If you’ve been following along you know what I did on my pre-holiday vacation. A little trip to Cleveland and a lot of time spent at the Cleveland Museum of Art.
Just across the hall from the Revealing Krishna show is Picturing Motherhood Now! Quite a thought provoking locally curated show that presents us with a lot of different representations of what we think motherhood can be. Some of the works are exceptionally touching. Some of them didn’t quite connect me to the idea of motherhood. But there is a lot of very accomplished and dynamic work to see here.
One of the paintings that captured my attention and emotions is Portrait of her Mother by Mequitta Ahuja (American, born 1976). She writes, “I make paintings by scraping away paint, figuring something new out of loss”. This painting was done during the last months of her mother’s life and I find it quite compelling.
Another painting that puts me in a similar frame of mine is Titus Kaphar’s Not My Burden. The painting features two Black women who have been touchingly depicted and are certainly two individuals. But they are holding children consciously absent…so absent that the canvas has been actually cut away to show the exposed gallery wall in a brilliant white. The museum wall card suggests that the missing children might represent white children who are often cared for by Black women or Black children who have been tragically lost and a hole is left to their mothers. This painting is probably the show’s centerpiece and most gripping…
There are a number of very elegant but evocative sculptures as well. This clay mother and child or Madonna by Rose B. Simpson (American, born 1983) is a prime example. Ms. Simpson is working with traditional methods used by her family and ancestors in the American Southwest. Titled Genesis this sculpture is both tied to our immediate era and timeless at the same time.
And then we have a group of multi-media sculptures by Alison Saar (American, born 1956) that are troubling in their content. These works are based on an enslaved child character, Topsy, from Harriet Beecher Stowe’s anti-slavery novel Uncle Tom’s Cabin. I am going to post a number of photos here. One from the museum that shows us the clear vision of Rice, one of three sculptures on display from a series of five. And then I will provide two more that I took that show all three in the context of the show. The three figures are Indigo, Cotton, and Rice. The youngster is clearly shown wielding the tools of slavery and harvesting cotton. A clear indictment of our past…and a prod to think about what that means to our present.
And now a bit of whimsy: Louise Bourgeois (American, 1911 – 2010):
Picturing Motherhood Now runs through March 13, 2022. This show is ticketed and tickets can be purchased online at the link shown here. Be sure to check the museum website for COVID precautions before visiting.
Yesterday the Milwaukee Repertory Theater announced that the remaining dates for “Dad’s Season Tickets” have been canceled. Here is the announcement from social media:
As a result of COVID-19 cases with vaccinated members of the “Dad’s Season Tickets” cast, we have made the difficult decision to cancel the remaining week of performances to safeguard the health of our artists, staff and audiences.
Our COVID health and safety protocols have been robust and our ongoing testing protocols with our cast and staff did exactly what they were designed to do – detect COVID-19 prior to it being able to spread.
Our Ticket Office will contact those who purchased tickets to one of these performances, all tickets will be refunded in full.
Although a sad circumstance for the Rep and those of you anticipating seeing this delightful play, I have to give the Rep credit for making the tough and correct decision. Best wishes for a healthy continuation of their theater season as new plays start to open after the first of the year.
Revealing Krishna is one of the current highlights at the Cleveland Museum of Art. It tells the story of the circuitous route that their Cambodian Krishna carving took to arrive at the museum as well as the several attempts to restore it and connect it with it’s correct pieces.
One of the gratifying parts of the story is the co-operation between the National Museum of Cambodia in Phnom Penh and the Cleveland Museum. Earlier attempts to restore the Cleveland statue resulting in mismatched pieces…which eventually led to swaps of statue fragments with the National Museum to get the statue in Cleveland and another in Phnom Penh matched with their correct pieces.
In addition to Cleveland’s Krishna Lifting Mount Govardhan, the exhibit includes a number of other CMA holdings of Cambodian sculpture plus this stunning carving of the same subject on loan from the National Museum in Phnom Penh:
But this exhibit goes beyond the wall cards and wall text that is standard signage in any museum. There is also a visual component that uses a visor and holograms to present details of the restoration process, original site in Cambodia, and the trek that the statue made on its journey to Cleveland. And the exhibit ends with a number of interactive videos that present three dimensional representations of the eight sculptures of gods from the original site along with text explaining who they are and how they are significant to the site and the story! Beyond the ‘in the flesh statues’ this last bit was the most informative and for me at least the next most useful piece of the exhibit.