Search Results

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

Apr 29-Jun 5, 2022 Where We Overlap David Buttram Kacey Gill Jacques P. Jackson Joyce Morrow Jones Crystal Miller Younghyeon Ryu Lauren Sylvia Derek Walker Aaron D. Williams Apr 29-Jun 5, 2022 ∆ Where We Overlap ∆ Where We Overlap Where We Overlap David Buttram Kacey Gill Jacques P. Jackson Joyce Morrow Jones Crystal Miller Younghyeon Ryu Lauren Sylvia Derek Walker Aaron D. Williams Apr 29-Jun 5, 2022 ∆ Where We Overlap Presented in partnership w/ Museum of Creative Human Art and moCa Cleveland Where We Overlap asks, “Have you experienced an artist’s technical process? Ideation process? The research that goes behind the work or the tools that contribute to it? How many studio visits have you attended lately?” It’s amazing that we attend our peers’ exhibitions and sometimes hear them discuss the meaning behind a piece while at these shows but how engaged are we when it comes to their studio practice? With this exhibition, we have brought a selection of artists together to collaborate amongst each other. Paired off in groups, artists work together creating pieces that unified their skillsets. Though the artists paired may have different approaches to how they execute specific styles, topics, mark, color, etc., they come together and learn from each other to make masterpieces. Here is the result! Davon Brantley, Curator Presented in partnership w/

Oct 8-Nov 7, 2020 Paul Ramírez Jonas Public Trust Oct 8-Nov 7, 2020 ∆ Paul Ramírez Jonas, Public Trust , 2016. Marquee, table, sacred and civic texts, oaths, 950 promises from private individuals, 84 promises from public figures, graphite and paper, dimensions variable. Courtesy the artist and Now and There. Photo: Field Studio ∆ Paul Ramírez Jonas, Public Trust , 2016. Marquee, table, sacred and civic texts, oaths, 950 promises from private individuals, 84 promises from public figures, graphite and paper, dimensions variable. Courtesy the artist and Now and There. Photo: Field Studio Paul Ramírez Jonas Public Trust Oct 8-Nov 7, 2020 ∆ Paul Ramírez Jonas, Public Trust , 2016. Marquee, table, sacred and civic texts, oaths, 950 promises from private individuals, 84 promises from public figures, graphite and paper, dimensions variable. Courtesy the artist and Now and There. Photo: Field Studio Artist Paul Ramírez Jonas’s interactive artwork Public Trust (2016–ongoing) invites participants to examine the value we grant to our words through the promises we make to each other and to ourselves. All ages are asked to make a promise, which is recorded in a drawing they can keep, and as part of the declaration, they are called on to swear—in a manner consistent with their own beliefs—that they will keep their word. Each promise is also published on a large marquee outside the museum alongside daily pledges from news headlines made by politicians, scientists, economists, and weather forecasters. Presented as part of moCa Cleveland’s exhibition F as in Frank , a show that will unfold as a series of chapters throughout 2020 and 2021, Ramírez Jonas’s Public Trust will be installed outside moCa on Toby’s Plaza from October 8 through November 7, 2020. Activated during the lead-up to the 2020 presidential election (on Thursdays, Fridays, and Saturdays from 12–4PM), the piece offers us the opportunity to collectively shape an artwork about the promises and acts of speech that keep a society together. moCa’s exhibition F as in Frank brings artists together to reflect on the power of being frank. Defined as the willingness to speak candidly, openly, and honestly, the word “frank” reinforces the power that comes from communicating directly and sincerely to address uncomfortable truths. Thinking through the exhibition framework in an expanded way the show unfolds slowly over time, raising poignant questions about love and loss, the construction of power, our environment, and what the future holds.

Jan 27-Jun 11, 2023 Sam Falls We Are Dust and Shadow Jan 27-Jun 11, 2023 ∆ Sam Falls, Untitled (San Bernardino National Forest, CA.) , 2017-2019. Pigment on canvas, 128 x 272 in. (325.1 x 690.9 cm). Courtesy Sam Falls and 303 Gallery, New York ∆ Sam Falls, Untitled (San Bernardino National Forest, CA.) , 2017-2019. Pigment on canvas, 128 x 272 in. (325.1 x 690.9 cm). Courtesy Sam Falls and 303 Gallery, New York Sam Falls We Are Dust and Shadow Jan 27-Jun 11, 2023 ∆ Sam Falls, Untitled (San Bernardino National Forest, CA.) , 2017-2019. Pigment on canvas, 128 x 272 in. (325.1 x 690.9 cm). Courtesy Sam Falls and 303 Gallery, New York Sam Falls’s show at moCa, the artist’s first major solo museum exhibition, offers expansive insight into his unique practice of collaborating with nature to create monumental paintings and sculptures. Falls’s poetic, ghostly works examine the sublimity and inherent melancholy of nature’s cycles and finite life. Interested in photographic exposure and representation, Falls experiments with the effects of sunlight, rain, and temperature, harnessing weather patterns and environmental conditions to create paintings, sculptures, and photographs in and with nature. In addition to new sculptures and paintings made by Falls in various national parks across the country, moCa has partnered with the Cleveland Botanical Garden & Holden Arboretum to support Falls’s creation of a new ceramic work, using materials from Northeast Ohio. Lead support for Sam Falls: We Are Dust and Shadow is provided by Dealer Tire. Generous support provided by 303 Gallery and Galerie Eva Presenhuber. Additional support provided by the Anselm Talalay Photography Fund. About the Artist Sam Falls. Photo: Erin Falls Sam Falls Sam Falls (b. 1984, San Diego, CA) works intimately with the core precepts of photography–namely time, representation, and exposure–to create works that both bridge the gap between various artistic mediums and the divide between the artist, object, and viewer. Working symbiotically with nature and the elements, Falls’s artworks are engrained with a sense of place indexical to the unique environment of their creation while imbued with a universal sense of mortality. With a reverence toward art history, Falls empathetically blurs the lines between artistic genres and practices, from modern dance and minimalist painting to conceptual photography and land art, boiling it down to the fundamentals of nature and the transience of life that art best addresses. Falls is represented by 303 Gallery (New York), Galerie Eva Presenhuber (Zurich and Vienna), Jessica Silverman Gallery (San Francisco), and Galleria Franco Noero (Turin).

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

Jul 7-Jan 7, 2024 A soft place to land Kevin Beasley, Margarita Cabrera, Pia Camil, Cass Davis, Alexandra Kehayoglou, Tiona Nekkia McClodden, Kaveri Raina, Liang Shaoji, and Marie Watt Jul 7-Jan 7, 2024 ∆ A soft place to land , installation view at moCa Cleveland, 2023. Photo: Jacob Koestler ∆ A soft place to land , installation view at moCa Cleveland, 2023. Photo: Jacob Koestler A soft place to land Kevin Beasley, Margarita Cabrera, Pia Camil, Cass Davis, Alexandra Kehayoglou, Tiona Nekkia McClodden, Kaveri Raina, Liang Shaoji, and Marie Watt Jul 7-Jan 7, 2024 ∆ A soft place to land , installation view at moCa Cleveland, 2023. Photo: Jacob Koestler About the Exhibition A soft place to land highlights artists who use textiles to unpack personal histories and underscores the metaphorical and material importance of fiber arts in connecting these stories to broader cultural and societal narratives. Rooted in explorations of the physicality of memory, this exhibition demonstrates the ways that textiles function as, “containers of collective and individual memory, as devices capable of triggering emotional, psychological, and even physiological reactions, and as tools for expressing or retaining identity and narratives.” The artists in this international, intergenerational exhibition build upon fibrous foundations to share the moments and traditions that shaped them, elevating what may be thought of as mundane or ubiquitous objects to emphasize the immeasurable value of one’s lived experiences. Themes of resilience, homesickness, and the desire to feel connected emerge within this examination of material culture. The artwork in A soft place to land showcases the influence of place and placemaking on one’s identity, confronts intergenerational trauma and trauma associated with upbringing, and celebrates materiality as an essential tool in self-discovery. About the Artists Margarita Cabrera Margarita Cabrera A self-defined social practices artist, Margarita Cabrera ’s (she/her) work is often fueled by collaboration from community engagement to get a holistic view of social issues. Materials such as US Border Patrol uniforms and cochineal-dye are used, and transformed, to deliver a multi-tiered conversation on topics such as globalism, populism, and the migrant experience. Often in playful representation, Cabrera’s work, such as embroidered soft-sculpture potted desert plants; mimicking parrots made from found border patrol uniforms; and collaged works on paper made with cochineal dye, implores viewers to confront contentious topics by utilizing materials tied inextricably to the issue. Cabrera was born in Monterrey, Mexico, and moved to El Paso, TX at the age of 10. She received an MFA from Hunter College in New York, NY and is currently an assistant professor at the Arizona State University Herberger Institute for Design and the Arts. Kevin Beasley, Site XVI, 2022, Polyurethane resin, raw Virginia Cotton, altered t-shirts, confetti t-shirts, housedress, 74 x 55 x 2 in (188 x 141 x 5.1 cm). ©Kevin Beasley. Photo: Jason Wyche, Courtesy the artist and Casey Kaplan, New York. Kevin Beasley Kevin Beasley (he/him) lives and works in New York. His practice spans sculpture, photography, sound, and performance, while centering on materials of cultural and personal significance, from raw cotton harvested from his family’s property in Virginia to sounds gathered using contact microphones. Beasley alters, casts, and molds these diverse materials to form a body of works that acknowledge the complex, shared histories of the broader American experience, steeped in generational memories. In March 2023, Beasley released A View of a Landscape , a 300-page book and double LP record, conceived as equal elements and designed together. The publication is produced in collaboration with the Renaissance Society and The University of Chicago Press. Recent exhibitions and performances include The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse , a touring exhibition curated by Valerie Cassel Oliver, which traveled from the Virginia Museum of Fine Arts (2021), to the Contemporary Art Museum of Houston (2021), Crystal Bridges Museum of American Art (2022), and the Museum of Contemporary Art Denver (2022); and Prospect.5, New Orleans: Yesterday we said tomorrow (2021), in which Beasley began a multiyear site-specific project in the Lower Ninth Ward. Pia Camil. Photo by: Pirje Mykkänen Courtesy of Pia Camil and Finnish National Gallery Kiasma. Pia Camil Pia Camil (she/her) is a Mexican visual artist based in San Mateo Acatitlán, State of Mexico. Her work ranges widely from painting and sculpture to performance and installation. Highlighting the importance of the collective and communal, her work is often inclusive and directly engages the viewer. Camil draws inspiration from her context with a critical and political interest around commercial culture or the frenetic pace of mass commodification. In an effort to gear away from industrialized labor, her practice is mostly done in collaboration with friends and specially skilled producers. Currently, her rural context is informing new ideas of the collective–the relationship of humans with nature and to other species. Camil is a graduate of the Rhode Island School of Design, USA, and the Slade School of Fine Art, London. Cass Davis. Photo: Gillian Fry Cass Davis Cass Davis (they/them) is a Chicago-based artist with an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago. Their solo shows include Out of Time at Engage Projects, Revelations at University of Southern Indiana, HEARTLAND at G-CADD St. Louis, No Body on Earth But Yours with the Chicago Underground Film Festival, and Of Roses and Jessamine at SITE gallery, Chicago. Davis has shown in group exhibitions and screenings at the Design Museum Chicago, IL, Bemis Center in Omaha, NE, York St. John University, UK, Tile Blush in Miami, FL, The Art Institute of Chicago, Museum of Contemporary Art, Chicago, The American Medium in NYC, UIS Visual Arts Gallery, Springfield, IL, Terrain Biennial Oak Park and Springfield, IL, Mana Contemporary Chicago, Chicago Artists Coalition, 062 Gallery, Sullivan Galleries, and the Mary Elizabeth Dee Shaw Gallery, Utah. They have been awarded the Praxis Fiber Arts Residency, HATCH Residency, Oxbow Artist's MFA Residency, Roger Brown Artist's Residency, IOTO Residency, and the Shapiro Center Eager Research Grant. They have been lecturing faculty in the Fiber and Material Studies department at SAIC. Alexandra Kehayoglou. Photo: Francisco Nocitois Alexandra Kehayoglou Alexandra Kehayoglou (she/her) is an Argentinian and Greek visual artist who works primarily with textile materials. She produces works combining textiles, sculpture and installation. Kehayoglou’s repertoire includes memories of various native and endangered landscapes that the artist has visited and desires to preserve over time. Her renowned pastizales (grasslands), fields, and shelter tapestries exhibit sublime realities which the viewer can contemplate or utilize. Her work is created from an ancient family tradition of weaving. She presented the No Longer Creek at Design Miami/Basel, decrying the decimation of the Raggio Creek in Buenos Aires. At the end of 2017, The Triennial of The National Gallery of Victoria, Melbourne, included Kehayoglou’s work, Santa Cruz River . Tiona Nekkia McClodden. Palais de Tokyo 2022. Tiona Nekkia McClodden Tiona Nekkia McClodden (she/her) is a visual artist, filmmaker, and curator whose work explores and critiques issues at the intersections of race, gender, sexuality, and social commentary. McClodden’s interdisciplinary approach traverses documentary film, experimental video, sculpture, and sound installations. Most recently, her work has explored the themes of re-memory and narrative biomythography. Her writing has been featured on the "Triple Canopy" platform in Artforum , Cultured Magazine , ART 21 Magazine , and many other publications. She is the recipient of a 2021 Andy Warhol Foundation Arts Writers Grant.McClodden lives and works in North Philadelphia, PA, and is the Founder and Director of Philadelphia-based, Conceptual Fade, a micro-gallery and library space centering Black thought and artistic production. Kaveri Raina. Photo: Zhiyuan Yang Kaveri Raina Kaveri Raina (she/her) lives and works in Brooklyn, NY. She received her MFA from the School of the Art Institute of Chicago in 2016 and her BFA from Maryland Institute College of Art in 2011. Raina has had solo and two-person exhibitions at Chapter NY, New York; Twelve Gates Arts, Philadelphia, PA; PATRON Gallery, Chicago, IL; M+B Gallery, Los Angeles, CA; Abattoir Gallery, Cleveland, OH; Annarumma Gallery, Naples, Italy; Assembly Room, New York, NY; Rata Projects, New York, NY; Permanent Collection/Co-Lab Projects, Austin, TX; Permanent Collection/Co-Lab Projects, Austin, TX; Irvine Fine Arts Center, Irvine, CA, among others. Her work has been included in group exhibitions at the National Indo-American Museum, Lombard, IL; Deli Gallery, Brooklyn, NY; Klaus von Nichtssagend, New York, NY; Luhring Augustine, New York, NY, among others. Raina is the recipient of several fellowships and awards including the James Nelson Raymond Fellowship, the Ox-bow Residency Award, and the Skowhegan School of Painting & Sculpture Fellowship Award. She is represented by PATRON Gallery, Chicago, IL. Liang Shaoji Liang Shaoji Liang Shaoji (he/him) studied soft sculpture with Maryn Varbanov at China Academy of Art. For more than thirty years, Liang has been interested in interdisciplinary creation in terms of art and biology, installation and sculpture, new media and textile. His Nature Series sees the life process of silkworms as a creation medium, the interaction in the natural world as his artistic language, time and life as the essential idea. His works are fulfilled with a sense of meditation, philosophy and poetry while illustrating the inherent beauty of silk. Selected exhibitions include: Liang Shaoji: A Silky Entanglement , Power Station of Art, Shanghai; The Allure of Matter: Material Art from China (touring exhibition), Los Angeles County Museum of Art, Smart Museum of Art; Liang Shaoji: As If , M Woods Art Museum, Beijing; the 3rd Shanghai Biennale, Shanghai Art Museum, Shanghai, the 5th Biennale d'Art Contemporain de Lyon, Lyon the 48th International Art Exhibition Venice Biennale, Venice, and the 6th International Istanbul Biennial, Istanbul (1999). Marie Watt Marie Watt Marie Watt (she/her) is an American artist. She is a member of the Seneca Nation of Indians and also has German-Scot ancestry. Her interdisciplinary work draws from history, biography, Iroquois protofeminism, and Indigenous teachings; in it, she explores the intersection of history, community, and storytelling. She is represented by PDX Contemporary Art in Portland, Oregon; Catharine Clark Gallery in San Francisco, California; and Marc Straus Gallery in New York City, New York. Selected collections include the Metropolitan Museum of Art, the Seattle Art Museum, the Whitney Museum of American Art, the Albright-Knox Art Gallery, Yale University Art Gallery, the Crystal Bridges Museum, the Smithsonian Institution’s National Museum of the American Indian and Renwick Gallery, the Tacoma Art Museum, the Denver Art Museum, and the Portland Art Museum. Installation Images A soft place to land . Installation views at moCa Cleveland, 2023. Photos: Jacob Koestler

AIR: Amber N. Ford AIR: Amber N. Ford Artist-in-residence Jan 29-Jun 5, 2022 Left: Amber N. Ford; Right: Amber N. Ford, Power Knots , 2020. Archival pigment print, 36 x 24 in. (91.44 x 60.96 cm). Courtesy the artist 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 was shown at ThirdSpace Action Lab as a part of Imagine Otherwise , and has been featured in exhibitions at Kent State University, Transformer Station, SPACES Gallery, The Morgan Conservatory, The Cleveland Print Room, Zygote Press, and Waterloo Arts, as well as in outdoor public spaces 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). Find out more about Amber N. Ford at ambernford.com . The AIR program is generously sponsored by Margaret Cohen and Kevin Rahilly, with additional support from Char and Chuck Fowler. About moCa AIR: Developed to support and highlight the work of emerging or early-career artists in Cuyahoga County, moCa AIR allows the museum to work alongside artists through 5-month, long-form onsite engagements. Artists-in-residence receive an honorarium, program support, a dedicated studio space inside the museum, professional development opportunities, access to the museum’s production studios, and administrative support. During their time in residence, each artist will develop a site-specific project that activates a site in the building outside of the traditional gallery spaces with production funds provided by moCa. Related Exhibition ▶ Amber N. Ford: Someone, Somewhere, Something

Feb 18-Jun 5, 2021 Naeem Mohaiemen Monday, Day 3753 Feb 18-Jun 5, 2021 ∆ Naeem Mohaiemen, Tripoli Cancelled , 2017 (still). HD Video, Color, Sound, 93 min. Courtesy the artist. ∆ Naeem Mohaiemen, Tripoli Cancelled , 2017 (still). HD Video, Color, Sound, 93 min. Courtesy the artist. Naeem Mohaiemen Monday, Day 3753 Feb 18-Jun 5, 2021 ∆ Naeem Mohaiemen, Tripoli Cancelled , 2017 (still). HD Video, Color, Sound, 93 min. Courtesy the artist. Naeem Mohaiemen combines films, installations, and essays, to explore histories of rhizomatic families, malleable borders, and socialist utopias. Mohaiemen’s moCa exhibition is built around his first fiction film Tripoli Cancelled (2017), created after a decade of documentaries on left histories. The script follows the daily rituals of a man stranded in an abandoned and dilipidated airport. The film begins on “Monday, Day 3753,” hinting that the nameless protagonist has been trapped, or exiled, within the airport for over ten years. We watch him pass the time by walking the empty halls, dancing to Boney M’s 1978 version of “Rivers of Babylon,” writing letters to his wife, and reading out loud from Richard Adam’s 1972 children’s fable of rabbits, and their Gods, Watership Down . The 93-minute film unfolds with aching slowness, capturing the physical and emotional experience of a solitary man—a protagonist who exists in perpetual limbo. Tripoli Cancelled was filmed in Ellinikon Airport in Athens, Greece, loosely inspired by Mohaiemen’s father, who was stranded in this same airport for nine days in 1977 after losing his passport. The film transforms and expands a personal story into a larger investigation of exile, and the corrosive loneliness of lives under shattered modernity. Is the abandoned airport the result of disaster, or a space that the protagonist has fabricated in his own mind? Is this a place from our past, or are we encountering a glimpse of J. G. Ballard's drowned world? What is real and what is imagined? Tripoli Cancelled asks nothing of the audience; but the patient viewer may piece together fragments, investigate counter narratives, and consider the uncertainty of what awaits our coming futures.

News + Read more at FreshWater Thursday, January 29, 2026 by Karin Connelly Rice When the Museum of Contemporary Art ( moCa Cleveland ) opens its winter exhibitions this Friday, Jan. 30, visitors will be stepping into conversations that span nature, memory, survival, and responsibility—spanning centuries, ecosystems, and lived experiences. moCa’s new season brings together four exhibitions—" Ohio NOW: State of Nature ,” “ Sky Hopinka: The Myth Is Now ,” “ KING COBRA’s “When You Are Between the Devil and the Deep Blue Sea ,” and the museum premiere of the film installation “ Homing Instinct: Letting Go of the Shore .” ach exhibit has the power to invoke a range of reactions—starting with KING COBRA’s grotesque caged great white shark, suspended in a 13-foot cage and greeting guests on the museum’s ground floor. “From offering imaginative ways to reuse materials often discarded as waste to creating a VR environment for understanding an insect, all of the artists are making work that helps us rethink our relationship to the natural world,” says DJ Hellerman, moCa deputy director and senior curator. The exhibits explore the relationship between people and their environments from distinct, often unsettling, vantage points. “Together, these four exhibitions form a conversation about our relationship with and within nature, across time, memory, and responsibility,” says Megan Lykins Reich, moCa’s Kohl executive director. “Each project approaches this subject uniquely: As material, as platform, as witness, as inherited story, [and] as site of trauma, rupture, or repair.” That sense of dialogue and conversation anchors moCa’s 2026 season. While climate change and environmental collapse loom large, the exhibitions resist simple binaries of hope versus despair. “The artworks convey various, even divergent emotions and ideas, revealing the complexity of our personal and collective relationship with and within nature,” Reich says. “None of the works are helpless—instead, many assert the behaviors or recognition (either of past wrongs or future opportunities) needed to repair and sustain our environment.” Collaborating for sustainability In a statewide collaborative effort between moCa Cleveland and Cincinnati’s Contemporary Arts Center (CAC), “Ohio Now: State of Nature” brings together 15 Ohio-based artists who focus on sustainability, agriculture, food justice, and natural ecologies using materials drawn directly from lived experience—reflecting on pollutants harvested from waterways, plant-based dyes, and organic matter as potential tools for identifying common ground across diverse practices. “We selected a deeply relevant and urgent theme that many artists across the world are pursuing in their work, one that is broad enough to provide latitude for artists working in different ways and with different intentions,” Reich says, adding that the theme also allows for a cohesive experience where the viewer can ask important questions, yet be open to new ideas and possibilities. A personal exploration Those connecting themes continue in “Sky Hopinka: The Myth Is Now,” a poetic and personal exploration of Indigenous culture, history, and language using film, photography, and text. Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and spent time in Palm Springs and Riverside, California, Portland, Oregon, and Milwaukee, Wisconsin. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. Hopinka alternates between documentary and experimental forms, tracing identity through language, memory and myth.Additionally, he draws on the idea of the “arrière-pays”—an unreachable, imagined homeland—as a metaphor for spiritual searching. The result is work that feels intimate and expansive at once, situating Indigenous histories not in the past, but as living, evolving presences. Emotional intensity While Hopinka’s work may invite quiet reflection, KING COBRA delivers a jolt with “When You Are Between the Devil and the Deep Blue Sea.” Suspended inside a towering cage of fluorescent tubes, a bisected Great White shark, made from silicone, beads, synthetic hair, and ink, appears frozen between life and decay. The sculpture represents a memorial to Black Africans forced during the transatlantic slave trade to choose between enslavement or death at sea. Hellerman notes the work is emotionally intense. “KING COBRA’s ‘When You Are Between the Devil and the Deep Blue Sea’ is incredible,” he says. “It will be a memorable experience for this season, to say the least.” Hellerman doesn’t necessarily consider “Devil” intentionally jarring, but he does describe the tension she creates at the exhibit’s core. “KING COBRA is making exquisitely crafted work that is both gorgeous and grotesque,” he says. Going sci-fi in nature Rounding out the new season is “Homing Instinct: Letting Go of the Shore,” a 26-minute multi-screen science fiction film installation written and directed by filmmaker Lydia Dean Pilcher , based on a short story by writer Dani McClain . Set in a near future shaped by rising sea levels, the film follows two friends facing forced relocation from coastal regions—a narrative that blends science fiction, Afrofuturism and emotional realism. “Homing Instinct is a film about friendship, trust, fear, and supporting each other during times of uncertainty,” Hellerman says. In conjunction with the film, Cleveland’s ThirdSpace Action Lab will activate a ground-floor reading room at moCa focused on science fiction and Afrofuturism—extending the exhibition beyond the screen and into collective imagination. Hellerman says that what unites moCa’s new season doesn’t offer one takeaway but perhaps invites visitors to make a shift in perspective. “I’m not sure we can simplify an exhibition into a single message,” he observes. “Like all of our programs, it will open up new ways of thinking about the environment, our relationship to it, and, ideally, it inspires people to think a little bit differently about how they perceive the world they live in.” Opening night The public is invited to celebrate moCa Cleveland’s new season at its 2026 opening night celebration tomorrow, Friday, Jan. 20, from 6 p.m. to 9 p.m. All four exhibits will be open during the free event, which will feature a spoken word performance by poet Morgan Paige , food vendors, and cash bar. Previous Next

Title Round Clotilde Jiménez Self-Portrait in a Beret , 2024 Mixed media collage on paper Framed: 31 x 42 inches Estimated Value Range: $27,000 - $32,000 Starting Bid: $20,000 Playfully merging cut paper, photography, and bold mark-making, Clotilde Jiménez’s Self-Portrait in a Beret reconstructs the artist’s likeness through an inventive dialogue of material and form. A graduate of CIA and the Slade School of Fine Art (London), Jiménez has exhibited at global museums such as Museo Jumex and the Phillips Collection and his work is included in the Ford Foundation and Beth Rudin De Woody collections, among others. The Paris Olympics commissioned Jiménez to create posters for 2024 Games. This June, moCa Cleveland will debut his first major U.S. survey exhibition. Courtesy of the artist and Mariane Ibrahim Gallery (Chicago, Paris, Mexico City) More: Clotilde Jiménez Born in 1990 in Honolulu, Hawaii, Clotilde Jiménez now lives and works in Mexico City. He earned his MFA from The Slade School of Fine Art and his BFA from the Cleveland Institute of Art. Clotilde blends line and collage driven by a focus on materiality as shown through his reuse of everyday materials such as wallpaper, clothing, magazine clippings and Mexican craftpaper. Clotilde Jiménez: Shapeshift, opening on June 27, will be the most extensive presentation of Jiménez’s work to date, showcasing newly commissioned pieces alongside previously unseen drawings and process materials. Spanning his entire career, the exhibition will include early works from his time as a student at the Cleveland Institute of Art, providing a clear trajectory of his artistic evolution and the continuous transformation of his practice.

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Thu. May 21, 2026 In Response w/ Art Therapy Studio 6-7:30PM at moCa Cleveland $5 SIGN UP In Response invites you to engage contemporary art as a starting point for mindfulness, reflection, and meaningful connection at moCa Cleveland. Facilitated by Art Therapy Studio, each session begins with guided time in the galleries, where participants closely observe select works from the exhibitions on view and engage in thoughtful group discussion. Grounded in slowing down and intentional observation, the experience creates space for presence, curiosity, and shared insight. Following the gallery engagement, participants transition into an accessible, hands-on art-making experience focused on process rather than perfection, encouraging creative response, emotional awareness, and self-expression. Offered on the third Thursday of each month until July 2026, the series is designed to be welcoming to both first-time and returning participants, with a consistent structure that fosters ease and belonging. No prior art experience is needed; come as you are, and respond in your own way. A $5 reservation hold will be refunded at check-in. Please note: Eventbrite's processing fees are non-refundable.

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. Engagement Guide Open Jobs