Current Exhibitions

Sunday, April 11, 2021 to Sunday, August 22, 2021

Recent conservation of the CMA’s Italian Baroque painting Danaë by Orazio Gentileschi (1563–1639) has revealed a more vibrant and refined painting than has hitherto been possible to perceive.

CMA, 1994.25 cover (detail)
Friday, April 30, 2021 to Sunday, October 24, 2021

Due to its remarkable malleability and durability, gold has been widely used in artifacts for the wealthy and for royalty since the fifth millennium BC. In Korean art, this precious mineral was the main material for luxury goods during the Three Kingdoms period (57 BC−668).

CMA, 1964.386 (detail)
Friday, April 23, 2021 to Sunday, October 3, 2021

Rinpa is a style of Japanese art focused on abstracted natural motifs and allusions to classical literature. Coined in the early 1900s, Rinpa means “Rin School,” after painter Ogata Kōrin (1658–1716), whose work was critical to the later transmission of the tradition.

CMA, 1962.279.200.b (detail)
Friday, March 12, 2021 to Sunday, August 29, 2021

Moralizing fables involving animal characters traversed the Indo-Iranian world for centuries. At times, they were written down and collected into volumes; when made for a wealthy patron, the manuscripts were illustrated.

Saturday, February 27, 2021 to Sunday, May 30, 2021

Laura Owens (b. 1970) is known for her ranging and experimental approach to the medium of painting. Her work embraces a breadth of sources from the avant-garde to the popular to the decorative.

Sunday, December 20, 2020 to Sunday, June 27, 2021

Like many Chicago artists in the first years of the 20th century, Gustave Baumann discovered the beauty of rural Brown County in Indiana. While living in Nashville from 1910 to 1916, he produced his first important set of color woodcuts.

Sunday, November 22, 2020 to Sunday, January 9, 2022

The mola is a key component of traditional dress among the Indigenous Guna (formerly Kuna) women of Panamá. Guna women have been sewing mola blouses since the turn of the 20th century, and they have become powerful symbols of their culture and identity.

CMA, 1974.31 (detail)
Friday, November 6, 2020 to Sunday, June 6, 2021

This permanent collection rotation features paintings, porcelain, and textiles with depictions of China’s rich flora and fauna. Artists and craftspeople chose themes to celebrate the beauty of nature, convey auspicious wishes and good fortune, or to express political or philosophical thoughts.

Sunday, October 25, 2020 to Sunday, June 13, 2021

Bruce Davidson, one of the most highly respected and influential American documentary photographers of the past half century, offered an independent look at America in the age of visual and social homogenization presented by Life and Look magazines. Davidson’s 1959 series Brooklyn Gang—his first major project—was the fruit of several months spent photographing the daily lives of the Jokers, one of the many teenage street gangs worrying New York City officials at the time. Bruce Davidson features 50 photographs from that series, which are part of a recent anonymous gift to the museum of extensive selections from the artist’s archives. Included are several sets of variant images, affording a rare glimpse into Davidson’s working process.

Davidson approached the Jokers after reading a newspaper article detailing their fight with a Puerto Rican gang. The Jokers’ home turf was a block in Park Slope, Brooklyn, now one of New York’s most desirable neighborhoods but then an impoverished, mostly Irish area. While many officials and commentators at the time saw the gangs as evidence of social deterioration resulting from poverty, others regarded them as the most visible manifestations of a socially disengaged generation of males—rebels without a cause.

Davidson’s subjects were mostly Catholic school students or dropouts. “I was 26 and they were 15, but I could see my own repression in them and I began to feel a connection to their desperation. I began to feel their isolation and even my own.” Davidson’s black-and-white images reflect the teens’ alienation but also their camaraderie. He hung out with them on street corners and in the local candy store, and accompanied them to the beach at Coney Island with their girlfriends. Describing his process, the artist says, “I stay a long time. . . . I am an outsider on the inside.”