UPCOMING EVENTS
(L): Amulet in the Form of a Seated Figure with Bovine Head, c. 4700–2920 BCE. Northeast China, Neolithic period, probably Hongshan culture (4700–2920 BCE).; (R): Disc (bi) with Imperial Poem in Seal Script (zhuanshu) by the Qianlong Emperor, 1736–95. China, Qing dynasty (1644–1911), Qianlong reign (1736–95)
Materiality and Mystery in Chinese Art
Saturday, May 10 from 10am-12pm
John C. and Sally S. Morley Family Foundation Lecture Hall
Free; Ticket required
We are pleased to present this workshop on Materiality and Mystery in Chinese Art with presentations and discussion led by scholars Lukas Nickel, Professor of Art History of East Asia, University of Vienna, Austria, and Jenny F. So, Former Senior Curator of Ancient Chinese Art, National Museum of Asian Art, Washington, DC.
To learn more and register, click here.
Jade: China’s Enduring Obsession
Saturday, May 10 from 2-3pm
Suzanne and Paul Westlake Performing Arts Center
Free; Ticket required
In the afternoon, we will present our annual Distinguished Lecture in Chinese Art, featuring Dr. Jenny F. So. She will explore how jade rose to become the most revered material in Chinese culture—from the enigmatic jades buried across China over 5,000 years ago, to princes entombed in jade suits within jade-studded coffins, to the jade-inlaid Olympic medals awarded in 2008.
To learn more and register, click here.
ONGOING EXHIBITIONS
Arnold Chang (American, b. 1954), Secluded Valley in the Cold Mountains 寒山幽谷, 2008, handscroll; ink on paper, painting section: 23 5/8 x 136 5/8 in.(60 x 347 cm), John L. Severance Fund 2024.69 © Arnold Chang
Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions 張洪山水畫回顧展
March 8 – November 9, 2025
This installation reviews the artistic career of Arnold Chang (张洪) (Zhang Hong, American, born 1954) and celebrates the museum’s recent acquisition by Chang, Secluded Valley in the Cold Mountains, a pivotal work that marks his breakthrough as an international contemporary ink artist. Showcasing 18 works by the artist, plus the CMA’s Number 5, 1950 (1950) by Jackson Pollock, the exhibition explores Chang’s formative years, which eventually culminate in free and exploratory ways that include the use of photography and color.
Shahzia Sikander: Collective Behavior
February 14 – June 8, 2025
Shahzia Sikander: Collective Behavior premiered at the Palazzo Soranzo van Axel in Venice where it is on view April 20–October 20, 2024. Co-organized by the Cleveland Museum of Art and the Cincinnati Art Museum, Collective Behavior is a Collateral Event of the 60th International Art Exhibition—La Biennale di Venezia and is the most comprehensive presentation of the artist’s work to date. In conjunction with the Venice exhibit, we presents Sikander’s art in relation to South Asian objects from the museum’s collection that have inspired her. This exhibition offers a narrative that the CMA is uniquely suited to share: it carries forward in time the rich histories that are encompassed in the museum’s renowned South Asian collection. Simultaneously, it situates contemporary artistic practice in relation to the global history that precedes it. The Cincinnati Art Museum concurrently offers a comprehensive presentation of the artist’s career to date.
Contemporary Calligraphy and Clay
June 7, 2024 – June 15, 2025
Calligraphy and ceramics are two major art forms in Japanese culture. They have historically been appreciated together, often paired in spaces called tokonoma, or simply toko, a term that can be translated as “display alcove.” For centuries, people have hung calligraphy or paintings on the wall of a toko and placed ceramics, lacquers, or metalworks on the deck to create a particular mood for an occasion. Traditional reception rooms, living rooms, guest rooms, and teahouses, places where people hold small, significant gatherings, often feature toko. While toko are less common in newer architectural structures due to various factors, including limited space and a shift away from floor culture, today’s artists continue to create with them in mind but also increasingly envision new environments for their works. This installation considers the bond of calligraphy and clay through contemporary artworks set in the modern space of the museum gallery.
The two couples reach a foreign city where they make their home, from a Tuti-nama (Tales of a Parrot): Thirty-third Night, c. 1560. Mughal India, court of Akbar (reigned 1556–1605). 1962.279.222.b
Indian Painting of the 1500s: Continuities and Transformations
March 7 – September 7, 2025
When the 1500s began, the dominant style of Indian painting was flat and abstract with a limited, mainly primary color palette. By the 1520s, a new style emerged with greater narrative complexities and dramatic energy that was to be foundational for later developments. Concurrently, some artists began working in the pastel palette and with delicate motifs reinterpreted from Persian art. Then, around 1560, with the exuberant patronage of the third Mughal emperor Akbar (born 1542, reigned 1556–1605), artists from different parts of the empire and trained in a variety of Indian styles came together in a new imperial painting workshop. The workshop was led by Persian masters brought from the imperial court in Iran. The formation of Mughal painting shaped by Akbar’s taste for drama and realism had a lasting impact on the cultural life of India. With its naturalism and vibrant compositions, the revolutionary new style was distinct from its predecessors, both Indian and Persian. The paintings in this gallery trace the dramatic changes that occurred during the 1500s alongside compositions that artists chose to retain and reinvent. Central to this story is a manuscript of the Tuti-nama (Tales of a Parrot), an illustrated collection of fables made for Akbar around 1560–65 now in the Cleveland Museum of Art.
Reinstallation of Krishna Lifting Mount Govardhan
October 12, 2024 – November 2, 2025
The monumental sculpture of Krishna Lifting Mount Govardhan returns to the permanent collection galleries for the first time since its new reconstruction was completed in 2021. To complement this major addition, 13 stone and bronze works from India, Cambodia, and Indonesia are also brought out for display.
Juxtaposition and Juncture in Korean Modern and Contemporary Art
March 21, 2025 – April 1, 2026
The term “juxtaposition” here refers to the placement of two or more artworks that are significantly different from one another side by side. Featuring Korean modern and contemporary objects that the CMA has collected over the past 15 years, this thematic exhibition juxtaposes them to create an exciting juncture of connections through their visual and material contrasts. While the selected works were created by Korean artists from diverse backgrounds and different generations, they make a poignant meeting place illustrating how objects from the past inspired contemporary artists to create new experiences and artistic expressions.
To learn more about all these exhibitions and more, click here.
