Earthwork Exhibition @ Art Museum at the University of Toronto - Curated by Mikinaak Migwans

Earthwork 

Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Curated by Mikinaak Migwans 

Art Museum at the University of Toronto

September 4 – December 20, 2025

Faye HeavyShield

Clan (performance documentation), 2019 

Courtesy of Blaine Campbell

BUSH gallery 

MOMENTA 2021

Photo by Jean-Michael Seminaro 

The Art Museum at the University of Toronto presents the exhibition Earthwork, which reassesses the art historical framing of the “earthwork” popularized by the land art movement of the 1960s and ’70s, reclaiming it from an Indigenous perspective. It is curated by Mikinaak Migwans, Curator of Indigenous Contemporary Art at the Art Museum and Assistant Professor in the Department of Art History at the University of Toronto.

Works by Alex Jacobs-Blum, Art Hunter, BUSH Gallery, Edward Poitras, Faye HeavyShield, Lisa Myers, Michael Belmore, Mike MacDonald, Protect the Tract Collective

Earthwork redefines a term that until now has referred to a type of artistic practice associated within the larger conceptual framework of land art. In this exhibition, Mikinaak Migwans shifts our understanding of earthwork to refer to a way of working, rather than the making of singular objects — similar to the term “beadwork.” With a Canada-wide scope emphasizing the Great Lakes region, the exhibition takes as its starting point an understanding of ancestral earthworks less as monuments and more as sites of ongoing stewardship and care. It considers multiple layers of engagement with the land, including a history of land defense movements, medicine walks, and ancestral practices of prescribed burns, alongside contemporary artworks as creative acts of relational intervention.

“Redefining earthwork in this way helps us think about land as part of the cycles of life and death, rather than eternal monuments outside of time,” says Mikinaak Migwans. “It also helps us to see the huge labour investment that goes into maintaining relations on the land, getting away from this idea that the natural is something opposite to the human. Indigenous connections to land, especially, have been erased in colonial accounts that talk about a natural environment that is ‘virgin,’ ‘untouched,’ and in this way, unclaimed. But recent scholarship is starting to show that North America’s ecosystems were carefully cultivated and maintained by Indigenous Peoples. They’ve quite literally shaped the landscape through generations.” 

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Art Hunter 

Untitled (Controlled burn at Kay-nah-chi-wah-nung mounds), 2023

Digital print

Photo courtesy of the artist

Central to the exhibition is photo and video documentation by Art Hunter of land stewardship practices at the ancestral Kay-Nah-Chi-Wah-Nung Historical Centre, a national historic site and one of the most significant places of early habitation and ceremonial burial in Canada located in northwestern Ontario. Art Hunter’s description of the Anishinaabe community’s controlled burn and other processes to maintain the site’s special ecology served as the inspiration point for Earthwork. 

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist.

Michael Belmore

drift, 2025 

Steel, wood, 2.43 m x 9 m x 4.5 m

Photo courtesy of the artist

Internationally recognized artist Michael Belmore will create a new piece in his snow fence series, which will be on view from November 2025 through March 2026—following the seasonal cycle rather than the exhibition cycle. 

A new audio work by independent curator and artist Lisa Myers helps visitors think about land relations through walking and listening. 

Other featured artists are #BUSH Gallery (Gabrielle L’Hirondelle Hill, Peter Morin, Tania Willard), Alex Jacobs-Blum, Faye HeavyShield, Mike MacDonald, Edward Poitras, and Protect the Tract Collective. 

The exhibition offers visitors a printed Engagement Guide, to better connect with the works on view by sharing specific histories and information in an accessible way.

ART MUSEUM AT THE UNIVERSITY OF TORONTO

University of Toronto Art Centre

University College, 15 King’s College Circle, Toronto, Ontario M5S 3H7

artmuseum.utoronto.ca

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer @ Portland Art Museum

Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer

Portland Art Museum

September 6, 2025 – January 11, 2026

Jeff Koons, American, (b. 1955)

Gazing Ball (da Vinci Mona Lisa), edition 38/40, 2016

Archival pigment print with inlaid mirrored glass

40 11/16 x 27 3/4 in. Overall

Published by Two Palms, New York, NY

Collection of Jordan D. Schnitzer

© Jeff Koons

Photography Courtesy of the artist and Two Palms, NY

Dinh Q. Lê, Vietnamese-American, (1968 - 2024)

I am Large, I Contain Multitudes, edition AP 1/1, 2009

Bicycle, steel, mirrors, wood, plastic, rubber, and metal lock

72 x 90 x 40 in. Overall, 90 x 106 1/2 x 57 in. Crate

Published by the artist

Collection of the Jordan Schnitzer Family Foundation

© Courtesy of Elizabeth Leach Gallery and the Dinh Q. Lê Estate

Photography Aaron Wessling

Amy Sherald, American, (b. 1973)

As Soft as She Is..., edition 2/35, 2024

70-color screenprint on Lana Aquarelle 600 gsm

50 5/8 x 42 3/8 x 1 3/4 in. Frame, 

45 1/4 x 37 in. Sheet, 40 1/4 x 32 in. Image

Published by Hauser & Wirth, New York, NY

Collection of the Jordan Schnitzer Family Foundation

© Amy Sherald. Courtesy the artist and Hauser & Wirth

Photography Aaron Wessling

Portland Art Museum (PAM) presents Global Icons, Local Spotlight: Contemporary Art from the Collections of Jordan D. Schnitzer, an exhibition that shares works from Oregon’s foremost fine art collector by some of today’s leading artists with local Portland audiences.

Highlighting recent acquisitions from the collections of Jordan Schnitzer and his Family Foundation, the exhibition includes more than 75 works—some of which have never previously been exhibited—by celebrated artists of the 20th century, such as Louise Bourgeois, Jasper Johns, Ellsworth Kelly, and Robert Rauschenberg, in addition to contemporary luminaries such as Nick Cave, Jenny Holzer, Mickalene Thomas, and Hank Willis Thomas.

Jordan Schnitzer, who has been named an ARTnews Top 200 art collector globally, is a lifelong Portland resident and local business owner. His collaboration with PAM to exhibit these collections is an extension of the Jordan Schnitzer Family Foundation’s mission to share art with audiences across the globe.

“Instead of having to travel to New York City to go to the Museum of Modern Art or the Whitney, all you have to do is visit the Portland Art Museum to see exceptional artwork by some of today’s biggest artists," said Jordan Schnitzer. “Each year, when I collect new works, I think about how to share them with museums across the country through the Jordan Schnitzer Family Foundation exhibition program. My hope is that they will inspire audiences who might not otherwise have the opportunity to see works by these amazing artists.”

Jeffrey Gibson

Native American, Mississippi Band of Choctaw Indians 

and Cherokee, (b. 1972)

SPIRIT AND MATTER, 2023

Acrylic paint on elk hide inset in custom wood frame

90 x 72 1/2 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Jeffrey Gibson

Photography Aaron Wessling

Tschabalala Self, American, (b. 1990)

Untitled (Bodega Run), 2023

Unique cast and pigmented paper in artist designed frame

40 1/4 x 49 1/4 in. Sheet, 45 3/4 x 54 3/4 x 6 7/16 in. Frame

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

Katherine Bernhardt, American, (b. 1975)

Untitled, 2024

Monotype in watercolor and crayon

100 3/4 x 52 3/4 x 2 5/8 in. Frame, 96 x 48 in. Sheet

Published by Two Palms, New York, NY

Collection of the Jordan Schnitzer Family Foundation

Courtesy of the artist and Two Palms, NY

Photography Aaron Wessling

The exhibition features works across various media including paintings, textiles and tapestries, sculpture, photography, glass, ceramics, mixed media, and more, many of which will be shown publicly for the first time. Additional artists in the exhibition include Roy Lichtenstein, Jeff Koons, Helen Frankenthaler, Andy Warhol, Keith Haring, Dinh Q. Lê, Julie Mehretu, and Tschabalala Self. The wide array of artists represented in this presentation includes numerous women, Native American and Black artists, and other artists of color, building on PAM’s own work to spotlight underrepresented artists who represent the myriad communities that comprise Oregon.

“Portland Art Museum is a vital cultural resource for the region, which is why we are thrilled to partner with the Jordan Schnitzer Family Foundation collection to provide our community more opportunities to access and find inspiration in the art that brings the world to Portland,” said Brian Ferriso, Director. “Jordan and his family have long been ardent supporters of the Museum and our city, and we are grateful for his collaboration with PAM to further our mission to engage and enrich Portland’s diverse communities through art.”

Nick Cave, American, (b. 1959)

Rescue, 2014

Mixed media including ceramic birds, metal flowers, 

ceramic Basset Hound, and vintage settee

70 x 50 x 40 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Nick Cave. Photo by James Prinz Photography 

Courtesy of the artist and Jack Shainman Gallery, New York

Alison Saar, American, (b. 1956)

Plucked, 2022

Charcoal and acrylic on vintage cotton picking bag, 

found hooks and chain, 93 x 28 in. Overall

Collection of the Jordan Schnitzer Family Foundation

© Alison Saar. Courtesy of L.A. Louver, Venice, CA.

Photography Aaron Wessling 

Christopher Myers, American, (b. 1974)

Let the Mermaids Flirt with Me, 2022

Stained glass lightboxes and tent

42 3/4 x 42 3/4 x 5 in. Frame

Collection of the Jordan Schnitzer Family Foundation

© Christopher Myers 2022 

Courtesy of the artist and James Cohan, New York 

Photo by Dan Bradica

Other notable works in the exhibition include Christopher Myers' immersive and mesmerizing installation Let the Mermaids Flirt with Me, on view for only the second time since debuting at Art Basel Miami in 2022. Featured in the Museum’s grand Arlene and Harold Schnitzer Sculpture Court, the installation is a suite of stained glass paintings in lightboxes installed within a freestanding octagonal architectural structure, creating a chapel for contemplation of the illuminated compositions.

Several of the artists featured in the exhibition have previously exhibited works at PAM or are represented within PAM’s encyclopedic collection, including Hank Willis Thomas, with whom PAM organized a traveling solo exhibition in 2019, and Jeffrey Gibson, whose work PAM commissioned and exhibited at the Museum in 2023 before serving as co-commissioner for his exhibition for the U.S. Pavilion at the 60th International Art Exhibition of La Biennale di Venezia (the Venice Biennale).

PAM has also previously featured works from the collections of Jordan Schnitzer in its exhibitions including En Suite: Contemporary Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2001), Location/Dislocation: Recent Prints from the Collections of Jordan D. Schnitzer and The Jordan Schnitzer Family Foundation (2003), Minimalism/Postminimalism: Selections from the Collections of Jordan D. Schnitzer and His Family Foundation (2007), Ellsworth Kelly Prints (and Paintings) (2012), Anish Kapoor: Prints from the Collections of Jordan D. Schnitzer (2015), Andy Warhol Prints (2016), Josiah McElheny’s Cosmic Love (2018), and Jeffrey Gibson: To Name An Other (2022).

This exhibition is organized by the Portland Art Museum in partnership with The Jordan Schnitzer Family Foundation. 

ABOUT THE JORDAN SCHNITZER FAMILY FOUNDATION

Jordan Schnitzer 

Courtesy of Jordan Schnitzer Family Foundation

The Jordan Schnitzer Family Foundation’s contemporary art collection is one of the most notable in North America. The Foundation has shared its art with millions across the U.S. and internationally through groundbreaking exhibitions, publications, and programs. Founded by ARTnews Top 200 Collector Jordan D. Schnitzer—whose passion for art began in his mother’s contemporary art gallery in Portland, Ore.—the Foundation has organized over 180 exhibitions from its collection and additionally loaned thousands of artworks to over 120 museums at no cost to the institutions. Jordan Schnitzer began collecting contemporary prints and multiples in 1988 and today is North America’s largest print collector. His Foundation’s collection consists of more than 22,000 works of art, including a wide variety of prints, sculptures, paintings, glass, and mixed media works.

PORTLAND ART MUSEUM - PAM

1219 SW Park Avenue Portland, OR 97205

portlandartmuseum.org

2025 Annual Exhibition @ The Campus, Hudson, NY - A platform for expansive thought and free-ranging artistic expression

2025 Annual Exhibition

The Campus, Hudson, NY

Through October 26, 2025

The Campus presents its second annual exhibition, on view through October 26, 2025. Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming are scheduled throughout the run of the exhibition.

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights:

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery.

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet.

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology.

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Drawing sessions hosted by Oscar Murillo Studio took place throughout the opening weekend (end of June), and visitors of all ages were invited to draw freely on canvases in a celebration of collective spirit. The canvases will go on to become part of a collaborative artwork for the 36th São Paulo Biennial.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition.

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist’s ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include: Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Leger, Richard Long, Liz Magor, Sylvia Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto. 

The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange.

THE CAMPUS 

341-217 Hudson, NY

www.thecampusupstate.com

2025 Annual Exhibition @ The Campus, Hudson, NY, June 28 - October 26, 2025

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025 

El Museo del Barrio, New York 

August 28, 2025 — Summer 2026 

Laura Aguilar

Plush Pony #25, 1992

Gelatin silver print 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee

Photo by Matthew Sherman 

william cordova 

2 tienes santo pero no eres Babalawo, 2023 

Mixed media 

Collection of El Museo del Barrio, New York 

Gift in memory of Rudy Perez

Danielle De Jesus 

Loyalty like this doesn't exist anymore, 2021 

Oil on linen 

Collection of El Museo del Barrio, New York

Gift of Noah Roy 

Photo by Dario Lasagni

Mundo Meza 

Kuikuro Jakui Flutes, 1976 

Acrylic on canvas 

Collection of El Museo del Barrio, New York 

Gift of the Estate of the artist 

Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.

“Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.

The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany

The Gathering, 1964/2022

Silver gelatin print

Collection of El Museo del Barrio, New York 

Museum Purchase

Carlos Motta with Higinio Bautista 

Shaman Boa, 2023 

Carved wood 

Collection of El Museo del Barrio, New York 

Gift of the Acquisitions Committee 

Benjamin Muñoz 

Contract Labor, 2024 

Chine collé woodcut on paper 

Collection of El Museo del Barrio, New York 

Gift of Benjamin & Julianna Muñoz

Jaime Muñoz 

Metal Only, 2022

Acrylic, glitter, paper, and velvet on wood panel

Collection of El Museo del Barrio, New York

Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.

“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sánchez 

Still from Unknown Boricua Streaming: 

Nuyorican State of Mind, 2011 

Video, color with sound, 8:09 mins 

Collection of El Museo del Barrio, New York

Gift of Javier Lumbreras

Ethel Shipton 

Change Cambio, 2020 

House paint and vinyl on wooden panel 

Collection of El Museo del Barrio, New York 

Gift of the artist and Ruiz-Healy Art 

Daiara Tukano 

Hori, 2023 

Acrylic on canvas

Collection of El Museo del Barrio, New York 

Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)

Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)

José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)

Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)

assume vivid astro focus (formed in New York, NY in 2001)

Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)

Higinio Bautista

Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)

Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)

Los Carpinteros (formed in La Havana, Cuba in 1992)

Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)

Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)

Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)

Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)

Luis Gispert (1972, Jersey City, NJ)

Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)

Julia Isidrez (1967, Itá, Paraguay; lives in Itá)

Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)

Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)

Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)

Maria Teodora Mendez de González

Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)

Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)

Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)

Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)

Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)

Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)

Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)

Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)

Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)

Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)

Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)

Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029 

www.elmuseo.org

Reza Aramesh, Nicola Samori, Hugo Wilson @ Nicodim Gallery, New York - "Mondegreens and New Understandings" Exhibition - With Text by Ben Lee Ritchie Handler

Mondegreens and New Understandings

Reza Aramesh, Nicola Samorì, Hugo Wilson

Nicodim Gallery, New York

September 2 – October 4, 2025

In death, in tragedy, in grief, in heartbreak, one’s recollections of the Before Times are often rose-tinted. Hindsight is not always 20-20; the moments before a fall are remembered with a false clarity, a nostalgia for the era prior to the Bad Thing that brought us to our current moment of despair. After the initial shock of the passing of a parent, the planes hitting, the papers being served, memory softens the years before whatever allegorical or literal bomb dropped. We subsequently highlight and reconfigure the way things were into an architecture that befits the narrative we wish to convey, like a eulogy strung together from slightly—sometimes severely—misremembered song lyrics.

Mondegreens and New Understandings is an exhibition of Starbucks lovers wrapped up like a douche while Tony Danza holds us closer in the bond that will bring us together. 

Reza Aramesh, Nicola Samorì, and Hugo Wilson’s respective practices build monuments to the act of tailoring recollections and reminiscences to suit one’s sense of self, in addition to personal and empiric legacies still being written and reconsidered. 

With Bactrian II, Wilson reappropriates a baseline symbol of Britain’s Orientalist duplicity with a rendering of a shaggy camel moulting its wool in a manner that recalls 18th century jewels of the crown like George Stubbs and John Wootten. The Bactrian breed is famously domesticated, but Wilson’s muse is flamboyant, unbridled, and sure-footed as he proudly trots through a greenish negative space that smirks of English school pretense. The camel is isolated, imperfections magnified—no gods, no masters. He’s almost winking at us, asking (and borrowing a mondegreen from Nigel Tufnel), “what’s wrong with being sexy?”

Aramesh’s Action 211, Site of the Fall: Study of the Renaissance Garden, At 12 noon, Monday 15 July 1968 presents a striking male figure carved in marble, either bound and stripped to be tortured, or slowly disrobing in anticipation of carnal fireworks. The work’s title is evasive in its specificity, the artist gives us an event, place, time, and date, inviting the viewer to speculate on the nature of the scene. Is this David in Calvin Klein preparing for la petite mort or the grand one? The artist’s staging of the human body challenges the viewer with questions of vulnerability and agency, but he alone knows the words to his song.

Samorì’s untitled oil-on-wood-with-copper-leaf piece features a man raising his arms above his head and craning his neck toward the heavens. The brushwork, palette, and subject are reminiscent of Caravaggio or Mario Minniti, but the medium itself is poetically deformed by Samorìs hand—he has peeled the figures arms off, exposing reflective copper leaf on its underside, the hanging “flesh” obscuring the subject’s face and torso. His positioning evokes both the ecstasy of a spiritual awakening and the agony of his dismemberment. If the medium is massaged back to wholeness, will the bodies contained within truly be restored?

In dialogue with one another, Aramesh, Samorì, and Wilson forge new pathways in the way we understand and interpret art history inside our present bubble. There are no fixed positions within the wonky salon of Mondegreens and New Understandings, but rather three unique practices which actively engage and manipulate the ever-evolving subjectivity of observing, reinterpreting, and misremembering the world through art and art in the world.

— Ben Lee Ritchie Handler

REZA ARAMESH (b. Iran) lives and works between London and New York. He received an MA in Fine Arts from Goldsmiths University, London, in 1997. Aramesh reimagines scenes of global conflict through sculptural reenactments, stripping them of overt signs of war, violence, and historical context. The resulting works are caught between beauty and brutality, and question the representation of the male body in relation to race, class, and sexuality. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); Fragment of the Self, Night Gallery, Los Angeles (2025, solo); Foreigners Everywhere, 60th Venice Biennale, Venice (2024); Asia Society Triennial: We Do Not Dream Alone, Asia Society Museum, New York (2021); 12 noon, Monday 5 August, Asia Society Museum, New York (2019, solo); Action 180, Leila Heller Gallery, New York (2019, solo); Like Life: Sculpture, Color and the Body (1300–Now), The Met Breuer, New York (2018); Sculpture in the City, London (2021); Frieze Sculpture Park, London (2017); Art Basel Parcours, Basel (2017); At 11:57 am Wednesday 23 October 2013, Ab-Anbar Gallery, Tehran (2016, solo); and The Great Game, 56th Venice Biennale, Iran Pavilion, Venice (2015). His works have been staged in performative contexts at institutions such as the Barbican Centre, Tate Britain, and ICA, London. Aramesh’s practice is held in numerous public and private collections worldwide, including the Tate, UK; MOCAK, Poland; Rodin Museum; Versaille Palace Collection; Hugo Voeten Foundation; and the Zabludowicz Collection.

NICOLA SAMORI (b. 1977, Forlì, Italy) lives and works in Bagnacavallo, Italy. His work was included as a part of the Italian Pavilion at the 2015 Venice Biennale. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); La bocca di Berlino, Galerie EIGEN+ART, Berlin (2025, solo); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); KAFKAesque, DOX Centre for Contemporary Art, Prague (2024); Blend the Blind, Nicodim, New York (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Luce e sangue, Duomo di Napoli, Neapel (2023, solo); Luce e sangue, Chiesa di Santa Lucia alla Badia, Syrakus (2023, solo); Medea, Antico Mercato, Syracuse (2023); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); DISEMBODIED, Nicodim, New York (2023); Le Ossa della Madre, Villa d’Este, Tivoli (2022, solo); On the Wall, Building Gallery, Milan (2022); MONO, Galerie EIGEN+ART, Lipsia (2022, solo); Sfregi, Palazzo Fava, Bologna (2021, solo); ROMA (Manuale della mollezza e la tecnica dell’eclisse), Monitor Gallery, Rome (2021, solo); Danae Revisited, Fondazione Francesco Fabbri, Pieve di Soligo (2021); 141 – Un secolo di disegno in Italia, Fondazione del Monte, Bologna (2021); Black Square, Fondazione Made in Cloister e Museo Archeologico Nazionale, Naples (2020, solo); In abisso, Galerie EIGEN + ART, Berlin (2020, solo); Lucìe, MART- Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (2020, solo); Stand 1D08, Galerie EIGEN + ART, Berlin (2020); Collective Care: A House with Many Guests, M WOODS, Chaoyang, Beijing (2020); Cannibal Trail, Yu-Hsiu Museum of Art, Caotun (2019, solo); Solstizio d’Inferno, Biblioteca Classense, Ravenna (2019, solo); Metafysica, Haugar Vestfold Kunstmuseum, Tønsberg (2019); Preparing for Darkness – Vol. 3: I’m Not There, Kühlhaus, Berlin (2019); Iscariotes: Matteo Fato/Nicola Samorì, Casa Testori, Milan (2018, solo); Malafonte, Galerie EIGEN + ART, Berlin (2018, solo); BILD MACHT RELIGION: Kunst zwischen Verehrung, Verbot und Vernichtung, Kunstmuseum, Bochum (2018); Begotten, Not Made, Ana Cristea Gallery, New York (2014, solo); The Venerable Abject, Ana Cristea Gallery, New York (2012).

HUGO WILSON (b. 1982, United Kingdom) lives and works in London. His work has been exhibited at the The National Museum, Stockholm, Busan Metropoli­tan Art Museum, the National Por­trait Gallery, and the Courtauld Institute of Art in London. Wilson is collected by the New York Pub­lic Library, the Deutsche Bank Col­lec­tion, the Janet de Bot­ton Col­lec­tion, the United States Library of Congress and many others. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); The Raft, Galerie Judin, Berlin (2024, solo); SIRANI, Galerie Judin, Berlin (2023); Whatever Gets You Thru the Night, Nicodim, New York (2023, solo); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); Carnal Agreement, Nicodim, Los Angeles (2022, solo); Hollow Moon, Nicodim, New York (2021); Hugo Wilson, Parafin, London (2020, solo); Coincidental Truths, Galerie Judin, Berlin (2020, solo); When You Waked Up the Buffalo, Nicodim, Los Angeles (2020); Iconic Works, The National Museum, Stockholm (2020); Ateneum Art Museum, Finnish National Museum, Helsinki (2020); Crucible, Galerie Isa, Mumbai (2019, solo); Skin Stealers, Nicodim, Los Angeles (2019); Hugo Wilson, Nicodim, Los Angeles (2018, solo); Dialogues / New Paintings from London, GASK, Kutná Hora Museum, Czech Republic (2018); Frieze Sculpture Park, Regent’s Park, London (2018).

NICODIM GALLERY 

15 Greene Street, New York, NY 10013

www.nicodimgallery.com

Elmgreen & Dragset @ Pace Gallery, Los Angeles - "The Alice in Wonderland Syndrome" Exhibition

Elmgreen & Dragset

The Alice in Wonderland Syndrome

Pace Gallery, Los Angeles

September 13 – October 25, 2025

Pace presents The Alice in Wonderland Syndrome, Elmgreen & Dragset’s first solo exhibition in Los Angeles—and their fourth with the gallery. This immersive two-part presentation will occupy the main exhibition space and the adjacent south gallery, exploring themes of scale, perception, and psychological distortion through enactments of doubling and resizing. The show follows Elmgreen & Dragset’s recent solo presentations at the Musée d’Orsay in Paris and the Amorepacific Museum of Art in Seoul, and it coincides with the artists’ thirtieth anniversary of working as a duo and the twentieth anniversary of their famed "Prada Marfa" installation, which was unveiled in Texas in 2005.

Renowned for their subversive sculptural interventions, Berlin-based artists Elmgreen & Dragset often examine questions of identity and belonging in their collaborative practice, and they are particularly interested in radical recontextualizations of objects and new modes of representation in sculpture and large-scale installation.

In The Alice in Wonderland Syndrome, the artists explore how scale influences our understanding of reality. For this presentation, the duo plays with the physical features of Pace’s Los Angeles gallery, using the architectural division of the gallery as a framework for doubling and resizing. Each artwork is presented in full scale in the main gallery, while exact half-size versions are shown in the adjoining space, which the artists have rescaled into a half-size replica of the main space. This spatial reduplication and resizing is inspired by the neurological condition called Alice in Wonderland Syndrome, or Dysmetropsia, in which shifts in perception, often triggered by fatigue, alter one’s experiences of distance and scale.

The first work that visitors will encounter in the exhibition is a hyper realistic sculpture of a female gallery assistant slumped over the reception desk, seemingly asleep. The surreal presentation that follows in the exhibition spaces, where objects appear out of scale, could be a vision or dream playing out in her mind, in which visitors are the protagonists.

The main gallery space will feature new sculptural works and wall pieces—works from the duo’s Sky Target series—that probe the boundaries of the real and the reflected, the seen and the sensed. In their circular Sky Target paintings, fragments of clouds drifting across blue skies are rendered on mirror polished stainless steel disks. The skies are partially obscured by reflective surfaces, allowing viewers to glimpse themselves within illusory “heavens.” Each Sky Target is named after a specific location that the artists have visited. Two circular wall works, which the artists refer to as “stripe paintings,” will also be on view. In these works, vertical bands revealing airplanes and their contrails in the sky alternate with equally sized bands of mirrored strips, creating a rhythm of image and reflection. The tension between transparency and opacity, and representation and self-awareness, is heightened by the viewer’s shifting position within the space.

Two figurative sculptures carved in marble will be presented on the floor of both the main and adjacent galleries. One of these works depicts two young men, both wearing VR goggles, embracing—physically close but mentally elsewhere. The other shows a young man seated with headphones, absorbed in his own auditory reality. These figures embody the contemporary condition of disconnection, amplified by digital mediation. The immateriality of the digital experiences represented in both works is contrasted with their medium, marble, a historically significant and physically durable material that is deeply rooted in the tradition of sculpture.

The Alice in Wonderland Syndrome invites visitors into a mise en abyme of visual and spatial contradictions. While much of our reality has been compressed into the format of an iPhone screen, Elmgreen & Dragset continue their investigations into how physical environments shape our sense of self and how bodily presence still plays an important role in the way we interact with our surroundings.

ARTIST DUO ELMGREEN & DRAGSET

Elmgreen & Dragset (Michael Elmgreen, b. 1961, Copenhagen, Denmark; Ingar Dragset, b. 1969, Trondheim, Norway) pursue questions of identity and belonging and investigate social, cultural, and political structures in their artistic practice. They are interested in the discourse that can ensue when objects are radically re-contextualized and traditional modes for the representation of art are altered. Michael Elmgreen and Ingar Dragset are based in Berlin and have worked together as an artist duo since 1995. They have presented numerous solo exhibitions at prominent institutions worldwide including Kunsthalle Zürich (2001); Tate Modern, London (2004); Serpentine Gallery, London (2006); Museo de Arte Contemporáneo de Castilla y León, Spain (2009); ZKM - Museum of Contemporary Art, Karlsruhe, Germany (2010); Museum Boijmans van Beuningen, Rotterdam (2011); Victoria and Albert Museum, London (2013–14); Leeum, Samsung Museum of Art, Seoul (2015); UCCA Center for Contemporary Art, Beijing (2016); Tel Aviv Museum of Art, Israel (2016); Whitechapel Art Gallery, London (2018–19); Nasher Sculpture Center, Dallas, Texas (2019–2020); Fondazione Prada, Milan (2022); and Centre Pompidou-Metz, France (2023–24). In 2009, they represented both the Nordic and the Danish Pavilions at the 53rd Venice Biennale. They are renowned for large-scale public installations including Short Cut (2003), an installation comprising a Fiat Uno and a camper trailer, which appear to emerge from the ground; Prada Marfa (2005), a full-scale replica of a Prada boutique installed along U.S. Route 90 in Valentine, Texas; and Van Gogh’s Ear (2016), a gigantic vertical swimming pool placed in front of Rockefeller Center in New York City.

Their work is held in public collections worldwide, including ARKEN Museum of Contemporary Art, Ishøj, Denmark; Art Production Fund, New York; Columbus Museum of Art, Ohio; Museo Jumex, Mexico City; Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin; Kistefos Museet, Jevnaker, Norway; Leeum, Samsung Museum of Art, Seoul; Louisiana Museum of Modern Art, Humlebæk, Denmark; Moderna Museet, Stockholm; and the Museum of Contemporary Art Chicago, among others.

PACE LOS ANGELES

1201 South La Brea Avenue, Los Angeles

www.pacegallery.com

Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center @ MSU Broad Art Museum & MSU Main Library, Michigan State University

Africa Past, Present, and Future 

Celebrating 65 Years of the MSU African Studies Center

MSU Broad Art Museum, East Lansing

Through January 18, 2026

MSU Main Library

Through December 19, 2025

Tijani Sitou 

See My Henna (Regardez-mon henne), 1983, printed 2006 

Eli and Edythe Broad Art Museum, 

Michigan State University, purchase, 2009.41.2

In celebration of the 65th anniversary of Michigan State University’s African Studies Center (ASC), the Eli and Edythe Broad Art Museum at Michigan State University (MSU Broad Art Museum), the MSU Museum, MSU Libraries, and the ASC have partnered on a series of exhibitions marking this milestone year. Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center invites reflection on the power of collections and object-based learning to expand our understanding of global cultures and our place within them.

“The MSU Broad Art Museum and the ASC have enjoyed a longstanding partnership over the years, and it is our pleasure to shine a light on their important work during this momentous anniversary year,” commented Steven L. Bridges, senior curator and director of curatorial affairs at the MSU Broad Art Museum and co-curator of the project. “As part of the university’s commitment to working with different communities from the African continent, as exemplified by the work of the ASC, the Africana collections on campus and here at the MSU Broad Art Museum have grown to be some of the most important in the United States today. Through these objects we continue to advance teaching and learning at the university and within our wider communities, connecting different peoples and cultures across time and geographies.”

Drawn from the extensive Africana collections of the MSU Museum, MSU Broad Art Museum, and MSU Libraries, these exhibitions explore the University’s deep and evolving relationship with the African continent through art, artifacts, and archival materials. The exhibitions highlight how collections continue to support research, teaching, and public engagement around African cultures.

“These exhibitions are a tribute to the legacy and future of the African Studies Center, as well as to the powerful role that objects play in expanding our understanding of cultures across time and space," said Kurt Dewhurst, curator at the MSU Museum and co-curator of the project. “The MSU Museum is honored to contribute its collections and expertise to this meaningful celebration.”

The exhibitions include textiles, ceramics, carvings, and photographs, and are shaped by a broad team of curators and scholars, including representatives from the MSU Museum, MSU Broad Art Museum, MSU Libraries, and African Studies Center. Materials on view reflect MSU’s longstanding partnerships on the continent, including its foundational role in the establishment of the University of Nigeria, Nsukka.

“As we celebrate 65 years of the African Studies Center at MSU, we honor a legacy of transformative scholarship, partnership, and impact across Africa and right here in Michigan. It is a special honor to mark this milestone with exhibitions that build on our longstanding collaboration using art and cultural objects to teach about Africa’s diverse histories, peoples, and cultures,” remarked Leo Zulu, director of the African Studies Center. “This exhibition is not just a celebration of our past—it’s an invitation to imagine the future with us. I warmly invite everyone to visit, bring your families, and help spread the word, and I thank our partners at the MSU Museum, MSU Libraries, and the Broad for making this shared vision a reality.”

MSU BROAD ART MUSEUM

MSU MAIN LIBRARY

Michigan State University

broadmuseum.msu.edu

lib.msu.edu

Africa Past, Present, and Future: Celebrating 65 Years of the MSU African Studies Center

MSU Broad Art Museum, July 19, 2025 – January 18, 2026

MSU Main Library,  August 18, 2025 – December 29, 2025

Show & Tell @ Walker Art Center, Minneapolis - An interactive exhibition designed specifically for children

Show & Tell

Walker Art Center, Minneapolis

November 20, 2025 – April 5, 2026

The Walker Art Center will open an interactive exhibition designed specifically for children ages four to nine, inviting one-of-a-kind play and learning among some of the museum’s youngest visitors. Titled Show & Tell, the exhibition features artworks from the Walker’s renowned collection that connect with kid-friendly subjects such as animals, alphabets, food, miniature worlds, and imaginary creatures. Among the artists included are Fischli/Weiss, Katharina Fritsch, Jeffrey Gibson, Cas Holman, Caroline Kent, Roy Lichtenstein, Claes Oldenburg, Yinka Shonibare, and Rirkrit Tiravanija. Presented in a vibrant, specially designed environment, the exhibition emphasizes participatory, hands-on exploration and encourages kids to engage their senses and imaginations. 

Show & Tell continues the Walker’s approach to leveraging its growing collection to engage audiences in new and compelling ways. It follows the institution’s multi-part presentation Make Sense of This, which featured collection works and invited visitors to provide feedback on content that they might like to see in the galleries, and the complete reimagining of the Walker’s collection galleries, under the title This Must be the Place. The new collection galleries, which opened last summer, took learnings from Make Sense of This and grounded the presentation in accessible and resonant themes relating to the idea of “home.” Show & Tell also reflects the Walker’s commitment to cross-disciplinary collaboration, with the exhibition resulting from the joint efforts of the institution’s Visual Arts, Moving Image, Design, and Public Engagement, Learning, and Impact teams.

Show & Tell engages young visitors through distinct zones, designated by lively graphics that empower kids to have fun and create meaning on their own terms:

● FIND: This zone is anchored by a bespoke wall, which invites visitors to discover artworks by peering through an array of porthole windows, behind which artworks are installed in cavities within the wall. The wall engages with surprise and gameplay, allowing kids to move between the portholes to encounter a range of works, including sculptures, videos, and sound works by artists, including Mark Bradford, Katharina Fritsch, Claes Oldenburg, Yinka Shonibare, and Daniel Spoerri.

● READ: This zone focuses on the power of storytelling. Featuring comfortable seating, READ includes a selection of illustrated children’s books that families can listen to or read together. Interactive activities in the space as well as artworks by Julie Buffalohead, Andrea Carlson, Amy Cutler, and Jacob Lawrence encourage families to imagine and tell their own stories.

● PLAY: This zone focuses on hands-on interaction through two major installations: Mama Critter (2024) by Cas Holman and Rirkrit Tiravanija’s Untitled 2006 (pavilion, table, and puzzle representing the famous painting by Delacroix La Liberté Guidant le Peuple, 1830). Mama Critter is an arched structure that invites crawling, sliding, and building, as well as engagement with smaller elements called “Baby Critters” and “Thingies” that are moveable and alter the playscape in real time. Tiravanija’s large-scale work allows families to sit together at a picnic style table to work on a monumental jigsaw puzzle.

● MAKE: Taking a cue from colorful abstract works in the exhibition by such artists as Jeffrey Gibson and Caroline Kent, this zone includes a play table with color transparencies that allow kids to experiment with composition, color, and light. An interactive projector in the space makes it possible for the young artists to project their creations onto the gallery walls. Additionally, this zone features an interactive installation, in which visitors, inspired by the artist Erwin Wurm’s drawings, are invited to transform themselves into “one-minute sculptures” by donning colorful, oversized sweaters and using their bodies and the clothing to create new forms and poses.

● WATCH: This section offers a kid-friendly cinema space with a curated selection of films from the Walker’s Ruben/Bentsen Moving Image Collection, which includes more than 1,000 titles. With generous seating for children and their adults, the space offers a place to relax and engage in family-friendly films that range from short narratives to animations. 

Access and comfort ground the experience of Show & Tell. The majority of artworks are presented at low heights, and multi-sensory discovery is prioritized. Ample seating, an open floorplan, and phone charging locations consider the needs of parents and caregivers within the space. An audio guide narrated by local elementary school students offers a unique exploration of the exhibition, while the labels and family activity guide help prompt kids to connect their own experiences to the artworks on view. Label copy is also offered in English, Spanish, Hmong, and Somali to accommodate different family needs.

CURATORIAL TEAM:

Visual Arts: Siri Engberg, Senior Curator and Director of Visual Arts, and Pavel Pyś, Curator of Visual Arts and Collections Strategy; Moving Image; Patricia Ledesma Villon, Assistant Curator of Moving Image.

Show & Tell is organized jointly by the Walker’s Visual Arts, Moving Image and Public Engagement, Learning, and Impact staff members including Amanda Hunt, Head of Public Engagement, Learning, and Impact, Sarah Lampen, Associate Director of Learning and Accessibility, Janine DeFeo, Manager of Interpretation, La’Kayla Williams, Manager of School and Gallery Programs, Hannah Novillo Erickson, Manager of Lifelong Learning and Accessibility.

WALKER ART CENTER, MINNEAPOLIS

walkerart.org

Turner and Constable: Rivals and Originals @ Tate Britain, London

Turner and Constable: Rivals and Originals

Tate Britain, London

27 November 2025 – 12 April 2026

J.M.W. Turner

Self Portrait, c. 1799 

Image courtesy of Tate

John Constable 

by Ramsay Richard Reinagle c. 1799 

NPG 1786 

© National Portrait Gallery, London

Tate Britain presents the first major exhibition to explore the intertwined lives and legacies of Britain’s most revered landscape artists: JMW Turner (1775–1851) and John Constable (1776–1837). Radically different painters and personalities, each challenged artistic conventions of the time, developing ways of picturing the world which still resonate today. Staged across the 250th anniversary years of their births, this exhibition will trace the development of their careers in parallel, revealing the ways they were celebrated, criticised and pitted against each other, and how this pushed them to new and original artistic visions. It will feature over 170 paintings and works on paper, from Turner’s momentous 1835 The Burning of the Houses of Lords and Commons, lent by Cleveland Museum of Art and not seen in Britain for over a century, to The White Horse 1819, one of Constable’s greatest artistic achievements, last exhibited in London two decades ago.

JMW Turner 

The Burning of the Houses of Lords 

and Commons, 16 October 1834, 1835 

Cleveland Museum of Art. 

Bequest of John L. Severance 1942.647

John Constable 

The White Horse, 1819 

© The Frick Collection, New York 

Photo: Joseph Coscia Jr

Born only a year apart - JMW Turner in London’s crowded metropolis and John Constable to a prosperous family in the Suffolk village of East Bergholt - their contrasting early lives will begin the exhibition. JMW Turner was a commercially minded, fast-rising young star who first exhibited at the Royal Academy in 1790 aged just 15, and created ambitious oil paintings like recently-discovered The Rising Squall, Hot Wells, from St. Vincent’s Rock, Bristol, before he turned 18. By contrast, largely self-taught John Constable undertook sketching tours to create early watercolours like Bow Fell, Cumberland 1807 and demonstrated a fierce commitment to perfecting artistic techniques, not exhibiting at the Royal Academy until 1802. Having both emerged amid an explosion in popularity of landscape art, the two were united however, in their desire to change it for the better.

The exhibition explores how both artists developed distinct artistic identities within the competitive world of landscape art, spotlighting their methods, evolution and overlap. Constable built his reputation on the Suffolk landscapes of his childhood, opting to sketch in oils outside amid the vast views of Dedham Vale and the river Stour, which often recurred in his work. Tate Britain will include his painting box and sketching chair, with visitors able to chart the development of Constable’s skilful draughtsmanship and radical handling of paint to add ‘sparkle’. A group of Constable’s cloud studies will be brought together for the exhibition. Reflective of his belief that the sky was key to the emotional impact of a painting they are now one of the most celebrated aspects of his output and underpinned the powerful skyscapes in the artist’s monumental six-foot canvases. Late works such as Hampstead Heath with a Rainbow 1836 will illustrate his deft interweaving of personal and historic memories.

JMW Turner 

The Passage of Mount St Gothard from the centre 

of Teufels Broch (Devil’s Bridge), 1804 

© Abbot Hall, Kendal (Lakeland Arts Trust)

By contrast, Turner travelled widely across Britain and Europe filling sketchbooks with quick pencil studies. This offered creative inspiration, influencing sublime Alpine scenes such as The Passage of Mount St Gothard from the Centre of Teufels Broch (Devil’s Bridge) 1804, as well as commercial opportunities to have prints made after his watercolours. The exhibition explores how Turner developed original ways to apply paint and depict light, capturing the raw power of nature. Some of Turner’s most celebrated late works will feature, including Ancient Italy – Ovid Banished from Rome, first exhibited in 1838 and not shown in London in over 50 years.

John Constable 

Salisbury Cathedral from the Meadows, c. 1829

Image courtesy of Tate

By the 1830s, both Turner and Constable became recognised for taking landscape painting in bold new directions. The stark differences between their work spurred art critics to pit them against one another and to cast them as rivals. In 1831 Constable himself played into this, placing his and Turner’s work side by side at the Royal Academy exhibition. This showing of Turner’s Caligula’s Palace and Bridge next to Constable’s Salisbury Cathedral from the Meadows, prompted a flurry of comparisons between the sun-drenched heat of Turner’s mythical Italian scene and Constable’s damply atmospheric Britain; they were ‘fire and water’. Now placed head-to-head at Tate Britain, the artists’ most distinctive and impressive paintings will highlight how, despite their differences, they made landscape a genre worthy of grand canvases and prime importance.

Creators of some of the most daring and captivating works in the history of British art, Turner and Constable changed the face of landscape painting with their two competing visions, elevating the genre with their recognition of its endless potential to inspire. The exhibition will end with a new film featuring contemporary artists Frank Bowling, Bridget Riley, George Shaw and Emma Stibbon reflecting on the enduring legacy of Turner and Constable.

TATE BRITAIN

Millbank, London SW1P 4RG

www.tate.org.uk