often described as poetic and meditative, captures the subtle nuances of cultural exchange and the universality of human experience. Selected Collections Museum of Modern Art, New York Metropolitan Museum of Art, New York British Museum, London Cleveland Museum of Art, Cleveland, OH Portland Art Museum, Portland, OR Los Angeles County Museum of Art, Los Angeles, CA Library of Congress, Washington, DC National Museum of American Art, Washington, DC Cincinnati Museum of Art, Cincinnati, OH New York Public Library, New York, NY

News + Read more at W Magazine Tuesday, November 29, 2022 by Kat Herriman Photographs by Jesper D. Lund The artist’s college years are the focus of a new exhibition at the ICA Miami. The New York-based artist Nina Chanel Abney punches eyes out one at a time. Her life-size paper dolls don’t seem to mind. They crowd around the ankles of her standing desk, in blank anticipation, patiently waiting for her to finish their faces so they can go on to their destiny as protagonists in her primary-colored collages. Abney points down at the huddle encircling her feet. “It’s a dance scene,” she says. Assembling her dancers requires meticulous choreography. “One millimeter can shift an expression,” Abney says. Despite the precarity, Abney feels at home in this cut-and-paste world. Over the past decade, her figurative collages depicting the lives and stories of Americans like herself—Black, queer, working class individuals—have become a fixture of the art world. Her exuberantly colored paintings, executed with stencils and spray paint, mimic Abney’s collage aesthetic and make me think of artists like Henri Matisse, Kara Walker, and Lari Pittman—but Abney bats away these art-historical touchstones. She says her mother, who is also an artist, is the one responsible for her love of drawing and collaging. “I’ve been cutting and pasting since childhood,” Abney says. “I like the familiarity of it.” Raised in Chicago by her mother, Abney used drawing as a way to connect. In school, she and her sister invited their mostly white classmates to commission portraits of Black celebrities from them. Abney earned a BFA from Augustana College in Rock Island, Illinois before heading to Parsons, where she graduated with a masters degree in 2007. In 2008, she participated in the groundbreaking group show 30 Americans at the Rubell Family Collection in Miami, and as the exhibition traveled around the country her exuberant images depicting Black joy and pain began appearing in museums alongside fellow participants like Rashid Johnson, Renée Green, and Kerry James Marshall. In 2017, she had an exhibition with Jack Shainman Gallery in New York, and after that she was featured in monographic museum shows. Abney vibrates on a cultural frequency all her own and has also collaborated to create Air Jordan sneakers, as well as a version of the classic game card Uno. Her most visible pop cultural moment, an album cover created last year for Meek Mill’s Expensive Pain , was a tearful cartoon portrait of the rapper surrounded by nude women, a yacht, a motorcycle, and dollar signs. The ICA Miami exhibition of Nina Chanel Abney: Big Butch Energy, on view during Art Basel, focuses on Abney’s college years, when the artist was less assured in her queer identity and struggled to find a community that reflected the kind of person she wanted to be. An epic shower scene, notably, dwells on the awkwardness and discomfort of forced group dynamics. Abney was attracted to the universality of coming-of-age scenes; she is devoted to mediums freighted with childhood resonance and stories she knows can be found on the tip of the tongue. The conceptual second half of the Miami presentation opens at the Museum of Contemporary Art Cleveland on January 27. Those works focus instead on the more positive side of Abney’s collegiate experience, and the energy is festive. “Like coming into myself and the celebration,” Abney says. The keystone work here depicts a raucous dance party like the ones Abney would have liked to attend. After the MoCA Cleveland show and a well-deserved break, Abney will be doubling down on her efforts to focus on public art and shift her language into three-dimensional sculptures. She’s not sure what they will look like yet, but she does know she wants those artworks to depict the lives of those unsung in the Western canon and be accessible to the public at all hours. “I always want the viewer to be able to feel like they have a connection with the work and recall some of their own similar experiences,” she says. “I’m good at finding communities that wants their stories told. I don’t feel like there is enough representation of Black masculine-presenting or queer women in media, so if I can bring my experience to life and it inspires others then I feel like I’m doing a good job. In earlier work, I was trying to make the content more ambiguous—now, it’s leaning toward the opposite.” Previous Next

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Tue.-Fri. December 2, 2025 Art Fairs NOW: Art Basel Miami Beach -Dec 5, 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

Forming Fearless Faces: A Free Mask-Making Family Workshop Nov 8, 2024 REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center About REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center

Studio Access w/ Manabu Ikeda May 10, 2024 Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. About Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season.