Fall 2019
MAGAZINE
FROM THE DIRECTOR
WE’RE GEARING UP FOR AN EXCITING FALL. We’re over the moon about our newly named Tisch Apse in Alumni Memorial Hall, renamed to celebrate a wonderful gift of endowment support for UMMA exhibitions from Lizzie and Jon Tisch. Their gift makes possible our ongoing commitment to great exhibition making. At the other end of the building, we’ve also just opened UMMA Cafe! It’s been humming with life all summer, and we have big plans for it—music, talks, and of course really great coffee. Come by and check it out.
Lizzie and Jonathan Tisch—Energizing UMMA’s Exhibitions Program LIZZIE (AB ’94) AND JONATHAN TISCH, a couple committed to higher education and advancing the arts, have donated over $2.8 million to enhance and develop UMMA’s exhibitions program, ensuring that it can continue to be a center of ambitious exhibition making and interdisciplinary thinking. The Lizzie and Jonathan Tisch Museum Fund will provide essential, ongoing support for exhibitions and programs that challenge and inspire UMMA’s highly diverse public; in recognition of their gift, UMMA will name the apse of Alumni Memorial Hall the Lizzie and Jonathan Tisch Apse.
Our big thrust this fall is the launch of our multi-year initiative Openings, an out-loud, in public, and behind-the-scenes transformation of the Museum. Openings is centered on big questions— posed in the galleries, in public programs, and in a year-long strategic planning process that will shape our work. What’s the campus museum of the future? How do we knit together our commitments to challenging, exciting visual art, both present and past; in-depth interdisciplinary research; and a broad, diverse public? How do we re-display and re-program our encyclopedic collections to lay bare and grapple with questions on exclusion and representation, and the histories of such collections in museums?
“Jon and I are thrilled to support UMMA and arts engagement at U-M,” said Lizzie Tisch. “We believe that providing opportunities for students to engage with art during the formative years of their university experience is essential to their development as global citizens.”
We’ll kick it off this month with the debut of our gallery-of-the-future ArtGym, featuring an exhibition experiment in crowd-sourced acquisitions in which all of YOU get to decide what we should bring into the collection, and why. We’re also really excited to debut our first-ever commission in the Vertical Gallery, by artist Meleko Mokgosi who will be on campus installing and making the work August 26 and 27 and September 20 through 23.
UMMA aims to develop exhibitions on a global scale that contribute to the academic vitality at U-M and have deep connections to the University’s curriculum, student interests, and current events. “Lizzie and Jonathan’s transformative gift will allow UMMA to strengthen an exhibition program that stimulates groundbreaking research and collaborations across diverse disciplines—inspiring creativity and new thinking,” said UMMA Director Christina Olsen.
UMMA’s investigations into art and why it matters in this moment are occurring on the wider campus, too: the Museum and the President’s Office collaborated on a year-long rethinking of the University’s commitment to public art on campus that culminates this fall in a new direction. Stay tuned for more information on that plan and our own strategic planning process and how you might join us in that. Happy fall!
COVER: Meleko Mokgosi, Acts of Resistance, 2018, oil on canvas. Courtesy the artist. © Meleko Mokgosi
UMMA AFTER HOURS: FALL OPENING Saturday, September 21, 7–10 p.m. Celebrate the naming of the Lizzie and Jonathan Tisch Apse and an exciting new season at UMMA! Live music, gallery talks, food, and more!
Christina Olsen UMMA Director
LEAD SPONSOR
MEDIA SPONSOR
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ANNOUNCING THE LAUNCH OF
OPENINGS
THIS FALL UMMA LAUNCHES OPENINGS, a broad-based initiative that reimagines critical spaces across the Museum, offering them up to artists, campus partners, and our public to claim as their own and rethink. Openings is the outward expression of a reenvisioning of the university museum—its role, shape, values, and topics. It will unfold over several years, in the form of exhibitions, commissions, public programs, and courses. Here’s what’s on tap for Openings this fall:
ArtGym As we actively imagine the campus museum of the future, we’re launching ArtGym—a gallery space off of the Tisch Apse, dedicated to exploring new forms and practices of an art museum. We’re interested in working out new ideas about museums and the forms they take, and testing new collaborations with the public and the campus. How does the public interact with our collection? Why do we acquire some works of art and not others? Could the museum gallery resemble and behave instead like other “forms” of the university: the stage, laboratory, or classroom? Read about our first exhibition in ArtGym on p.10—you’ll help us select photographs for our permanent collection.
Witt Artist-in-Residence at UMMA: Courtney McClellan U-M’s Stamps School of Art & Design awards the Roman J. Witt Residency annually to a visiting artist who develops a new work in collaboration with students and faculty. This year UMMA is a major partner in the program: our glass-walled Stenn Gallery will serve as the resident’s installation and workspace, allowing audiences to observe and participate in the creation of the work.
New Biennial Commission Program For the first time since its founding in 1946, UMMA is initiating an ongoing, biennial commission program for new art. The program will unfold in the Museum’s most iconic public spaces—the Vertical Gallery and the Lizzie and Jonathan Tisch Apse—every two years. The commission program brings the practices and concerns of living artists in direct and close contact with the Museum’s spaces, collections, and publics. In multiple ways, faculty, students, and the public will collaborate with the artists and witness their work as they’re making it. UMMA’s first commission is by artist Meleko Mokgosi, pictured here. Read more about his work on p. 6.
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Courtney McClellan, an artist and writer currently on the faculty of the University of Georgia, has been named the 2019-20 Witt Resident. For her project, she’ll create Witness Lab, a courtroom installation to be used as a venue for mock trials, staged readings, and other performances, documented via drawing, text, photography, and video by U-M students. It will be on view at UMMA in Winter 2020 (dates TBD).
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AUGUST 26, 2019–FALL 2021
PAN-AFRICAN PULP PAN-AFRICAN PULP is a large-scale installation by Meleko Mokgosi, the Botswanaborn and now Brooklyn-based artist. For UMMA’s inaugural commission—installed in the Vertical Gallery— Mokgosi explores the history of Pan-Africanism, the global movement to unite ethnic groups of subSaharan African descent, and its links to African liberation movements. Mokgosi’s installation features four elements: a massive wall of large-scale panels inspired by African photo novels of the 1960s and ’70s; a mural examining the complexity of blackness, which he will paint on site (Sept. 20–23); a selection of posters from Pan-African movements founded in Detroit and Africa in the 1960s; and stories from Setswana literature told through wall texts. Videos of students interpreting these stories will be accessible with a QR code. The installation is vividly inspired by Detroit’s deep history of activism, where organizations such as Black Nation of Islam, The Republic of New Afrika, Shrine of the Black Madonna (Black Christian Nationalism), Pan-African Congress, and United Negro Improvement Association were founded. In the last five years, Pan-Africanism has experienced a revival in Detroit, with such newly founded groups as New Era Detroit, Coalition for Black Struggle, and Change Agent Consortium, along with local chapters of Black Lives Matter and Black Youth Project 100. The renewed urgency for diversity and civil rights in Detroit, and the country as a whole, heightens the importance of Mokgosi’s project and
makes clear the deep connections between the historical movements and those developing today. With this project, Mokgosi explains that he “hopes to find meaningful ways of reconceptualizing the importance of a movement that sought to build alliances towards Black consciousness, and foregrounding the rights and aspirations of Africans to self-determination, and self-governance. There is no doubt about the injustices, inhumanity, exploitation, violence, and racism caused by and associated with the Euro-American slave trade, European imperialism in Africa, and institutionalized racism in the Americas; the effects of these are ongoing and reflected not only in cultural and geopolitical contexts but also in the very reproduction and circulation of capital. Detroit and its links to African liberation movements are key in understanding the history and promise of Pan-Africanism.” Mokgosi has been the subject of significant recent solo exhibitions at the Baltimore Museum of Art; Fowler Museum at UCLA; Williams College Museum of Art; and the Institute of Contemporary Art, Boston. His narrative installations feature paintings, sculptures, and texts that examine issues surrounding history, politics, popular culture, identity, and art. Ali Subotnick Guest Curator Lead support is provided by Lizzie and Jonathan Tisch. Additional generous support is provided by the University of Michigan African Studies Center.
ARTIST TALK presented by Penny W. Stamps Speaker Series and UMMA.
Saturday, September 21, 7:30 p.m. Helmut Stern Auditorium (During UMMA After Hours)
RIGHT: Meleko Mokgosi, Pan-African Pulp I (detail), 2019, digital print. Courtesy the artist. © Meleko Mokgosi
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THROUGH JANUARY 5, 2020
COPIES AND INVENTION IN EAST ASIA COPYING IS THE MOTHER OF CREATION. IT IS THE ONLY AND TRUE MOTHER. IT WAS ONLY A WHIM OF MODERNISM THAT SEPARATED THE TWO. Hideo Kobayashi (literary critic, 1902–1983) COPIES AND INVENTION IN EAST ASIA challenges our understanding of originality, presenting copying, borrowing, and appropriating as acts of imaginative interpretation. For centuries, these acts have been crucial to generating novel modes of art in China, Japan, and Korea. The exhibition includes burial goods that conjure a world for the deceased; Buddhist sculptures produced in multiples to amplify religious experience and meaning; paintings in which a master’s brushstrokes are faithfully duplicated as a way of shaping the self; and contemporary works that address multiplicity and duplication in the modern and post-modern era. In the sixth century, Chinese painter and art historian Xie He proposed that copying from life and the works of past masters was the first of six steps to becoming a great painter. In Edo period (1615–1868) Japan, literati-style painters avidly copied Chinese models in order to grasp a work’s essence. Artist Yamamoto Baiitsu’s Blossoming Prunus Branch, after Wang Mien (1847) is a painstaking reproduction of not just the brushstrokes, but the inscriptions and seals on a painting by Wang Mien (China, 1287–1359), known as the greatest painter of plum trees in Chinese history. Recreating the painting helped him to appreciate Wang Mien’s refined sensibility and establish his own style. Xu Zhen often plays with the idea of copying with a keen awareness of his identity as a contemporary Chinese artist working in the globalized art world. In Eternity-Aphrodite of Knidos, Tang Dynasty Sitting Buddha (2014), he challenges binaries of copy and original, sacred and profane, East and West. The sculpture combines reproductions of cult statues from ancient Greece and Tang dynasty China (618–907). Through an absurd juxtaposition—they are literally crushed head to head—the artist suggests that the notion of East meeting West, often invoked in discussions of globalization, embodies a disruptive clash rather than a harmonious mingling of cultures. This work was produced under the name Xu Zhen®, the registered brand of the MadeIn Company, which ironically references the phrase “Made in China” and its implication of cheap copies. By presenting the sculpture as a commercial product, Xu Zhen offers a pointed commentary on the current art market, where price seems to determine artistic value. Natsu Oyobe Curator of Asian Art Lead support for this exhibition is provided by the University of Michigan Office of the Provost, Michigan Medicine, Lieberthal-Rogel Center for Chinese Studies, Center for Japanese Studies, Nam Center for Korean Studies, School of Information, and College of Engineering. Additional generous support is provided by the University of Michigan Fabrication Studio at the Duderstadt Center, the Department of Asian Languages and Cultures, and SeeMeCNC 3D Printers.
XU ZHEN®, Eternity-Aphrodite of Knidos, Tang Dynasty Sitting Buddha, 2014, glass fiber-reinforced concrete, marble grains, sandstone grains, mineral pigments, steel. Courtesy of James Cohan Gallery, New York © Xu Zhen
LEAD SPONSOR
Yamamoto Baiitsu, Blossoming Prunus Branch, after Wang Mien, 1847, hanging scroll, ink on paper. University of Michigan Museum of Art, Gift of Mr. and Mrs. C. D. Carter, 1970/2.156
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TRY IT YOURSELF! During the run of the show, grab some paper and pencils to try your hand at copying the masters—or just have fun drawing—in the galleries. Check in with an UMMA Navigator or at the UMMA Shop for supplies.
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SEPTEMBER 21, 2019–FEBRUARY 23, 2020
TAKE YOUR PICK: COLLECTING FOUND PHOTOGRAPHS COME HELP BUILD OUR COLLECTION of “ordinary” American twentieth-century photographs. Take Your Pick asks visitors to help us select photographs for our permanent collection. What belongs in a permanent collection, and why? Who and what should be represented in the Museum’s collection, and how should we decide? What will future visitors, students, and community members want to see and what will they think is important for the Museum to show and study from 20th-century American life? We’re interested in thinking with visitors about these questions, and giving them the final vote on what comes into the Museum, and what doesn’t.
VOTE FOR YOUR FAVORITE PICTURES: September 21, 2019–January 12, 2020 FINAL PUBLIC-SELECTED PICTURES ON VIEW: January 14–February 23, 2020
The exhibition consists of 1,000 amateur photographs on loan from Peter J. Cohen, who put together his private collection of 60,000 snapshots over decades of exploring flea markets in Europe and America and online. The images include scenes of daily life—personal milestones, new pets, family events, vacations—and all kinds of people, including parents, children, best friends, and strangers. In our current digital age, these pictures have particular significance as visual artifacts of the twentieth century, and of a technology—the analog camera, which is now largely defunct. They have become precedents for the personal, ubiquitous digital photographs we still make today. Until quite recently, art museums mostly overlooked and undervalued this form of photography, despite its large role within the long and diverse history of making images. But nearly everyone and everything shows up in these pictures and they were created and treasured by all kinds of people, rich and poor, experts and amateurs alike. With that in mind, it seemed critical to us that the public consider and decide for themselves what’s worth keeping at UMMA, what to set aside, and why it matters. This fall, make your voice heard in the selection process for this significant acquisition. Jennifer M. Friess Assistant Curator of Photography Support for this exhibition is provided by P.J. and Julie Solit and the University of Michigan Office of the Provost and Department of Film, Television, and Media. A selection of twentieth-century photographs from the collection of Peter J. Cohen.
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OCTOBER 12, 2019–JANUARY 26, 2020
MARI KATAYAMA IN PERFORMANCE ART INVOLVING TRAUMATIC INTERVENTION to the practitioner’s body, the viewer develops an intimate connection with the artist, whose exposed scars and pain usually are only shared with a partner, friend, family member, or physician. The work of Japanese artist Mari Katayama creates this intimacy, as she unflinchingly displays her own disabled body. Katayama was born in 1987 with a rare developmental condition; she had her legs amputated at the age of nine, and has only two fingers on one hand. Katayama began her art practice as a personal search for identity, after recognizing a deep gap between her own understanding of her physical condition and contemporary society’s simplistic categorizations of people with disabilities.
ABOVE: Mari Katayama, you’re mine #001, 2014, chromogenic print. © Mari Katayama. Courtesy of rin art association RIGHT: Mari Katayama, on the way home #005, 2016, chromogenic print. © Mari Katayama. Courtesy of rin art association
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Katayama treats her entire body, bodily parts, and prosthetics as “materials” to be arranged in photographs, read as soft sculptures, and decorated with lace, shells, and shiny objects. As the protagonist in intricately arranged narrative scenes, the artist invites the viewer to voyeuristically experience a private space developed from her imagination. Through the objectification and adoration of her own body, Katayama exposes anxieties that haunt many of us—disabled or nondisabled— living in an age obsessed with body image. Natsu Oyobe Curator of Asian Art
ARTIST TALK presented by Penny W. Stamps Speaker Series and UMMA. Thursday, October 10, 5:10 p.m. Michigan Theater, 603 E. Liberty Street, Ann Arbor
Lead support for this exhibition is provided by the University of Michigan Office of the Provost, the Center for Japanese Studies, and the Herbert W. and Susan L. Johe Endowment. Additional generous support is provided by the Susan and Richard Gutow Endowed Fund and the University of Michigan Institute for Research on Women and Gender and Department of Asian Languages and Cultures.
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NEW AT UMMA Walter Oltmann
September 21–November 17, 2019
WALTER OLTMANN WORKS WITH ALUMINUM WIRE that he weaves into elaborate freestanding sculptures or intricate two-dimensional “tapestries.” Inspired by historical southern African basketry techniques, Oltmann interprets these innovative practices for the 21st century. ABOVE: Walter Oltmann, Infant Skull II, 2015, aluminum wire. University of Michigan Museum of Art, Museum purchase made possible by the Director’s Acquisition Committee, 2016/2.7. Courtesy Goodman Gallery (Pyt) Ltd and the artist © Walter Oltmann
When Infant Skull II is viewed from afar, the shape of a skull emerges out of densely layered wires. In the context of South Africa, this motif is evocative of the Cradle of Humankind—a series of caves outside Johannesburg, where some of the oldest hominin fossils have been found. The
OPEN OFFICE HOURS with Director Christina Olsen BACK BY POPULAR DEMAND! UMMA Director Christina Olsen wants to chat with you about the Museum. Come say hello, share your reactions to recent exhibitions and changes, and bring your ideas of what you’d like to see at UMMA. Meet Tina in the new, comfortable UMMA Living Rooms in Alumni Memorial Hall. Dates and times as follows: 14
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circular outline of Infant Skull II reminds us of peering through a telescope or microscope, mimicking the act of looking closely and in great detail. Thanks to the generosity of the 2016 Director’s Acquisitions Committee, UMMA purchased this work to complement its collection of historical African art, reflecting its ongoing commitment to growing its holdings of contemporary art from the continent. Laura De Becker Helmut and Candis Stern Associate Curator of African Art
Thursday, Sept. 12, 12–1 p.m. Friday, Sept. 13, 3–4 p.m. Thursday, Sept. 19, 12–1 p.m. Friday, Sept. 20, 3–4 p.m. Thursday, Sept. 26, 12–1 p.m. Friday, Sept. 27, 3–4 p.m. Thursday, Oct. 3, 12–1 p.m. Friday, Oct. 4, 3–4 p.m. Thursday, Oct. 10, 12–1 p.m. Friday, Oct. 11, 3–4 p.m. Thursday, Oct. 17, 12–1 p.m. Friday, Oct. 18, 3–4 p.m. Check UMMA’s website for updates: umma.umich.edu
Connecting Writing and Art: Our Partnership with Ypsi Schools and 826Michigan EACH YEAR, MORE THAN 5,000 K-12 STUDENTS VISIT UMMA for tours that educate and delight, encouraging them to make personal connections with art that facilitate self-discovery. We traditionally host large numbers of students from Ann Arbor and western Washtenaw County, but recently we’ve taken steps to broaden our reach to underserved school districts, too.
encouraging them to be comfortable in the Museum and gain confidence in their ability to interact with art. The docents also have time to introduce more aspects of the Museum’s enjoyment and wonder. Mickel noted, “I appreciate that the program encourages students to connect subject areas in a real-world way, and gives them an opportunity to creatively apply their learning.”
This past year, Ypsilanti Community Schools third grade classes—all ten of them—participated in a two-pronged field trip program to UMMA and 826Michigan, a local writing and tutoring center. It was piloted the previous year with 75 third graders at just one school, and based on its early successes UMMA received a U-M Diversity, Equity, and Inclusion Innovation Grant to further develop this pedagogically rich program. Additional recent support from the Harry A. and Margaret D. Towsley Foundation will allow us to continue working with the Ypsilanti schools and incorporate the program’s positive outcomes and strategies into our tours for other schools as well.
Many aspects of this multi-partner initiative have been incorporated by our docents into the Museum’s school tour program more broadly. The extended conversations enhance and amplify the significant educational experience for all student visitors. Aaron Padgen Soucy, who brought her fifth graders from Mitchell Elementary School for a tour inspired by the Ypsilanti-826 program, called it “the best trip ever in terms of information, classroom connection, and student engagement.” She loved the slower pace which gave her students “more time to engage with the art, share their thinking, and have fantastic rich discussions.”
UMMA and 826Michigan collaborated with Kelly Mickel, Principal at Erickson Elementary School, on program development. On the field trip, students write about selected UMMA artworks at 826Michigan. They then visit the Museum where their tour proceeds in a deliberately slow manner,
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Heather Igloliorte is an Inuk scholar, curator, and art historian, leading the field of contemporary Inuit art curatorial practice and working to develop the next generation of Inuit leaders. On October 25, audiences will have the opportunity to hear her public talk during the 2019 Inuit Art Society Annual Meeting held on the last weekend of UMMA’s exhibition The Power Family Program for Inuit Art: Tillirnanngittuq. We had the chance to chat with Igloliorte to learn about what she’s been up to.
1 UMMA:
You were recently awarded a Social Sciences and Humanities Research Council of Canada grant worth almost C$2.5 million. What are your plans?
Heather Igloliorte: The grant supports a collaboration with approximately twenty university and community partners across Canada. Our collaboration is a training and mentoring program aimed at dramatically increasing the number of Inuit working in positions of leadership across the arts—visual arts, theatre, film, performance, archives, and art history, among others. This is critical because, for example, even though Inuit art is very well represented in museum collections, very few Inuit have ever held curatorial roles. There is a huge opportunity to increase Inuit participation in a variety of ways, but until now there have been a lot of barriers.
2 UMMA:
The Winnipeg Art Gallery will be opening the first ever Inuit Art Centre in 2020. You’re leading the curatorial team there. Can you tell us about what you’re working on?
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HI: Building on the idea of empowering Inuit to become leaders in the arts, I invited three other emerging curators—Krista Ulujuk Zawadski, Asinnajaq, and Kablusiak—to join me on the curatorial team. Together we are creating the inaugural exhibition for the new building. It will include the work of our ancestors and recent generations alongside that of the most forward-thinking Inuit artists at present, represent all regions of the Canadian Arctic and other circumpolar regions, and include a large variety of media. We want to show the world the depth and breadth of Inuit art, respecting those artists who have created a path for us and hinting at the directions yet to come.
THREE QUESTIONS FOR
HEATHER IGLOLIORTE
3 UMMA:
Your work is pushing the field forward in so many ways. How did you become interested in Inuit art history in the first place?
HI: I started out as an artist, and completed a Bachelor of Fine Arts with a Major in Painting and Drawing from Nova Scotia College of Art and Design. The summer after I graduated in 2004, I was involved in a devastating car accident that left me unable to paint. Not knowing what to do during my slow and painful recovery, I looked into studying Inuit art history; once I began graduate studies I became enthralled by the scholarship, but I also realized how few Inuit academics and curators there had ever been. So that is where my interest and passion for art history took hold. Heather Igloliorte’s talk is supported by the Power Family Program for Inuit Art, established in 2018 through the generosity of Philip and Kathy Power.
PUBLIC TALK, Inuit Art Futures Friday, October 25, 7:00 p.m. Helmut Stern Auditorium
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Susan Crumpacker Brown Deepens her Legacy at UMMA SUSAN CRUMPACKER BROWN (AB ‘63) has extended her deep commitment to UMMA with a new gift that will name the second-floor special exhibitions gallery in the Frankel Wing in memory of her mother—the Eleanor Noyes Crumpacker Gallery. Eleanor Crumpacker (AB ‘36) was deeply passionate about the University of Michigan, her family, and art. She spent many happy hours at the Art Institute of Chicago and loved to paint—encouraging her four daughters to paint as well.
UM M A CAF E
The newly established Eleanor Noyes Crumpacker Endowment Fund will benefit exhibitions and special programs and is the latest way that Susan and Bob (BSE ‘63) Brown are supporting the Museum. Their dedication ranges from grants that support education and community programming to a cornerstone gift during the UMMA expansion and renovation project that named the Albertine Monroe-Brown Study-Storage Gallery. Susan and Bob’s commitment to share the breadth of the Museum’s collections and exhibitions with the people of Michigan directly impacts UMMA’s K-12 teacher workshops and award-winning Meet Me at UMMA program, which provides a guided gallery experience for people with memory loss and their care partners. This latest gift, which marks a legacy of nearly two decades of philanthropy at UMMA, is further evidence of the Brown family’s extraordinary support of the arts at U-M.
UMMA CAFE OPEN NOW • BREAKFAST • GALLERY ROAST COFFEE • ARTISAN SANDWICHES • SALADS & MORE
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OPEN DAILY • 10 a.m.–3 p.m. (through Aug. 31) 8 a.m.–6 p.m. (starting Sept. 1)
VISIT THE UMMA SHOP 18
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GALLERY HOURS
The Power Family Program for Inuit Art: Tillirnanngittuq
Tuesday through Saturday 11 a.m.–5 p.m. Sunday 12–5 p.m.
THROUGH JANUARY 5, 2020
Closed Mondays
Copies and Invention in East Asia
BUILDING HOURS The Forum, Commons, and selected public spaces in the Maxine and Stuart
SEPTEMBER 21–FEBRUARY 23, 2020
Take Your Pick: Collecting Found Photographs
Frankel and the Frankel Family Wing are open daily 8 a.m.– 8 p.m. $10 suggested donation appreciated. CAFE HOURS 10 a.m.–3 p.m. (through Aug. 31) 8 a.m.–6 p.m. (starting Sept. 1)
OCTOBER 12, 2019–JANUARY 26, 2020
Mari Katayama THROUGH FEBRUARY 9, 2020
Abstraction, Color, and Politics: The 1960s and 1970s AUGUST 26, 2019–FALL 2021
Pan-African Pulp: A Commission by Meleko Mokgosi ONGOING
Collection Ensemble
UNIVERSITY OF MICHIGAN BOARD OF REGENTS: Jordan B. Acker, Michael J. Behm, Mark J. Bernstein, Paul W. Brown, Shauna Ryder Diggs, Denise Ilitch, Ron Weiser, Katherine E. White, Mark S. Schlissel, ex officio CONTRIBUTORS: Kathryn Beaton, Lisa Bessette, Lisa Borgsdorf, Laura De Becker, Katie Derosier, Jennifer Friess, Vera Grant, Susan Larsen, Erika Larson, Stephanie Rieke Miller, Natsu Oyobe, Sarah Taylor, Pamela Reister, Anna Sampson, Ali Subotnick, Carrie Throm EDITOR: Carrie Throm PHOTOGRAPHERS: Matisen Douglas, Charlie Edwards, Noam Galai, Mark Gjukich, David Lipnowski, Scott Soderberg/Michigan Photography, Stephanie Sutton GRAPHIC DESIGNER: Tish Holbrook
UPCOMING NOVEMBER 16, 2019–MAY 10, 2020
The Power Family Program for Inuit Art Reflections: An Ordinary Day JANUARY 25–MAY 17, 2020
Agoras: Works by Cullen Washington, Jr. WINTER 2020
Witt Residency at UMMA: Courtney McClellan Witness Lab