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Jun 27, 2025-Jan 4, 2026 Clotilde Jiménez Shapeshift Jun 27, 2025-Jan 4, 2026 Clotilde Jiménez, Pose No. 12 , 2020. Courtesy of the artist and Mariane Ibrahim (Chicago, Paris, Mexico City). Clotilde Jiménez’s art is driven by an exploration of materiality and transformation. His work highlights the societal limitations imposed on the body through race, gender, and sexuality, challenging and reshaping these constructs with subtlety and a playful sense of humor. Drawing from both ancient and contemporary sources, Jiménez incorporates everyday materials such as wallpaper, clothing, magazine clippings, and Mexican craft paper, connecting his diverse inspirations across time and culture. At the heart of Jiménez’s practice is a relentless state of evolution and transformation. Moving through mediums like ceramics, sculpture, collage, and painting, he layers materials to create works that speak to multiple narratives simultaneously. Each material introduced into his practice marks a shift—an expansion of understanding, a personal reckoning. The superimposition of textures and elements mirrors his own life, where every addition is not just a formal choice but a reflection of change within himself. As he navigates identity, history, and self-discovery, his materials evolve in parallel, embodying the fluidity of becoming. Working primarily with collage, Jiménez forges connections between disparate elements. He weaves together fragments, creating cohesive figures that embody interconnectedness and collective strength. Clotilde Jiménez: Shapeshift 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. Major support provided by the Kulas Foundation. Additional support provided by Gary Metzner & Scott Johnson. Select Images Clotilde Jiménez, Boxer (Aluminum) , 2020. Courtesy of the artist and Mariane Ibrahim; Clotilde Jiménez, Hamaca (Arrobamiento) , 2024. Courtesy of the artist and Mariane Ibrahim; Clotilde Jiménez, Victor’s Secret , 2016. Courtesy of the artist and Mariane Ibrahim. About the Artist Artist Portrait of Clotilde Jiménez, 2023. Photo by Mariam Wo Ching. Courtesy of the artist and Mariane Ibrahim. 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.

At moCa, we support and amplify the work of artists who represent what's next— in Cleveland and beyond. moCa's Annual Fund directly supports day-to-day operations. Support Support Your gift supports art now, in progress. Gifts to moCa's Annual Fund are fully tax-deductible. Donate Membership Annual Fund Institutional Giving Patrons

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 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.

Ann Jacobs: Illustration Playground Nov 20, 2035 About

Science Fair: Art Market Aug 24, 2024 Join moCa and Pattern Play Glass for our third annual Science Fair! Check out the work of more than 20 artists & makers and bring home one-of-a-kind artwork at a variety of prices. Get a new piece of flash from your favorite tattoo artist, grab a snack from a delicious local vendor, or a sip of regional natural wines. VENDORS INCLUDE: Pattern Play Glass Tess Young Jewelry Time Change Generator Jack Romer Harkin Oliver C St Clair Frayed Knot Farm Cleveland Babies Secret Books Robes by Natty Faan Slow Goods poofydustcloud KING RELD Joi Art LizaRoseGlass Aura Aura World of Whimzee CottonPonyExpress Skinny Dip Jewelry Bianca Breed Deposit Unknown Threehexagons DirtBaby Ceramics Yikes Design Poems 4 You Dakar! Shannon Makes Cakes Hi Cutie Fibers Justin Michael Will Evening Son Video / Family Fluff Vintage / Alison Scarpulla Superior Hot Glass happy thought knits TATTOO ARTISTS: Lauren Vandevier Nate Kemmerer Winnie Black Tine About Join moCa and Pattern Play Glass for our third annual Science Fair! Check out the work of more than 20 artists & makers and bring home one-of-a-kind artwork at a variety of prices. Get a new piece of flash from your favorite tattoo artist, grab a snack from a delicious local vendor, or a sip of regional natural wines. VENDORS INCLUDE: Pattern Play Glass Tess Young Jewelry Time Change Generator Jack Romer Harkin Oliver C St Clair Frayed Knot Farm Cleveland Babies Secret Books Robes by Natty Faan Slow Goods poofydustcloud KING RELD Joi Art LizaRoseGlass Aura Aura World of Whimzee CottonPonyExpress Skinny Dip Jewelry Bianca Breed Deposit Unknown Threehexagons DirtBaby Ceramics Yikes Design Poems 4 You Dakar! Shannon Makes Cakes Hi Cutie Fibers Justin Michael Will Evening Son Video / Family Fluff Vintage / Alison Scarpulla Superior Hot Glass happy thought knits TATTOO ARTISTS: Lauren Vandevier Nate Kemmerer Winnie Black Tine Join moCa and Pattern Play Glass for our third annual Science Fair! Check out the work of more than 20 artists & makers and bring home one-of-a-kind artwork at a variety of prices. Get a new piece of flash from your favorite tattoo artist, grab a snack from a delicious local vendor, or a sip of regional natural wines. VENDORS INCLUDE: Pattern Play Glass Tess Young Jewelry Time Change Generator Jack Romer Harkin Oliver C St Clair Frayed Knot Farm Cleveland Babies Secret Books Robes by Natty Faan Slow Goods poofydustcloud KING RELD Joi Art LizaRoseGlass Aura Aura World of Whimzee CottonPonyExpress Skinny Dip Jewelry Bianca Breed Deposit Unknown Threehexagons DirtBaby Ceramics Yikes Design Poems 4 You Dakar! Shannon Makes Cakes Hi Cutie Fibers Justin Michael Will Evening Son Video / Family Fluff Vintage / Alison Scarpulla Superior Hot Glass happy thought knits TATTOO ARTISTS: Lauren Vandevier Nate Kemmerer Winnie Black Tine

moCa Saturday: 3D Mobile Making w/ MC2STEM Dec 7, 2024 FREE for all ages Join us at moCa for a unique design experience led by students and staff from Cleveland Metropolitan School District's MC2STEM High School as they guide you through a 3D printing workshop. Learn about 3D printing, create your own mobile masterpiece, and discover ways that design can make an impact. After your mobile is completed, you can choose to take it home or share it with a local nonprofit organization. All ages welcome. FAMILY FUN ON moCa Saturdays supported by PNC. About FREE for all ages Join us at moCa for a unique design experience led by students and staff from Cleveland Metropolitan School District's MC2STEM High School as they guide you through a 3D printing workshop. Learn about 3D printing, create your own mobile masterpiece, and discover ways that design can make an impact. After your mobile is completed, you can choose to take it home or share it with a local nonprofit organization. All ages welcome. FAMILY FUN ON moCa Saturdays supported by PNC. FREE for all ages Join us at moCa for a unique design experience led by students and staff from Cleveland Metropolitan School District's MC2STEM High School as they guide you through a 3D printing workshop. Learn about 3D printing, create your own mobile masterpiece, and discover ways that design can make an impact. After your mobile is completed, you can choose to take it home or share it with a local nonprofit organization. All ages welcome. FAMILY FUN ON moCa Saturdays supported by PNC.

Jan 28-Jun 5, 2022 Jerome AB At Once Terrifying and Equally Freeing Jan 28-Jun 5, 2022 Jerome AB, At Once Terrifying and Equally Freeing , 2021 (still). HD Video, Color, Sound, 9 min. Courtesy the artist Jerome AB’s At Once Terrifying and Equally Freeing (2021) is a mixed-media installation, movement video, and soundscape. A case study in surrender, the work consists of an artifact, once buried beneath compounded terrain, now displayed within the museum walls. Its provenance unaccounted for, the 12’ high metal structure operates like a time capsule, nestled in excavated ground. Inside the enclosure is a three-dimensional video file, attempting to relay a psychological unraveling captured in real time. Past glitches of lapsed memories, the video’s subject comes to a road diverged. In one instance, we can choose to find comfort in the cards we have been dealt, to live life on life’s terms. In another, our circumstances can feel like they are closing in on us, with the only option left to fight. What starts as one figure, splits, and fragments into a multiplicity of being. At Once Terrifying and Equally Freeing explores the existence of two seemingly opposing truths that can co-exist as one reality. Set to a deteriorating meditative score, a self-help spiral featuring multi-instrumentalists Eartheater and Jasminfire, AB’s At Once Terrifying and Equally Freeing explores what it means to relinquish control and to find courage in faith. Jerome AB’s At Once Terrifying and Equally Freeing is organized by Puppies Puppies (Jade Kuriki Olivo) as part of Toby’s Prize, a biennial award made possible by Toby Devan Lewis. About the Artist Jerome AB Jerome AB (b. 1991, Nairobi, Kenya) is a multidisciplinary artist and creative director based in Los Angeles, CA. Trained as an architect actualized through dance, his work is a translation of movement architecture and spatial choreography. AB’s performance pieces, films, installations, and sonic sculptures are all rooted in creating worlds that represent physical manifestations of psychological landscapes. Reoccurring motifs of exploration include queer futures, ancestral connection, healthy masculinity, and the occasional internet purge. AB has created work for and alongside artists such as Blood Orange, Bobbi Salvor Menuez, Kanye West, Caroline Polachek, Puppies Puppies (Jade Kuriki Olivo), poet Precious Okoyomon, photographers Paul Sepuya and Michael Bailey-Gates, filmmaker Alima Lee, and Brooklyn-based dance duo FlucT. His work has been featured at institutions such as MoMA PS1, LACMA, National Sawdust, Knockdown Center, Navel, and Lever House as commissioned by Performa.

Title Round Michael Eastman Blue Column, c. 2010 Archival chromogenic print 24 x 18 inches Estimated Value Range: $3,500 - $5,000 Starting Bid: $1,750 Bidding increments: $250 Michael Eastman's photograph titled Blue Column is a chromogenic color photograph created in 1993. This piece, also known as Column, Budapest , measures 60 × 48 inches and is part of a limited edition of 7 prints. Eastman is renowned for his large-scale photographs that capture architectural interiors and facades with painterly precision. His work often explores themes of time, decay, and the beauty found in aging structures. Blue Column exemplifies these themes, showcasing his ability to find serenity and narrative within architectural forms More: Michael Eastman Michael Eastman has established himself as one of the world's leading contemporary photographic artists. The self-taught photographer has spent five decades documenting interiors and facades in cities as diverse as Havana, Paris, Rome, and New Orleans, producing large-scale photographs unified by their visual precision, monumentality, and painterly use of color. Eastman is most recognized for his explorations of architectural form and the textures of decay, which create mysterious narratives about time and place. Eastman's photographs have appeared in Time , Life , Art in America, Art News, Art Forum, Communication Arts and American Photographer , and they reside in the collections of The Metropolitan Museum of Art, the International Center of Photography, The Art Institute of Chicago, the Los Angeles County Museum of Art, and other prestigious institutions. His books include Havana (2011, Prestel), Vanishing America (2008, Rizzoli) and Horses (2003, Knopf).

Oct 8-Nov 7, 2021 Lawrence Baker Taking Another Look Oct 8-Nov 7, 2021 Lawrence Baker, Invitation 1 . Graphite on paper, 40 x 60 in. Courtesy the artist. The Museum of Creative Human Art presents Taking Another Look, a collection of drawings on paper by Lawrence Baker. With his preferred media of graphite, he experiments with color washes and composition to create images of elements found in nature. Influenced by landscape artists, especially Vincent Van Gogh, Baker prioritizes aesthetic choices when expressing himself through his work. During his process of creation, Baker states that his, “mind becomes like unperturbed water: clear, stripped bare, and unencumbered.” He remarks, “As I stand before each blank canvas, my universe becomes the white of the paper and the black of the graphite...Naked is how I came into the world and this is how I approach my work. The emotional baggage that I carry every waking moment of my life is set aside; although in the end, it somehow is manifested in the finished art. I only take what nature provides, making images from what I see and creating a vision that will exceed the sum of its parts.” Presented in partnership w/ About the Artist Lawrence Baker. Photo: Alvin Smith/The Urban Design Suit Lawrence Baker I was born in Jacksonville, Florida during the late 1940's, where dreams were dangerous and notions of high self-esteem were deadly for young Bblack males. In a published book ( Middle Passage: The Artistic Life of Lawrence Baker by Louis B. Burroughs Jr.), I share stories of my torn relationships, the magnetism of the streets, and how art became the canvas for my particular portrayal of life. For me, life became a series of calculations; any miscalculations would have led to my undoing. My sometime successes nourished me. I chose art as my vehicle to seek out some of those successes. Though over a period of twenty to thirty years off and on of seeking higher education, I always made an effort to continue learning in some capacity. Some of those steps of continued learning included receiving a Bachelor of Fine Arts with a minor in Education, Masters of Arts, and Master of Fine Arts from Kent State University, Kent Ohio (1989). I also was the recipient of a Doctorate of Humane Letters from Wilberforce University, Wilberforce, Ohio. Even while reaching for higher education, I continued on seeking acknowledgements for my art. I continued pursuing art to achieve as many successes as possible. Some of my early solo art exhibitions took place at Karamu House, Cleveland, Ohio (1983); Trumbull Art Gallery (1995); Springfield Museum of Art, Springfield, Ohio (2002); Mississippi Valley State University, Ita Bena, Mississippi (2003); Alabama A&M University, Huntsville, Alabama (2006); Erie Art Museum, Erie Pennsylvania, and Cleveland Botanical Gardens , Cleveland, Ohio (both 2007). Some of my selected group art exhibitions include: Annual NOVA Painting Show at Cleveland State University, Cleveland, Ohio, (1982); Afro-American Artist Invitational Exhibition at Lakewood Community College, Mentor, Ohio (1984); Each in their Own Voices, Cleveland State University, Cleveland, Ohio, and Andrews Art Museum, Andrews, North Carolina (both 2009). I have been seeking acknowledgement for my endeavors into fine arts for more than fifty years. In a lot of instances, I have sorted out those efforts through competitive international, national, and local competitions. I have also tried through recognition from foundations with some relations to visual arts. One of my most recent accomplishments was being recognized by the Pollock-Krasner Foundation in 2 017. Some of the most recent competitions include: t he 33rd Annual Tallahassee International , Tallahassee Museum of Fine Arts; the 39th Annual Paper in Particular National Exhibition , Columbia College, Columbia, Missouri, the 46th International Exhibition , Brownsville Museum of Fine Arts, Brownsville, Texas (Third Place), and the 61st Chautauqua Annual Art Exhibition , Chautauqua, New York (all 2018). —Lawrence Baker

News + Read more at Inside Climate News Sunday, February 4, 2024 Fighting for a Foothold in American Law, the Rights of Nature Movement Finds New Possibilities in a Change of Venue: the Arts The celebrated artist Andrea Bowers grew up in Ohio on Lake Erie. Her exhibit at MoCa makes a case that the lake and its tributaries possess the legal rights to “Exist, Flourish and Evolve. By Katie Surma CLEVELAND—The ailing Cuyahoga river, bloated with industrial pollution, erupted into flames reaching as high as a five story building on June 22, 1969. The river, one of several heavily polluted waterways that feed Lake Erie, had caught fire at least a dozen times over the course of a decade, the horror of which helped spark the nascent U.S. environmental movement, leading to the enactment of landmark legislation like the 1972 Clean Water Act. Fast forward nearly a half century to 2014, when Lake Erie, after having endured decades of pollution from industrial, agricultural and other human activities, was stricken with toxic algae blooms so intense that roughly 500,000 people living near the lake lost access to drinking water for three days. Those residents were left questioning what 50 years of environmental laws actually protected: ecosystems or industry’s right to pollute. Such are the bookends of Andrea Bowers’ new “ Exist, Flourish and Evolve ” exhibition at the Museum of Contemporary Art in Cleveland (MoCa), showing now through May 26. Bowers, an Ohio native and internationally acclaimed artist, named the exhibit for three of the legal rights that activists enshrined into a 2019 law known as the Lake Erie Bill of Rights. The idea was, in part, to level the legal playing field between the interests of the lake, on one hand, and those of industry, on the other. Ecuador, Panama, Bolivia and Spain are some of the countries where lakes, rivers, forests, wild animals and Earth itself have been recognized as rights-bearing entities. The so-called rights of nature laws typically provide a higher form of protection than conventional environmental regulations and usually give human legal guardians the ability to enforce the rights on behalf of rivers, forests and wild animals. Exist, Flourish and Evolve provokes visitors to confront philosophical arguments behind the rights of nature movement: principally, that nature is not a thing, or merely human property as conventional law treats it. Rather, Earth and its ecosystems are complex living communities to which humans belong. Modern science confirms this fact and legal systems ought to catch up to that reality, advocates argue. The exhibition takes place across two locations. The first, a giant red, green and blue neon sculpture installed outside Cleveland’s lakefront Great Lakes Science Center and the Rock and Roll Hall of Fame declares: “Lake Erie Has the Right to Exist, Flourish, & Naturally Evolve.” The second, at MoCa, holds Bowers’ drawings, additional neon light installations, a documentary film and activists’ posters and campaign paraphernalia, including a sign boldly asking the question: “If Corporations Have Rights, Shouldn’t Mother Nature?” In between displays of Bowers’ drawings are photographic images of the 1969 Cuyahoga fires and algae blooms of the 2010s, raising questions about the effectiveness of environmental protection efforts in the intervening years. Nuclear power plants, offshore wind farms, and factory farming are some of the region’s other industrial activities highlighted throughout the exhibit. For Bowers, who grew up splashing in Lake Erie’s waters, working on Exist, Flourish and Evolve has been deeply personal. Her first word was neither mom nor dad, but “lake,” and her family lived closely to the land with her father, an avid fisherman and hunter, running the police boat on the lake. A quintessential advocate, Bowers is known for using her art to amplify the plight of feminists, Indigenous communities, environmentalists, immigrants, workers and others. She spends lengthy periods of time in the field with activists, learning about their work and how she can be of service to their cause. She’s embedded with Indigenous communities at Standing Rock and was arrested in 2011 alongside fellow activists for “tree sitting” in protest of the razing of trees in her current home town of Los Angeles. “I always ask the simplest question which is, ‘How can my art be in service to you?’” Bowers said of her approach to working with other activists. “They are the driving force in terms of content and I try to create and use my access to institutions to bring attention to their issues.” For Exist, Flourish and Evolve , Bowers teamed up with the U.S.-based nonprofit Community Environmental Legal Defense Fund (CELDF), an organization that helped enact the world’s first rights of nature law in 2006 in a rural Pennsylvania town . Bowers spent most of 2019 talking with CELDF’s consulting director Tish O’Dell and learning about the organization’s thwarted efforts to make U.S. rights of nature laws more than symbolic—despite nearly 20 years of effort, no U.S.-based rights of nature law has been enforced. Courts have struck down the laws on a variety of grounds, including state law preemption . O’Dell explained to Bowers how 61 percent of Toledo voters, fed up with toxic algae blooms and other environmental degradation, enacted the Lake Erie Bill of Rights (LEBOR) into law in February 2019, and how a day later, an industrial farm challenged the constitutionality of the law. In February 2020, a federal court in Ohio struck down LEBOR, reasoning that it was unconstitutionally vague and exceeded the authority of a municipal government. Since then, O’Dell and her CELDF colleagues have entered a period of reflection, wondering how to advance their movement in light of the roadblocks erected in U.S. legal and political systems. Working with Bowers and learning about the power of art, O’Dell began riffing on a longstanding question in the legal world: Does law influence the culture, or does culture influence the law? “We had been so focused for so long on using the law to change our culture,” O’Dell said. “Andrea gave us a different way of thinking about organizing and how we can use cultural change to shift mindsets and use that to shift the laws.” And so CELDF, in partnership with Bowers, rolled out a two-phase “ Truth, Reckoning, and Right Relationship ” conference in late 2023 and April 2024. The fall 2023 meeting at the Rock and Roll Hall of Fame convened doctors, lawyers, activists, Indigenous people, students and others to reckon with how existing legal, political, educational, economic and cultural systems have contributed to the “ill health” of the Great Lakes. A gathering in April 2024 will focus on how, beyond changing laws, humanity can come back into “right relationship” with those ecosystems. “Maybe then we won’t need laws to instruct us to not poison ourselves,” O’Dell said. Still, she and her CELDF colleagues have not given up on their work in the legal realm. In March 2022, New York state Assemblyman Patrick Burke, with the help of CELDF, introduced the Great Lakes Bill of Rights , aimed at “securing legal rights” for the Great Lake’ ecosystems. The bill is pending in committee, with Democrats currently in control of the legislature and governorship. As exhibit attendees exit Exist, Flourish and Evolve , a final neon and painted installation underscores that unfolding effort in bold letters: “The Great Lakes Ecosystem Shall Possess the Inalienable and Fundamental Rights Not to be Owned or Privatized or Monetized.” Previous Next

Studio Access w/ Manabu Ikeda Feb 3, 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.

Press Release DOWNLOAD PDF Tuesday, July 9, 2024 Cleveland, Ohio—(July 9, 2024) The Museum of Contemporary Art Cleveland (moCa) is excited to announce the appointment of DJ Hellerman as its new Deputy Director & Senior Curator. Hellerman most recently served as Chief Curator & Director of Curatorial Affairs at The Fabric Workshop and Museum (FWM) in Philadelphia, PA. In the spirit of moCa Cleveland’s newly clarified mission, Art Now, in progress, Hellerman will guide the museum’s curatorial vision and work collaboratively with staff and board leadership to support moCa’s outreach, engagement, and sustainability goals. In announcing the appointment, moCa’s Kohl Executive Director Megan Lykins Reich notes, “Across all of his positions, DJ has honed a responsive curatorial practice that is inclusive, flexible, and creative, one that aligns strongly with moCa’s new mission. He balances a passion for artists with a commitment to audiences that will further moCa’s vision to open and connect people through contemporary art.” “This is an exciting moment of growth and evolution for me and moCa. I’m honored to be joining such a dedicated team actively creating the foundation for moCa’s future,” Hellerman said. Curatorial collaboration is a key driver of moCa’s current and future work. Hellerman will organize exhibitions and also nurture relationships with curators in Cleveland and elsewhere to develop new projects, beginning as early as Winter/Spring 2025. He joins a newly restructured senior leadership team at moCa including Reich, Senior Operations Officer Tom Poole, Senior Engagement Officer Joshua Hill, Senior Advancement Officer Zakia Frontz, and Senior Finance Officer Susan Chiancone. Speaking on behalf of moCa’s Board of Directors, many of whom participated in the recruitment process alongside moCa staff, Board President Stephen G. Sokany reflects, “DJ understands that curatorial leadership balances confidence with humility. We are excited for how he will help drive artistic innovation at moCa and across our field.” Hellerman has been involved with numerous noted exhibitions and artist projects, including Yoko Ono: Remembering The Future at Everson Museum of Art, Syracuse, NY; ProcessLAB: Paper Buck, Michelle Lopez, Sa’dia Rehman ; and Eiko Otake: I Invited Myself at The Fabric Workshop and Museum, Philadelphia, PA; Barthélémy Togu: Urban Requiem ; Ira Lombardia: Void ; and Doreen Garner: Pale In Comparison at SCAD Museum of Art, Savannah, GA; Seat’s Taken at Burlington City Arts, Burlington, VT; and has collaborated closely with artists like Henry Taylor, Rose Simpson, and Jessica Campbell. A Northeast Ohio native, Hellerman holds an M.A. in Art History from Case Western Reserve University and began his career at the Progressive Art Collection. Prior to his work at FWM, he held the position of Curator at the SCAD Museum of Art in Savannah, Georgia, Curator of Arts & Programs at the Everson Museum in Syracuse, New York, and Chief Curator and Director of Exhibitions at Burlington City Arts in Burlington, Vermont. About moCa Cleveland For more than 50 years, the Museum of Contemporary Art Cleveland (moCa) has played a vital role in the city’s cultural landscape. moCa is a conduit and catalyst for creativity and inspiration, offering exhibitions and programs that provide public value and make meaning of the art and ideas of our time. Since its founding in 1968, moCa has presented the works of more than three thousand artists, often through artists’ first solo shows. Soon after its founding, moCa was the first in the region to exhibit the works of many vanguard artists such as Laurie Anderson, Christo, Jasper Johns, Roy Lichtenstein, Adrian Piper, and Andy Warhol. Recent artist commissions and solo exhibitions include work by Tauba Auerbach, Simon Denny, Aleksandra Domanović, Michelle Grabner, Byron Kim, Ragnar Kjartansson, Tony Lewis, Kirk Mangus, Catherine Opie, Adam Pendleton, Sondra Perry, Joyce J. Scott, Do Ho Suh, Liu Wei, Renée Green, and Nina Chanel Abney, among many others. Museum Hours Thursdays-Sundays, 11AM-5PM Holiday hours available at mocacleveland.org 2024 Institutional Sponsors All current moCa Cleveland exhibitions are funded by leadership gifts from Doreen & Dick Cahoon, Joanne Cohen & Morris Wheeler, Margaret Cohen & Kevin Rahilly, Grosvie & Charlie Cooley, Becky Dunn, Harriet Goldberg, Agnes Gund, and Jan Lewis. moCa Cleveland receives lead institutional support in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Callahan Foundation, the George Gund Foundation, the Nord Family Foundation, the Leonard Krieger Fund of the Cleveland Foundation, the Ohio Arts Council, which receives support from the National Endowment for the Arts, a federal agency, PNC, and the continuing support of the museum’s Board of Directors, patrons, and members. ### Previous Next