June Exhibitions and Event Listings for the Cleveland Museum of Art
- Press Release
Contact the Museum's Media Relations Team:
(216) 707-2261
marketingandcommunications@clevelandart.org
Events
Parade the Circle
Saturday, June 14, 2025, 12:00–4:00 p.m.
North Entrance
Free; No Ticket Required
Parade the Circle, one of Cleveland’s most impactful cultural events, is an annual art parade that fills Wade Oval with lively sounds and colors, featuring innovative costumes, giant puppets, and handmade masks created by artists, families, schools, and community groups. Watching the parade is free for all. The parade kicks off at noon at the north entrance of the Cleveland Museum of Art.
Individuals, families, schools, and neighborhood and community groups are all invited to participate. Create your parade entry on your own or at the Cleveland Museum of Art’s public workshops. For questions or more information regarding Parade the Circle 2025, email commartsinfo@clevelandart.org.
Magical Allure: A Vibrant Celebration of the Snowy Owl
Big changes in our lives are imminent, and as we search for answers, we undergo a process of deep exploration, seeking awareness and spiritual guidance.
In our journey, we encounter the magnificent snowy owl, a creature of innate wisdom and totemic symbolism, deeply rooted in various cultures and beliefs that encourage us to trust our inner instincts. Its white color symbolizes purity and represents light, brilliance, spirituality, and illumination.
When a snowy owl enters your domain or appears in your dreams, it is believed to signify good luck, good health, and prosperity.
We invite everyone to celebrate this mystical messenger, a creature that enchants us with its ethereal presence and silent flight.
Héctor Castellanos Lara, Lead Artist
Encanto Magico: Una vibrante celebración del búho nival
Los grandes cambios en nuestras vidas son inminentes y, a medida que buscamos respuestas, nos sometemos a un proceso de exploración profunda, en busca de conciencia y guía espiritual.
En nuestro viaje, nos encontramos con el magnífico búho nival, una criatura de sabiduría innata y simbolismo totémico, profundamente arraigada en diversas culturas y creencias que nos animan a confiar en nuestros instintos internos. Su color blanco simboliza la pureza y representa la luz, el brillo, la espiritualidad y la iluminación.
Cuando un búho nival entra en tus dominios o aparece en tus sueños, se cree que significa buena suerte, buena salud y prosperidad.
Invitamos a todos a celebrar a este mensajero místico, una criatura que nos encanta con su presencia etérea y su vuelo silencioso.
Solstice 2025
Saturday, June 21, 2025, 7:00–11:59 p.m.
South Terrace
Ticket Required
Solstice 2025 is sold out! Additional tickets may become available closer to the event. Join our email list to be among the first to know. Event goers can enter through the museum’s main lobby.
Major support for Solstice 2025 is provided by United Airlines. Additional support is provided by Apex Skin.
New This Month
Refocusing Photography: China at the Millennium
Sunday, June 8–Sunday, November 16, 2025
Mark Schwartz and Bettina Katz Photography Galleries | Gallery 230
Free; No Ticket Required
From 1949 to 1978, photography in the People’s Republic of China was reserved for governmental propaganda: Its function was to present an idealized image of life under Chairman Mao and communist rule. In 1978, as China opened to global trade and Western societies, photography as documentation, art, and personal expression experienced a sudden awakening. Personal photographic societies formed, art schools began teaching photography, and information on Western contemporary art became available.
In the late 1990s, a new generation of Chinese artists, many initially trained as painters, revolted against traditional academic definitions of photography. Building on the work done in the previous decades by Western artists, they dissolved the boundaries between photography, performance art, conceptual art, and installation. In so doing, they brought photography into the foreground in Chinese contemporary art. This exhibition presents works from the museum’s collection by eight key artists from that generation.
Born between 1962 and 1969, these artists grew up during the Cultural Revolution (1966–76), when conformity was required and past intellectual and artistic products—whether artistic, family history, or documentary—were banned and destroyed. They also experienced the cultural vacuum that followed this erasure. As adults, these artists lived in a radically different China—newly prosperous, individualistic, and consumerist. They helped develop a new visual idiom, producing artworks that addressed their country’s recent history, its swift societal transformation, and their own resultant shift in identity as Chinese.
This exhibition is made possible with support from the Seven Five Fund.
Vito Acconci: Centers
Through Sunday, September 7, 2025
Gallery 224B
Free; No Ticket Required
In Centers, Vito Acconci faces the camera head-on, attempting to keep his finger directed at the exact center of the screen, which displays his own image. In pointing at himself, the artist also points at the viewer, creating a tension between the two. Of the film, Acconci wrote, “The result (the TV image) turns the activity around: a pointing away from myself, at an outside viewer—I end up widening my focus onto passing viewers (I’m looking straight out by looking straight in).” Acconci started his career in the 1960s as a poet. By the end of the decade, he was a leading figure in the fields of performance, sound, and video art.
Practice and Play in Japanese Art
Friday, June 20, 2025–Sunday, November 30, 2025
Kelvin and Eleanor Smith Foundation Japanese Art Gallery | Gallery 235A
Free; No Ticket Required
From the 1200s to the 1800s, developing a balanced set of military (bu, 武) and cultural (bun, 文) skills was considered important for the elites of Japan’s warrior class. The artworks in this gallery relate to these divergent yet complementary pursuits. Horse riding and falconry were among the martial arts, along with archery. Poetry competitions tested people’s ability to compose verse on the spot, and incense games challenged them to identify particular scents. The practices of calligraphy, music, painting, and games of strategy, often informed by Chinese precedents, provided multiple paths to personal cultivation and community.
Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York
Through Sunday, May 10, 2026
Various Galleries
Free; No Ticket Required
The Cleveland Museum of Art houses an encyclopedic collection, giving visitors valuable insights and perspectives into the lives and cultures of people around the world and throughout time. To enhance its permanent collection and to more fully represent the stories and objects important to our communities, the museum is displaying art on loan from the Jewish Museum, New York, in six galleries.
Most of the works are ritual objects relating to Judaism or the lives of Jewish people, from silver Torah finials to an inlaid marble panel commemorating a marriage. The objects have been placed in context with other works of the same time or region, allowing a fuller narrative to unfold. As you encounter these objects in the galleries, we invite you to consider their relationships to the other works in these spaces.
In addition to the loans from the Jewish Museum, two examples of Jewish ceremonial art from local collections are on display in two additional galleries: an etrog box recently acquired by the Cleveland Museum of Art and a miniature Torah ark on loan from the Mishkan Or Museum of Jewish Cultures in Beachwood, Ohio.
Final Weeks
Shahzia Sikander: Collective Behavior
Through Sunday, June 8, 2025
Julia and Larry Pollock Focus Gallery | Gallery 010
Free; No Ticket Required
Shahzia Sikander: Collective Behavior premiered at the Palazzo Soranzo van Axel in Venice where it was on view April 20–October 20, 2024. Co-organized by the Cleveland Museum of Art and the Cincinnati Art Museum, Collective Behavior was a Collateral Event of the 60th International Art Exhibition—La Biennale di Venezia. This is the most comprehensive presentation of the artist’s work to date, bringing together nearly 40 pieces made over the past 35 years, including new site-specific drawings and glass works created for the exhibition.
For more than three decades, Shahzia Sikander (born 1969, Pakistan) has been animating South Asian visual histories through a contemporary perspective. Her work reimagines the past for our present moment, proposing new narratives that cross time and place. Working in a variety of mediums—paintings, drawings, prints, digital animations, mosaics, sculpture, and glass—Sikander considers Western relations with the global south and the wider Islamic world, often through the lens of gender and body politics. Her work is rooted in a lexicon of recurring motifs that makes visible marginalized subjects. At times turning the lens inward, Sikander reflects on her own experience as an immigrant and diasporic artist working in the United States.
In Venice, Collective Behavior revealed the evolution of Sikander’s practice since The Scroll, including new site-specific works that respond to the architecture and history of the Palazzo Soranzo Van Axel, the city of Venice, and its global impact on trade and artistic exchange. Rather than proceeding chronologically, this exhibition followed Sikander’s primary ideas and inquiries as they have taken form throughout her work, gaining power over time.
In Cleveland, the CMA 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: I0t 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.
Unfolding across continents, these three exhibitions—in Venice, Cleveland, and Cincinnati—offer multiple vantages for engaging with Sikander’s remarkable career. Shahzia Sikander: Collective Behavior is accompanied by a vividly illustrated catalogue featuring scholarly and poetic responses to the artist’s work.
Sikander’s artistic training began in Lahore, Pakistan, where she studied historic manuscript painting at the National College of the Arts (NCA). Following her acclaimed undergraduate thesis project, The Scroll (1989–90), she became the first woman to teach in the NCA’s prestigious miniature painting department. In 1993, Sikander moved to Providence, Rhode Island, to pursue graduate studies at the Rhode Island School of Design (RISD). After completing her MFA, Sikander moved to Houston, Texas, to participate in the Core Residency Program at the Museum of Fine Arts Houston’s Glassell School of Art from 1995 to 1997. She then moved to New York City, her primary base to date.
Major support is provided by the Malcolm E. Kenney Curatorial Research Fund. Additional support is provided by the Junaid Family Foundation and Herb and Jody Wainer.
The CMA’s role in organizing Collective Behavior in Venice was made possible with principal support by Rebecca and Irad Carmi and Lauren Rich Fine.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Contemporary Calligraphy and Clay
Through Sunday, June 15, 2025
Kelvin and Eleanor Smith Foundation Japanese Art Galleries | Gallery 235A
Free; No Ticket Required
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.
On-Site Activities
Lunchtime Lecture
The Art and Life of John Paul Miller
Tuesday, June 3, 2025, 12:00–1:00 p.m.
Gartner Auditorium, Suzanne and Paul Westlake Performing Arts Center
Free; Ticket Required
Speaker: Leslie Cade, Director of Ingalls Library and Museum Archives
Come to the CMA for a quick bite of art history. Every first Tuesday of each month, join curators, conservators, scholars, and other museum staff for 30-minute talks on objects currently on display in the museum galleries.
At once an artist, teacher, and craftsman, John Paul Miller personified a lifetime of creative expression. Orphaned at the age of two, he began taking Saturday morning classes at the CMA at the age of five and was entranced by the museum’s collection of gold and enamel boxes, and the rare 14th-century table fountain. His instructors included artists Paul Travis and Kenneth Bates. He considered stage design as a career but decided to continue his art studies at the Cleveland School of Art, now CIA. On the first day of classes, he was seated next to Frederick Miller, who became his lifelong partner in art. John Paul’s fascination with technique and process emerged in his groundbreaking rediscovery in the 1950s of granulation, an ancient yet forgotten way of fusing tiny gold beads to a gold surface without solder. This discovery led to the creation of intensely intricate works based on natural forms. The story of John Paul Miller’s life is filled with artistic collaboration, discoveries, partnerships, music, and travel.
Sensory-Friendly Saturday
Saturday, June 21, 2025, 9:00–10:00 a.m.
Free; No Ticket Required
Sensory-Friendly Saturday events offer adaptations to meet diverse sensory-processing needs every third Saturday of each month from 9:00 to 10:00 a.m. Guests on the autism spectrum, people experiencing dementia, and those of all ages who have intellectual or developmental disabilities are invited to participate in a calming museum experience with less stimulation in a section of the museum’s galleries before they open to the public—reducing crowds, noise, and distractions.
Guests can explore the galleries at their own pace and share this time and space with open-minded members of the community.
Things to Know While Planning Your Visit
- All guests must pass through metal detectors at the museum entrance.
- Attendees are encouraged to bring adaptive equipment, including wheelchairs, walkers, and noise-reducing headphones and technology. The Cleveland Museum of Art also offers a limited number of wheelchairs.
- The museum store and café open at 9:00 a.m. on these Saturdays.
- Sensory-Friendly Saturday events are free. Parking in the CMA garage is $14 for nonmembers and $7 for members.
- Once participants enter, they are welcome to stay for the day. The museum opens to the public at 10:00 a.m.
Karamu Artists Inc. from the Museum Archives
Tuesdays and Fridays Through Friday, June 27, 2025, 10:00 a.m.–4:50 p.m.
The Ingalls Library and Museum Archives, Larry Sears and Sally Zlotnick Sears Reading Room
Free; No Ticket Required
The CMA has had a long-standing relationship with Karamu House and its artists. In 1941, the museum held an exhibition titled Karamu House Work of Graphic Artists that featured many of the artists in the Karamu Artists Inc. exhibition (March 23–August 17, 2025). These artists also frequently exhibited in the museum’s annual May Show. Lantern slides of several of these past works are on view in the Ingalls Library from March 1 to June 27, 2025, during library hours.
Art and Conversation Tours
Tuesdays, 10:15–10:45 a.m.
Ames Family Atrium
Free; Ticket Required
Join us for 30-minute close-looking sessions, from 10:15 to 10:45 a.m. on Tuesdays. This program offers a focused look at just a couple of artworks, versus the traditional 60-minute public tours of the museum’s collection.
Open Studio
Sundays, 10:00 a.m.–2:00 p.m.
Ames Family Atrium
Free; No Ticket Required
Open Studio days provide free, drop-in art-making sessions designed for the whole family, encouraging creativity and bonding through hands-on activities.
Sonic Cosmic Rope Tours
Wednesdays and Sundays Through June 25, 2025, 10:30–11:30 a.m.
Ames Family Atrium
Free; Ticket Required
Discover the rhythm and resonance of art in this docent-led tour, where music and storytelling take center stage. Beginning with the captivating Sonic Cosmic Rope in the Korea Foundation Gallery (236), we explore how sound, movement, and myth intertwine in visual form. From musical instruments depicted in ancient artworks to scenes inspired by folktales and performance traditions, this tour reveals how artists have captured the spirit of music and storytelling across cultures and time. To schedule private tours for adult groups of 10 or more, please contact grouptours@clevelandart.org or call 216-707-2752.
Pride Month Tours
Each Sunday in June, 12:00–1:00 p.m.
Ames Family Atrium
Free; No Ticket Required
Celebrate Pride Month with guided tours featuring artworks by LGBTQ+ artists in the museum’s collection. The museum celebrates Pride Month in June and all year round. Learn about LGBTQ+ artists after 1900 in the museum’s collection in daily guided tours and Art and Conversation tours. To schedule private tours for adult groups of 10 or more, please contact grouptours@clevelandart.org or call 216-707-2752.
Daily Guided Tours
Tuesday–Sunday Weekly
Ames Family Atrium
Free; Ticket Required
Public tours are offered daily at 11:00 a.m. and 1:00 p.m., Tuesday through Sunday, and at 11:30 a.m. and 1:30 p.m. on Tuesdays. Art and Conversation Tours are offered at 10:15 a.m. on Tuesdays.
Date-Night Tours
Fridays, 6:15–7:15 p.m.
Ames Family Atrium
Free; Ticket Required
Explore the evolving world of romance with Dating Through the Ages, a unique tour tracing the art of courtship across centuries. From the elegance of ancient Greek vases capturing subtle flirtations to medieval carvings telling tales of chivalric love, this tour offers a glimpse into how courtship rituals have shifted over time. Experience the allure of Rococo paintings, where opulent attire and coded gestures hinted at romantic intentions, and learn the dating dynamics of Victorian England. Each piece tells a story of love and desire, offering a cultural journey through the art of attraction across civilizations and eras.
The museum also offers daily guided tours and Art and Conversation tours. To schedule private tours for adult groups of 10 or more, please contact grouptours@clevelandart.org or call 216-707-2752.
Continuing Exhibitions
The Bubon Statue Departs: Farewell Display of Monumental Ancient Bronze
Through Tuesday, July 8, 2025
Monte and Usha Ahuja Founders Rotunda
Free; No Ticket Required
This monumental ancient bronze statue of a draped figure of a man stands at the center of the Monte and Usha Ahuja Founders Rotunda. Acquired by the CMA with best intentions in 1986, the statue was recently deaccessioned for return to Türkiye after scientific tests showed that it likely once stood atop a stone pedestal at Bubon, an archaeological site in Lycia (now southwestern Türkiye). Its temporary display in the rotunda, made possible through the generosity of the Republic of Türkiye and the District Attorney of New York County, celebrates the mutual goodwill and recent cooperative research efforts undertaken on the statue and at Bubon. This is a positive outcome to a lengthy process, an opportunity to share new knowledge about this longtime visitor favorite and bid it farewell before its reunion with other large-scale bronze statues from Bubon. Four text panels accompanying the statue explore its creation, pose, dress, and identity; the archaeological site of Bubon; recent scientific analyses and results; and legal and ethical aspects.
Creation, Birth, and Rebirth
Through Sunday, July 27, 2025
Gallery 115
Free; No Ticket Required
The exhibition explores some of the fundamental moments in the sacred narratives of the medieval world: the creation of the universe, the birth of its gods and its humans, and visions of the end of life conceived as a new beginning. The exhibition asks a series of questions: How was the creation of the world imagined in different religions? How were the creators of that world visualized in several religious cultures? How were ideas about conception, incarnation, and birth depicted in the objects created by these cultures? How did they perceive the difference between birth and creation, and the connections between death and rebirth? What parallels were drawn between miraculous and everyday births? How did religious teachings on reincarnation and resurrection manifest in medieval material culture? What, more broadly, was the role of images in making sense of the universe?
The objects in the exhibition span from the 800s to the 1500s, drawn from several collections in the Cleveland Museum of Art, including medieval art, Chinese art, Indian and Southeast Asian art, art of the Americas, and prints and drawings, offering possibilities of forging connections across cultures and geographies.
The exhibition is a culmination of several years of collaboration between the medieval art program at Case Western Reserve University and the Cleveland Museum of Art, made possible by the support of the Mellon Foundation.
Karamu Artists Inc.: Printmaking, Race, and Community
Through Sunday, August 17, 2025
James and Hanna Bartlett Prints and Drawings Galleries | Galleries 101A–B
Free; No Ticket Required
The graphic arts played a groundbreaking role at Cleveland’s Karamu House, one of the nation’s preeminent Black community art centers. Initially founded as a settlement house in 1915, Karamu House became one of the best-known sites for Black American culture. Although noted today for its theater program, the institution housed a printmaking workshop beginning in the 1930s, where artists and community members alike—including a young Langston Hughes—could experiment with various techniques, playing on printmaking’s fundamental accessibility and democracy. This exploration led to the foundation of Karamu Artists Inc., a group that counted some of the most recognized Black printmakers of the Works Progress Administration (WPA) era—such as Elmer W. Brown, Hughie Lee-Smith, Charles Sallée, and William E. Smith—among its members. While a landmark 1942 traveling exhibition celebrated these printmakers’ expression of collective and personal identity, this exhibition is the first to place Karamu Artists Inc. and its innovative use of the graphic arts within the broader context of American art during the 1930s and ’40s, such as the WPA and the legacy of the Harlem Renaissance.
Karamu Artists Inc. presents more than 50 prints created by the group’s members, including works from the museum’s collection as well as important loans from local and national institutions. It is accompanied by a richly illustrated catalogue, featuring essays by leading scholars of Black American art.
This exhibition is made possible with support from the M. E. and F. J. Callahan Foundation, the Malcolm E. Kenney Curatorial Research Fund, and Anne T. and Donald F. Palmer.
Takashi Murakami: Stepping on the Tail of a Rainbow
Through Sunday, September 7, 2025
The Kelvin and Eleanor Smith Foundation Exhibition Hall and Gallery
Discover an incredible new exhibition of works from a Japanese artist known for his unique style that simultaneously honors the rich tradition of Japanese art and deploys the cultural energies of anime, manga, otaku, and kawaii in singular contemporary artworks. Visitors can explore how—after shared historical events and trauma—art can address crisis, healing, outrage, and escapist fantasy. In addition to works more than 30 feet wide on view, the centerpiece of the exhibition is the re-creation of the Yumedono, or Dream Hall, from Nara’s Hōryūji Temple complex in the Cleveland Museum of Art’s magnificent atrium. The museum’s deep holdings of Japanese art lead you even more profoundly into the exhibition’s themes. Originating at the Broad in Los Angeles, Takashi Murakami: Stepping on the Tail of a Rainbow is presented with expanded scope at the CMA.
The artwork presented in this exhibition was made in response to three events: the atomic bombings of Hiroshima and Nagasaki by the United States in 1945 during World War II; the March 11, 2011, Tōhoku earthquake and tsunami, the most powerful earthquake ever recorded in Japan, which also caused the Fukushima Daiichi nuclear accident; and the COVID-19 pandemic, which began in 2019. Murakami uses his art to interpret these historical events and their lasting effects. The works explore topics such as how people may change when they are experiencing trauma, how historical events may have caused outpourings of creative and religious fervor, and how art addressing contemporary obsessions as diverse as gaming, the metaverse, trading cards, street fashion trends, anime, and manga can be an entry point to engaging the past.
Art can respond to disaster. Like religion, it can work through crisis and register experiences expressed (and sometimes coded) by and through form. Like religion, art can be a mass phenomenon, a gathering around compelling ideas. It can address crisis directly, offering healing, outrage, or catharsis. It can also offer escapist fantasy. Murakami’s likening of gaming and other forms of entertainment to religion speaks of a spirit of a sort, of collective activities where societal energies are expended, developed, and ritualized.
In the wake of the pandemic, through planning an exhibition at the Kyocera Museum of Art, Murakami turned the lens of his artwork onto the city of Kyoto as both the keeper of many of Japan’s cultural traditions—including ikebana, Kabuki theater, geisha and teahouse traditions, and monumental screen painting—and a site of shifting power structures of religion and politics, both imperial and warrior. Selections of this new work join the exhibition and, newly aligned with Cleveland’s deep holdings of Japanese art, allow the exhibition to go even deeper into its original themes.
The Yumedono in Nara is believed to occupy the same location as the home of Shōtoku Taishi, who converted his father, Emperor Yōmei, into accepting Buddhism after calling for the intercession of Buddha to cure the emperor of an illness. Shōtoku plays a profound role in the history of Japan and has been the focus of powerful religious cults throughout Japanese history. The Yumedono houses the Kuse Kannon (a likeness of Shōtoku), believed to have the power to save people from suffering. Murakami’s re-creation of the Yumedono houses four paintings—Blue Dragon, Vermillion Bird, White Tiger, and Black Tortoise (all from 2024)—that directly present and mine the city of Kyoto through its many overlapping mythologies and traditions.
While it may seem counterintuitive to house four paintings addressing the founding of Kyoto in a historic building from Nara, in doing so, Murakami is creating a powerful meditation on the connection between mythology and art to political power, as well as the hybridity and pliability of Japanese cultural traditions. In moving the imperial capital of Japan to Kyoto in the eighth century, Emperor Kanmu intended to extricate his court from the clerical power structures of Nara. However, to do so, an emphasis was placed on Shōtoku’s role in the area, a necessary alignment with one of Japan’s central figures and heroes. In Kyoto, the Rokkakudō Temple—also founded by Shōtoku and said to enshrine the Nyoirin Kannon, an amulet found by Shōtoku as a child, which is also said to have healing powers—would become an important site of religious pilgrimage, and Kyoto would go on to become both a political and importantly a religious center of Japan.
In placing his Kyoto paintings in the Yumedono, rooting them in Shōtoku’s legacy of healing through the veneration of devotional objects, Murakami testifies to the nature of art and its capacity to align cultural energies, both for individuals and for Japanese society.
Starting on Friday, May 30, docents are available on Fridays, Saturdays, and Sundays from 2:00 to 4:00 p.m. throughout the exhibition to answer questions and provide background information on the artworks. This service is free to all visitors in the exhibition.
This exhibition is presented by Akron Children’s.
Major support is provided by the Womens Council of the Cleveland Museum of Art. Generous support is provided by Yuval Brisker and by the Gottlob family in loving memory of Milford Gottlob, MD. Additional support is provided by Mrs. Viia R. Beechler, GFP Private Wealth, Kenneth H. Kirtz and family, and Frank and Fran Porter.
From the Earth Through Her Hands: African Ceramics
Through Sunday, September 21, 2025
Gallery 108A
Free; No Ticket Required
African women have worked in ceramics for millennia, yet their accomplishments are underexhibited compared to male artists who sculpted in wood. This rotation considers key western, central, and eastern African ceramics spanning the first through 20th centuries. Three themes highlight their makers’ technical and aesthetic accomplishments: inspiration and instructors; idealized portraits; and practical beauty. The intimate presentation illuminates the deeply historical practice of African women working in ceramics and considers connections between functional and display (“fine art” ceramics). It highlights the technical, training, and aesthetic links among 20th-century female African artists working in ceramics. One of the 10 works is newly acquired (a mid-20th-century bowl by renowned Nigerian ceramicist Ladi Kwali OON MBE), while others have not recently been on view or are being exhibited for the first time.
Arts of the Maghreb: North African Textiles and Jewelry
Through Sunday, October 12, 2025
Arlene M. and Arthur S. Holden Gallery | Gallery 234
Free; No Ticket Required
This exhibition spotlights the rich artistic traditions of Morocco, Algeria, and Tunisia during the late 1800s and the early 1900s, through a display of elaborate textiles and fine jewelry in the collection of the Cleveland Museum of Art. These works introduce the specialized skills of North African artists, both Amazigh (Berber) and Arab, Muslim and Jewish, and the diverse aesthetics of their multifaceted communities. The CMA’s founder J. H. Wade II began forming the collection during his personal travels across the region, and many works are on view for the very first time.
This exhibition is made possible with support from the Malcolm E. Kenney Curatorial Research Fund and Anne T. and Donald F. Palmer.
Reinstallation of Krishna Lifting Mount Govardhan
Through Sunday, November 2, 2025
Gallery 243 | Nancy F. and Joseph P. Keithley Gallery | Gallery 244
Free; No Ticket Required
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.
Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions
Through Sunday, November 9, 2025
Clara T. Rankin Suite of Chinese Art Galleries | Gallery 240A
Free; No Ticket Required
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.
Native North American Textiles and Works on Paper
Through Sunday, December 14, 2025
Sarah P. and William R. Robertson Gallery | Gallery 231
Free; No Ticket Required
On display from the permanent collection are two Diné (Navajo) textiles from the late 1800s, as well as a watercolor from the 1930s made by Oqwa Pi, a member of the San Ildefonso Pueblo.
Ancient Andean Textiles
Through Sunday, December 14, 2025
Jon A. Lindseth and Virginia M. Lindseth, PhD, Galleries of the Ancient Americas | Gallery 232
Ancient Andean weavers created one of the world’s most distinguished textile traditions. This installation features examples utilizing the tapestry technique, particularly esteemed in antiquity.
Indian Painting of the 1500s: Continuities and Transformations
Through January 11, 2026
Gallery 242B
Free; No Ticket Required
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.
Juxtaposition and Juncture in Korean Modern and Contemporary Art
Through April 1, 2026
Korea Foundation Gallery | Gallery 236
Free; No Ticket Required
The term “juxtaposition” here refers to the side-by-side placement of two or more artworks that are significantly different from one another. 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.
Transformer Station
1460 W 29th St, Cleveland, OH 44113
CMA Artists at Work
Friday, June 6–Sunday, August 3, 2025
Free; No Ticket Required
CMA Artists at Work renews a long-standing CMA tradition of showcasing work from the breadth of local artists who work for the CMA.
The mission of the CMA is to fulfill its dual roles as one of the world’s most distinguished and comprehensive art museums and one of Northeast Ohio’s principal civic and cultural institutions. With a total staff of more than 450, the museum is proud to present this exhibition featuring the talent of staff from all areas of the museum.
CMA Artists at Work is organized by the CMA’s exhibitions department.
CMA Community Arts Center On-Site Activities
2937 West 25th Street, Cleveland, OH 44113
Free Parking in the Lot off Castle Avenue | Estacionamiento gratis en la Avenida Castle
Comic Club | Club de Cómic
Saturday, June 7, 2025, 11:00 a.m.–1:00 p.m.
Free; No Ticket Required
Be inspired and venture into the world of storytelling with artist Kobe Saunders. Work in the company of others to develop your own style and collaborate!
Explore the long history of sequential art through various genres and cultures including newspaper comic strips, American superhero comics and graphic novels, Japanese manga, and media adaptations (film and television) of these stories. Practice techniques to improve drawing and storytelling skills with a focus in character design, visual language, and panel structure.
Inspírate y aventúrate en el mundo de la narración de historias con el artista Kobe Saunders. ¡Trabaja en compañía de otros para desarrollar tu propio estilo y colaborar!
Explora la larga historia del arte secuencial a través de varios géneros y culturas, incluidas las tiras cómicas de periódicos, los cómics y novelas gráficas de superhéroes estadounidenses, el manga japonés y las adaptaciones de medios (cine y televisión) de estas historias. Practique técnicas para mejorar las habilidades de dibujo y narración con un enfoque en el diseño de personajes, el lenguaje visual y la estructura de paneles.
Community Arts Center Open Studios | Estudios abiertos del centro de artes comunitario
Saturdays and Sundays, 1:00–4:00 p.m.
Free; No Ticket Required
Enjoy free, drop-in art making. A monthly theme connects community, art, and exploration. In celebration of Asian American, Native Hawaiian, and Pacific Islander Month, join us during the month of May and help us build a flower wall, inspired by the work of Takashi Murakami: Stepping on the Tail of a Rainbow!
Disfrute el arte con toda la familia. Gratis para participar. Cada mes presenta una temática connectando el arte, la comunidad y la exploración. Para celebrar el Mes de los Asiático-Americanos, los Nativos Hawaianos y los Isleños del Pacífico, únase a nosotros durante el mes de mayo y ayúdenos a construir un muro de flores, inspirado en el trabajo de Takashi Murakami: ¡Pisando la cola de un arco iris!
Family FUNdays | Día de Alegria Familiar at the CAC
Monthly on the first Sunday, 1:00–4:00 p.m.
Free; No Ticket Required
Enjoy free family fun and explore art celebrating community. This monthly event features family-friendly games, movement-based activities, and art making, open to all ages and abilities! Join us in June to help create larger-than-life community masks led by artist Sylvia Munodawafa, in connection with cultural traditions, modern methods, and Parade the Circle.
Únase a nosotros para divertirse con familia cada mes, mientras exploramos el arte celebrando comunidad. Gratis para participar. Juegos para toda la familia, actividades basadas en movimientos, y creación de arte. ¡Abiertas a todos los edades y habilidades! Únase a nosotros en junio para ayudar a crear máscaras comunitarias más grandes que la vida dirigidas por la artista Sylvia Munodawafa, en conexión con las tradiciones culturales, los métodos modernos y Parade the Circle.
Yoga for All: Connecting, Mind, Body, and Community | Yoga para Todos: Conectando, Mente, Cuerpo y Comunidad
Monthly on each first Saturday, 12:00–2:00 p.m.
Free; Ticket Required | Gratis; Es Necesario Registrarse
Come one, come all, both short and tall, for free yoga at the Community Arts Center!
We invite our Cleveland-area families every first Saturday to come out for an afternoon of movement, fun, relaxation, and connection at the CAC! This free event is hosted by Cleveland Clinic yoga professional and Lululemon ambassador Valerie Williams, who guides you through a series of fun stretches, movements, games, and giveaways to brighten up your day! Practice yoga alongside your kids, parents, grandparents, aunts, uncles, or very best friends—all ages are welcome! Don’t worry if your little one might not stay quiet on their yoga mat—we encourage kids to have fun while they move, or they have the option to read or draw in our studios. Snacks and refreshments are provided for all children in attendance. Please join us after yoga for an art-making session with our amazing Community Arts Center staff.
Participants are encouraged to bring their own yoga mats. Limited mats are available. Email commartsinfo@clevelandart.org to reserve your spot.
¡Vengan uno, vengan todos, tanto bajos como altos, para practicar yoga gratis en el Centro de Artes Comunitarias! ¡Invitamos a nuestras familias del área de Cleveland cada primer sábado a salir a pasar una tarde de movimiento, diversión, relajación y conexión en el CAC! Este evento gratuito es presentado por la profesional de yoga de Cleveland Clinic y embajadora de Lululemon, Valerie Williams, quien lo guía a través de una serie de divertidos estiramientos, movimientos, juegos y obsequios para alegrar su día. Practica yoga junto a tus hijos, padres, abuelos, tías, tíos o mejores amigos, ¡todas las edades son bienvenidas! No te preocupes si tu pequeño no se queda callado en su esterilla de yoga: animamos a los niños a divertirse mientras se mueven, o tienen la opción de leer o dibujar en nuestros estudios. Se proporcionan refrigerios y refrigerios para todos los niños que asisten. Únase a nosotros después del yoga para una sesión de creación artística con nuestro increíble personal del Centro de Artes Comunitarias.
Se anima a los participantes a traer sus propias colchonetas de yoga. Hay colchonetas limitadas disponibles.
Envíe un correo electrónico a commartsinfo@clevelandart.org para reservar su lugar.
The Cleveland Museum of Art is pleased to present a variety of performing arts events. The views expressed by performers during these events are their own and do not necessarily reflect the opinions of the Cleveland Museum of Art.
The 2024–25 Performing Arts Series is sponsored by the Musart Society. This program is made possible in part by the Ernest L. and Louise M. Gartner Fund, the P. J. McMyler Musical Endowment Fund, and the Anton and Rose Zverina Music Fund.
Performances at Transformer Station are generously supported by the Cleveland Foundation.
All exhibitions at the Cleveland Museum of Art are underwritten by the CMA Fund for Exhibitions. Principal annual support is provided by Michael Frank and the late Pat Snyder, the Kelvin and Eleanor Smith Foundation, the John and Jeanette Walton Exhibition Fund, and Margaret and Loyal Wilson. Major annual support is provided by the late Dick Blum and Harriet Warm and the Frankino-Dodero Family Fund for Exhibitions Endowment. Generous annual support is provided by two anonymous donors, Gini and Randy Barbato, Cynthia and Dale Brogan, Dr. Ben and Julia Brouhard, Brenda and Marshall Brown, Gail and Bill Calfee, the Leigh H. Carter family, Dr. William A. Chilcote Jr. and Dr. Barbara S. Kaplan, Joseph and Susan Corsaro, Ron and Cheryl Davis, Richard and Dian Disantis, the Jeffery Wallace Ellis Trust in memory of Lloyd H. Ellis Jr., Leigh and Andy Fabens, Florence Kahane Goodman, Janice Hammond and Edward Hemmelgarn, Robin Heiser, the late Marta and the late Donald M. Jack Jr., the estate of Walter and Jean Kalberer, Eva and Rudolf Linnebach, the William S. Lipscomb Fund, Bill and Joyce Litzler, Lu Anne and the late Carl Morrison, Jeffrey Mostade and Eric Nilson and Varun Shetty, Sarah Nash, Courtney and Michael Novak, Tim O’Brien and Breck Platner, Dr. Nicholas and Anne Ogan, William J. and Katherine T. O’Neill, Henry Ott-Hansen, the Pickering Foundation, Christine Fae Powell, Peter and Julie Raskind, Michael and Cindy Resch, Marguerite and James Rigby, William Roj and Mary Lynn Durham, Betty T. and David M. Schneider, Elizabeth and Tim Sheeler, Saundra K. Stemen, Paula and Eugene Stevens, the Womens Council of the Cleveland Museum of Art, and Claudia Woods and David Osage.
The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture.
Education programs, exhibitions, and performing arts programs are supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
All education programs at the Cleveland Museum of Art are underwritten by the CMA Fund for Education. Principal support is provided by Dieter and Susan M. Kaesgen. Major annual support is provided by Brenda and Marshall Brown, David and Robin Gunning, Eva and Rudolf Linnebach, Medical Mutual of Ohio, Gail C. and Elliott L. Schlang, Shurtape Technologies, and the Kelvin and Eleanor Smith Foundation. Generous annual support is provided by an anonymous donor, Gini and Randy Barbato, the M. E. and F. J. Callahan Foundation, Dr. William A. Chilcote Jr. and Dr. Barbara S. Kaplan, Char and Chuck Fowler, the Giant Eagle Foundation, Robin Heiser, the late Marta and the late Donald M. Jack Jr., Susan LaPine, Bill and Joyce Litzler, the Logsdon Family Fund for Education, Sarah Nash, Courtney and Michael Novak, William J. and Katherine T. O’Neill, the Pickering Foundation, William Roj and Mary Lynn Durham, Betty T. and David M. Schneider, the Sally and Larry Sears Fund for Education Endowment, Roy Smith, Paula and Eugene Stevens, the Trilling Family Foundation, Jack and Jeanette Walton, and the Womens Council of the Cleveland Museum of Art.
###
About the Cleveland Museum of Art
The Cleveland Museum of Art (CMA) is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The museum is a significant international forum for exhibitions, scholarship, and performing arts and is a leader in digital innovation. One of the leading encyclopedic art museums in the United States, the CMA is recognized for its award-winning open access program—which provides free digital access to images and information about works in the museum’s collection—and is free of charge to all. The museum is located in the University Circle neighborhood with two satellite locations on Cleveland’s west side: the Community Arts Center and Transformer Station.
The museum is supported in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture and made possible in part by the Ohio Arts Council (OAC), which receives support from the State of Ohio and the National Endowment for the Arts. The OAC is a state agency that funds and supports quality arts experiences to strengthen Ohio communities culturally, educationally, and economically. For more information about the museum and its holdings, programs, and events, call 888-CMA-0033 or visit cma.org.