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The exhibition will showcase the Museum’s recent acquisition of the important six-volume Ornithologie written by Mathurin-Jacques Brisson and illustrated by François-Nicolas Martinet, published 1760. It will also feature paintings, prints, and decorative arts from TMA’s collection, as well as select loans of significant prints and illustrated books.
Supernatural America: The Paranormal in American Art is the first museum exhibition to broadly examine the relationship between American artists and the supernatural.
Out of the Dark: A Historic Journey, is a digital exhibition in recognition of Juneteenth, an observance acknowledging the emancipation of those who had been enslaved in the United States. Juneteenth (a combination of the words June and nineteenth) is recognized in most states and the District of Columbia as a local holiday or ceremonial observance, thoughit is not yet a federal holiday. TMA invited eight members of the Toledo Black Artist Coalition (TBAC) to curate an online exhibition featuring influential works from the Museum’s collection, including sculptor Elizabeth Catlett (1915-2012) and photographer Gordon Parks (1912-2006) among others. TBAC guest curators are noted local artists James Dickerson, Dustin Hostetler, Audrey Johnson, Imani Lateef, Yusuf Lateef, Lydia Myrick, Simone Spruce, and Paul Verdell. The online exhibition launches on TMA’s website on June 19, 2021.
TOLEDO, Ohio – The science fiction-inspired film Doppelgänger (2019) by prominent artist Stan Douglas will be on view Oct. 16, 2021-May 15, 2022, at Toledo Museum of Art (TMA), its first North American museum presentation. The film centers around an astronaut named Alice, embarking on a solitary outer space mission. Her clone is also teleported to a distant planet. When Alice’s ship unexpectedly turns around, she presumes she has returned to Earth, but instead she arrives at another realm, the exact reverse of her true home. In one version, Alice is welcomed and provided support upon her return, while in another narrative, Alice is received as a potential hostile threat. The work comprises two translucent screens, which can be viewed from either side and display parallel narratives that unfold simultaneously. “Through non-linear storytelling and intentional ambiguity, Doppelgänger allows viewers to embark on their own quest of personal discovery,” said Adam M. Levine, TMA’s Edward Drummond and Florence Scott Libbey director and CEO. “Stan Douglas’s work is particularly resonant for the Toledo Museum of Art in light of our articulated commitment to creating an authentic culture of belonging for all visitors.”“For decades, Stan Douglas’s beguiling and critical works have explored how image-making and narrative influence collective memory as well as our understandings of the world around us,” said Jessica S. Hong, TMA’s curator of modern and contemporary art. “This ambitious work coalesces Douglas’s artistic concerns and has even greater potency for all audiences in our current moment.” Doppelgänger employs science fiction as a prompt to understand the temporal intersections and simultaneous realities that exist in our present. Alice’s return, one as benevolent earthly citizen and another as a potentially dangerous alien, alludes to the heightened debates around citizenship and homelands, such as the reception of immigrants and refugees, as well as the systemic exclusion and oppression of marginal communities. The continual mirroring and sense of displacement throughout the film echoes many people’s experiences during the current pandemic. For those able to stay at home, individuals are constantly observing their own visages and conducting their lives mediated through a virtual screen. As the world enters a new phase of this pandemic, society finds itself confronting a new, unknown reality. Though there are dual narratives, Doppelgänger does not intend to highlight two distinct possibilities. In a world of competing truths, the film explores our physical and quantum entanglements, leaving open numerous possibilities about how we can shape our unfolding collective stories. Because of its open-endedness, Doppelgänger invites audiences to return to it and ruminate on its allegorical themes well afterwards. Douglas was born in Vancouver, British Columbia, in 1960. His work has been exhibited at venues worldwide, including the Hasselblad Center, Gothenburg; Pérez Art Museum Miami; Salzburger Kunstverein, Salzburg, Austria; Carré d’Art - Musée d’Art Contemporain, Nîmes; Haus der Kunst, Munich; Hayward Gallery, London; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Walker Art Center, Minneapolis; and Solomon R. Guggenheim Museum, New York. His work is held in the collections of museums such as the Art Gallery of Ontario; National Gallery of Canada, Ottawa; Vancouver Art Gallery; Centre Georges Pompidou, Paris; Israel Museum, Jerusalem; Los Angeles County Museum of Art; and Tate, London. He received the 2016 Hasselblad Award and 2019 Audain Prize for the Visual Arts.Douglas will represent Canada at the 2022 Venice Biennale. The installation of Doppelgänger at Toledo Museum of Art is supported by season sponsor ProMedica with local support from presenting sponsors Susan and Tom Palmer and the Ohio Arts Council.
Suits of armor, and the warriors who wore them, have fueled the human imagination since they first appeared in the ancient world. The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum, explores how these compelling exoskeletons have been used in various forms around the globe, from antiquity to modern times. The Worcester Art Museum’s Higgins Armory Collection is the one of the largest collections of arms and armor in the United States.Full suits of articulated steel plates were made only briefly in Europe’s golden age of armor during the late Middle Ages and Renaissance. The exhibition examines how armor played an important role in the military, technological and cultural life of societies throughout history.The first section of the exhibition begins with ancient Greece, when stylish body armor expressed the warrior’s personal taste and social standing, while increasing his chances of survival on the battlefield. Section two details how, by the Middle Ages, knights with expensive iron coats of mail, as well as swords, lances and horses came to dominate the battlefield. Sections three and four examine the craft of armor-making as it evolved in several European cities and the innovation of armorers, who developed full suits of steel for a range of purposes, including wartime applications and ceremonial uses. The exhibition’s final two sections recount how the rise of firearms impacted armor design from 1500 to 1700, and that a renewed interest in medieval armor as collectibles developed in the 19th and 20th centuries.The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum is organized by the Worcester Art Museum and is sponsored locally by presenting sponsors Susan and Tom Palmer and Taylor Cadillac, as well as Exhibition Program sponsor ProMedica, with additional support from the McLoughlin Family Foundation and the Ohio Arts Council.