Campaign Trail: Postmates animates food-fueled fever dreams

Campaign Trail: Postmates animates food-fueled fever dreams

Campaign Trail is our analysis of some of the best new creative efforts from the marketing world. View past columns in the archives here.

As delivery platforms expand into new verticals — from groceries and retail to alcohol and flowers — and continue to make bigger forays into advertising with big national buys and Super Bowl plays, Postmates decided to swim upstream with a campaign that revolves around the original offering of the category: food.

“For Postmates, the goal was to get more specific and double down on what we deliver — buzzworthy local food — and just be very narrow in who we’re approaching: younger, art-leaning, culture-leaning people,” said Biz Anderson, strategist for Mother in Los Angeles, the brand’s creative agency.

Rather than focus on the range of offerings or convenience of the platform, Mother in LA keyed in on food itself, moving beyond how it satiates hunger or satisfies cravings to focus on the hard-to-describe feelings and emotions it causes.

“As soon as you take that first bite, you really get this hit of dopamine, but when you really break that down, you realize that every food hits you differently,” said Hayley Hinkley, creative art director at Mother in LA. “We really wanted to capture each of the foods’ unique feeling in this really visceral way.”

[embedded content]

The result, “This Is Your Brain on Food,” is certainly visceral. A series of 15-second ads crack open people’s heads to reveal a specific food and an animated vision of the mental world it creates: the bubbly pastels of boba tea, the geometric precision of sushi, the almost amniotic comfort of soup dumplings and the playful primary colors of donuts, among others. Mother worked with Nexus Design Studio, the motion design division of Nexus Studios, to enlist nine artists who created the animated VFX films. 

“We thought that using all these different animation styles would really help… because there’s all these different feelings for these different foods. I don’t think it was going to work for us to use one specific or one general animation style — we really wanted to capture and create these worlds in these different styles,” Hinkley said.

To create each concept, Mother in LA taste tested the selected foods and then created mood boards, both for visual textures and colors but also for sounds, to capture a greater range of sensory experience. The agency worked with Peter Raeburn and Soundtree Music to create custom soundtracks that use different instruments, melodies and tempos to differentiate the experiences.

“By creating all those different mood boards, it really helped build these worlds and then give a pretty detailed brief to our artists, who then could jump off and really bring their own flair to each spot and craft it to make it their own,” Hinkley said.

Postmates mural by Jen Stark

“This Is Your Brain on Boba Tea” mural by Jen Stark

Courtesy of Postmates

One standout spot is for Nashville hot chicken, which transforms the fiery extremity of the food into a claymation race seemingly inspired by “Mad Max: Fury Road.” That was inspired by not just the heat and spice of hot chicken but the speed and urgency with which it is eaten.

“Internally we were calling that ‘white hot euphoria,’ trying to capture that pain and pleasure, and we felt that claymation could be a really interesting one for that, especially because when you’re eating this hot chicken sandwich, you feel like your face is melting,” Hinkley explained.

“This Is Your Brain on Food” rolled out in September on Instagram, X and TikTok with content creators @domenicaaq and @itsbridgettebitch and on Snapchat via a unique filter. Traditional out-of-home appears across Los Angeles and Austin, Texas, including murals by artists Akiko Stehrenberger and Jen Stark.

“We didn’t want to just bring our interpretation of the food and feeling to life — we wanted to get a wide range of opinions,” Hinkley explained. “Everyone really brought their own perception of how this food affects them into these [elements] and I think that’s where a lot of the magic happened.”

Sheila Metzner’s jewel-toned fashion photography goes on show in Los Angeles

Sheila Metzner’s jewel-toned fashion photography goes on show in Los Angeles

Working in tones and textures as rich as classic oil paintings, Sheila Metzner uses photography to make monumental landscapes and delicate still lifes, though she is best known for her unique and elegant work in fashion. 

Her soft-focus, jewel-toned pictures of creamy-skinned models in languorous positions led Getty Museum curator Paul Martineau to include her in his epic ‘Icons of Style’ exhibition in 2017. ‘She invited me to visit her studio in Red Hook, Brooklyn, and I became intrigued by the beauty of her modernist compositions, as realised through the painterly Fresson process. I imagined an exhibition where I could place fashion pictures next to florals to heighten their formal qualities.’ That exhibition, ‘Sheila Metzner: From Life’ is on view at the Getty Center through 18 February 2024. A smaller show at Peter Fetterman Gallery in Santa Monica continues to 5 January 2024. 

Sheila Metzner photograph of sculpture and model in dress

Uma. Patou Dress, 1986, Sheila Metzner (American, born 1939) Pigment print Getty Museum. Purchased with funds provided by the Photographs Council 

(Image credit: © Sheila Metzner 2016.90. Courtesy of Getty Museum )

Increasingly, curators and historians are accepting as fine art the work of photographers previously considered to be commercial, like Richard Avedon. Metzner readily acknowledges her success taking pictures for Chanel or Ralph Lauren, but emphasises that it is all part of her evolution as an artist and a person. The fashion shoots offered lucrative opportunities to travel the world, anywhere from Utah to Africa. 

‘I would say in almost every photo shoot that I did for a client, I did photographs for myself. If there were flowers while the models were getting dressed, I would photograph the flowers in the interim. If there were sets being built, they might become my series Metal Objects in Time and Space. I never, ever gave up working for myself.’

Still life by Sheila Metzner

Volta, 1988, Sheila Metzner. Pigment print. Collection of Sheila Metzner

(Image credit: © Sheila Metzner EX.2023.6.24. Courtesy of Getty Museum )

The show includes 40 pictures but each is representative of a particular series, a fact that Metzner ties to one of her earliest experiences. After she went to see photography curator John Szarkowski at the Museum of Modern Art, he included her work in his landmark 1978 exhibition ‘Mirrors and Windows: American Photography Since 1960’. He also gave her advice. ‘After he looked at my 22 pictures, he showed me the work of Paul Strand and he said, “You have to get it all in one picture.”

‘So at the Getty, any one of those pictures could speak for any other picture,’ Metzner continues. ‘The whole exhibition could be one photograph because it’s all saying the same thing and it’s really, really obvious that it’s all the work of one person, whether it was done in 1980 or 2000. It’s extremely consistent.’

Sheila Metzner photograph of roman bust

Campidoglio. Fendi, 1986, Sheila Metzner. Pigment print Getty Museum. Gift of Sheila Metzner 

(Image credit: © Sheila Metzner. 2016.91.1. Courtesy of Getty Museum )

Metzner, 84, is from Brooklyn, New York, where she still lives part of the time. After graduating from Pratt Institute, her talent led to her becoming the first female art director at top ad agency Doyle Dane-Bernbach. She decided to move to the other side of the lens after marrying the agency’s creative director Jeffrey Metzner. As they had their five children, she was inspired by the 19th-century photographer Julia Margaret Cameron to make their portraits. She took night classes and learned to process film and develop her own black-and-white prints. At the time that Metzner went to see Szarkowski, only black-and-white photography was taken seriously. She yearned to work in colour but not the glossy cibachromes that could fade with time. She sought out the Fresson family in France, who used dyes that would not fade on paper. 

Portrait of woman in red by Sheila Metzner

Lisa. Red Jumpsuit, 1980, Sheila Metzner. Pigment print Getty Museum 

(Image credit: © Sheila Metzner 2023.42.1. Courtesy of Getty Museum )

The technique they created in 1895 lends the dreamy, romantic aura of the Pictorialists, 19th- and early 20th-century photographers emulating the appearance of traditional oil painting. Her first Fresson print, Modern Vase with Tulip (1980) is included in the show. Her approach was the opposite of the edgy photography of the late 1970s like that of Robert Mapplethorpe, though Metzner made a poetic picture of him standing in his black leather trench coat next to an art deco vase holding a white anthurium she had brought for him. 

Whether the early black-and-white photos of her daughter Bega, glamourous Uma Thurman wearing a polka-dot gown by Patou, or magnificent still lifes of icebergs, she manages to ‘get it all in one picture’. The Getty has purchased a number of the pictures for its permanent collection so the show is a triumphant exclamation point to her career. 

She says, ‘I was deeply embedded in the world of fashion but it wasn’t any more or less than my daughter Bega or or my husband Jeffrey. All I’m saying is that I’m interested in life and my exhibition is called From Life. It’s not called From Fashion.’ 

‘Sheila Metzner: From Life’ is at the Getty Center until 18 February

getty.edu

Robert Mapplethorpe photographed by Sheila Metzner

Robert Mapplethorpe, 1984, Sheila Metzner. Pigment print. Gift of The Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art 

(Image credit: © Shelia Metzner. 2012.16. Courtesy of Getty Museum )

photography

Saxophone Vase, 1985, Sheila Metzner. Pigment print. Getty Museum. Gift of Sheila Metzner 

(Image credit: © Sheila Metzner 2023.41.3. Courtesy of Getty Museum )

Camera Obscura: Jameela Elfaki’s Love of Film Photography

Camera Obscura: Jameela Elfaki’s Love of Film Photography

Jameela Elfaki is an artist based in London. Transcending mediums, Jameela communicates her creative message through photography, filmmaking, creative direction and sound. With a strong focus on identity, representation, and the visibility of women and non-binary people of colour, her work is often inspired by her own dual heritage, and exploring themes of the ‘in-between’ and the nature of different cultures and beliefs coming together.

Jameela is also the founder and editor in chief of independent magazine, Platform and creative agency AZEEMA, which was nominated for The DAZED 100 in 2021. She was also a recipient of a PPA 30 under 30 New talent Award in 2019 and a participant of the Black Business Incubator at Somerset House in 2022.

 

LBB> What is your niche craft obsession?

Jameela> I love creating, in every sense of the word. The obsession for me is creating images and building the concept behind the work too. It’s both challenging and exciting at the same time. Seeing the concept you have dreamt come to life in front of you is an amazing experience. The moment when everything clicks and comes together and you make something beautiful. A niche within a niche is probably my love of film photography.  

LBB> Where/ when/ how did you first come across this thing? 

Jameela> My first encounter with photography was through magazines. Growing up my Mum used to sometimes buy me a copy of ELLE or Vogue for Christmas, and even though I never really read any of the words in the magazine, I used to spend hours looking at the fashion imagery. Back then the fashion stories were really extravagant and super immersive. Though it’s worth mentioning they were not always very diverse casting wise.

I gradually got into making art/fashion shoots with my friends as a teenager, and saved up for my first DSLR camera from modelling money. 

LBB> Was it an obsession straight away or something that has evolved over the years?

Jameela> It’s definitely something that has evolved over the years, but it has always been an interest of mine. I think Photography also crosses over with a lot of other creative things I enjoy, like film making, fashion and music. 

The love of film photography came later on, after a session at university with black and white film, developed by hand in the darkroom everything changed for me. I loved how it looked, and texture / depth the images had, it wasn’t something you could immediately achieve or recreate with digital photography. It’s unique and I like that. It’s something that I enjoy learning more about all the time, gradually increasing my skills in different areas of the craft. There is always something more to learn. 

image

LBB> What are the most interesting debates or conversations you are having around this obsession?

Jameela> Several things, like how accessible it is as a job/profession. Even now with rising prices of film and equipment it makes it even harder to shoot, so I imagine trying to get into photography now can feel super daunting. It’s almost elitist now, as film costs so much to buy. 

A debate: In some ways photography has become quite a saturated craft in the wake of the digital and social media revolution. Sometimes you have to remind yourself what makes you unique as an artist. I think some artists are now faced with thinking about how they must present themselves online, instead of letting the work solely speak for itself. I fear sometimes it can be about who can shout the loudest. 

LBB> How widespread do you think this obsession is with your peers?

I have many friends who are fellow creators and photographers, each of us has our different styles and way of working with film. I really appreciate being around others who love it too, we uplift and support one another.

LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production? Can you tell us about it?

Jameela> I do love how this cover shoot came out for my magazine AZEEMA with Tsunaina. It was a mix of 120 film and 35mm and I really like how the quality of both added to the final result. 

image

[Credits: Talent: Tsunaina Photography: Jameela Elfaki Production: Sunayah Arshad Set Design: Evar Hussayni Set Consultant: Jade Adeyemi Styling: Ella Lucia Make-up: Rebecca Davenport Hair: Kachi Katsuya Henna: Nuzhat Fatima Photography Assistant: Charlotte Macaulay Set Assistant: Hara Spyrou Production Assistant: Emma Bouraba Styling Assistant: Esmée Robinson]

LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?

Jameela> I think you shouldn’t be afraid to make mistakes with film photography. That’s the beauty of it – experiment and enjoy it. It’s not a quick process and it definitely takes time to learn as a separate craft. Film photography has different needs to digital and you have to have a strong grasp of the basics to make that transition smoother. For anyone who just wants to get into photography in general, it’s not all about equipment. I used to take photos on a phone before I could afford a camera, don’t let the fear of not having the best kit or access hold you back from creating. Be resourceful.

F5: Shannon Niehenke Loves a Timeless Pitcher, Estates Sales + More

F5: Shannon Niehenke Loves a Timeless Pitcher, Estates Sales + More

Shannon Niehenke is founder and principal of San Francisco-based interior design firm Narrative Design Studio. The Bay Area native has possessed a lifelong passion for art that eventually led her right into the arms of interior design. “I thought I wanted to be an artist until my senior year in high school when I participated in a summer art and architecture program in Cambridge, England,” Shannon shared. “It was my first time out of the country. We roamed through the charming alleyways, sketchbook in hand, capturing the intricate details of the historic buildings. This experience opened my eyes to interior architecture and I learned that I could make a career out of something that I was passionate about.”

Once Shannon finished her Bachelor’s Degree in Interior Architecture from the University of Oregon, she worked for Brayton Hughes Design Studio and then spent five years at NICOLEHOLLIS as a lead hospitality designer. While there she focused on hotels, wineries, and small boutique projects. Throughout, Shannon’s aim has always been to create timeless interiors designed in harmony with the architecture and surrounding environment.

Shannon Niehenke Photo: Alanna Hale

She went on to found Narrative Design Studio, focusing on residential and boutique hospitality projects. Each project begins by understanding the client’s objectives for the space, then environmental and historical influences specific to the location guide the design process and give a project its roots. Working in collaboration with architects, artisans, and fabricators who value quality craftsmanship, the firm weaves together a narrative that gives each project its own identity. Shannon’s most well-known project is likely AutoCamp, a luxurious glamping experience that takes place in an Airstream.

“I am constantly writing and sketching,” Shannon said. “Our firm’s name, Narrative, reflects our effort to develop a strong concept for each project. The story evolves as we design in collaboration with the client, filling the sketchbooks with notes, drawings, and anything that might contribute to a cohesive design.”

Before making the switch to interiors, oil painting was Shannon’s favorite art form. “I love how loose it is compared to architecture and design. Today, I make an effort to design with that balance of structure and fluidity. The art courses I took in high school and college helped me develop a better understanding of color, proportion, and positive and negative space, which I use daily,” she shared.

When not busy at work, Shannon and her husband make wine. “It’s hard to find the time for this hobby with two young boys and our busy schedules, but we love the process and creating something from start to finish together,” she said. “We entertain a lot, and it makes us happy to share something we’ve created for our friends and family to enjoy. This year we will be sourcing Cabernet Sauvignon grapes from one of our client’s vineyards, which we are quite excited about.”

This week, Shannon Niehenke joins us for Friday Five!

clouded cityscape view

1 City Views

I enjoy my coffee in the morning while looking out the window at the city below. The view calms me and puts me in the right state of mind to begin my workday. Fog rolls in across the Golden Gate in the late afternoon and lights sparkle at night, a daily reminder of why I love it here.

old black and white photo of someone walking down a dirty city street

2. Estate Sales

I grew up going to estate sales, which instilled in me an affection for “the hunt.” There are some amazing sales in San Francisco in wonderful old houses filled with treasure. I still try to go whenever I can to source one-of-a kind pieces for our projects. I just used a flea market find in a bar I designed, some very old black and white photographs of San Francisco taken after the earthquake of 1906. The bar is in a building of the same era, the first floor originally used for the patrons’ horses now houses it. The pictures seemed an appropriate addition near the original brick fireplace, where an old taxidermied pheasant is still perched, greeting all customers.

metal pitcher with a squiggly handle

This pitcher by Sophie Lou Jacobson is sophisticated and playful at the same time. It’s great for serving water or iced tea, or as a vase for flowers. The stainless finish is timeless, and the same design comes in a tray. Both make a great wedding or housewarming gift.

beach in Italy

4. Italy

You can’t go wrong in Italy. The food, the history, the lifestyle – it provides constant inspiration. We like to fly into Milan and drive to the coast, stopping in wine country along the way. There’s a secret coastal town that we’ve been back to several times, but I can’t reveal the name for fear it will no longer remain a secret! In this town there’s a beach next to an old monastery that is only accessible by a very treacherous hike or by boat. The water is crystal clear and feels amazing after making the trek in the hot summer sun.

open sketchbook

5. My Kids’ Artwork

I love seeing the creativity of what my kids come up with. My five-year-old now has a sketchbook that he scribbles in every night. I plan to save these sketchbooks for them to have when they’re older. I wish I still had mine from when I was their age!

Work by Shannon Niehenke + Narrative Design Studio:

row of silver Airstream trailers in the desert with a mountainous backdrop

AutoCamp Zion Photo: Matt Kisiday

styled interior of a hospitality space with a floor to ceiling fireplace

AutoCamp Zion Photo: Matt Kisiday

light and bright styled interior living spae with white sofa, armchair, double coffee table, and fireplace

San Francisco Heights Residence

modern glass, wood, and metal hanger-shaped building in the desert

AutoCamp Joshua Tree

styled interior of a hospitality space

AutoCamp Joshua Tree

white styled interior space with large skylights, two white sofas, and wall-mounted television

Urban Oasis Photo: Matt Kisiday

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

In pictures: sexual liberation on the London Underground

In pictures: sexual liberation on the London Underground
image

A cramped, sweaty carriage on the Central Line might not be the first place you’d go looking for love, but throughout history public transport and its adjacent spaces have served as a hotspot for sexual (and particularly LGBTQ+) liberation. This history is at the centre of Love Underground, a new project from photographer El Hardwick and artist Anna Schlimm, which infiltrates TfL with a hidden language of desire.

Taking inspiration from public transport’s legacy as a popular cruising spot, as well as queer communication tactics like the Hanky Code and Polari, Schlimm spearheaded a new covert visual language – dubbed the “Cruise Code” – in 2022, as part of a broader DIY residency they named Alt Art on the Underground. 

Described as a “covert communication system for lonely hearts who are tired of missed connections”, the Cruise Code uses tube station names to symbolise romantic or sexual desires. Fashioned into wearable pins in LGBTQ+ colour schemes, these underground symbols (in every sense of the word) can be worn to communicate desires that it’s not always safe or accepted to speak about in public, signalling those in-the-know.

On the other hand, the code opens up diverse romantic and sexual opportunities outside the stale old interfaces of dating apps, aiming to reimagine London – and its transport system – as an “erotic commons”. How does it work exactly? Well, each of the badges signifies what you’re looking for to fellow travellers, based on which side you wear it. “Paddington” for instance tells them you’re a bear (worn on the left) or a bear lover (on the right). “Bank” tells them you’re a sugar mummy/daddy, or sugar baby, respectively. “Bond street” signals a bondage kink. “Cockfosters”… you get the idea.

Originally born out of Schlimm’s interest in anarchist modes of cultural production and context-specific art, the Cruise Code has now been interpreted by Hardwick in a series of portraits of LGBTQ+ people, demonstrating the covert system in action on the London Underground. Take a closer look in the gallery above.

The photos themselves will be exhibited at The Old Waiting Room in Peckham Rye on Friday. This is being held alongside the launch of a website for the Cruise Code project, which will allow visitors to create their own DIY versions of the badges, and enter the erotic commons themselves to find folks that match up with their desires.

Love Underground will be on show as part of a group exhibition at The Old Waiting Room in Peckham Rye, opening November 10

Join Dazed Club and be part of our world! You get exclusive access to events, parties, festivals and our editors, as well as a free subscription to Dazed for a year. Join for £5/month today.

“Get Out and Explore!” photography contest happening now

“Get Out and Explore!” photography contest happening now

MARQUETTE, Mich. (WLUC) – A nature photography contest is going on right now! The MooseWood Nature Center is inviting amateur photographers to enter their 2023 “Get Out and Explore!” Nature Photography Contest.

Contestants will compete for cash prizes, complimentary memberships, and MoodWood merchandise.

Contest information

Deadlines and full submission deadlines

Stunning Native American Photography Now on Display at Minneapolis Institute of Art’s Newest Exhibit

Stunning Native American Photography Now on Display at Minneapolis Institute of Art’s Newest Exhibit

#inform-video-player-1 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

#inform-video-player-2 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

MINNEAPOLIS, Nov. 9, 2023 /PRNewswire/ — “In Our Hands: Native Photography, 1890 to Now” features over 100 photographs of, by and for Native people and is one of three Native art exhibitions on view at the Minneapolis Institute of Art (Mia).

This major exhibition, on view at Mia through January 14, 2024 builds upon the work of Native artists, scholars, and knowledge-sharers to trace the intersecting histories of photography and First Nations, Métis, Inuit, and Native American cultures, from the Rio Grande to the Arctic Circle. Developed in partnership with a curatorial council comprised primarily of Native advisors, “In Our Hands” centers the work of Native photographers with a diverse array of photographic objects that illuminate the ways in which Native people have advanced the medium of photography for over a century. The exhibition opens on October 21, 2023 and will be on view at Mia through January 14, 2024.

“In Our Hands: Native Photography, 1890 to Now” was collaboratively organized by photojournalist and Mia guest curator Jaida Grey Eagle (Oglala Lakota), Casey Riley, Chair of Global Contemporary Art and Curator of Photography & New Media, and Jill Ahlberg Yohe, Associate Curator of Native American Art, in partnership with a curatorial council of fourteen advisors that includes internationally renowned artists, academics, and knowledge-sharers based in Canada and United States. Together, the curatorial council and Mia staff developed the checklist and thematic organization for the show and grounded their decision-making in Native methodologies, including consensus and relationship building, mutual respect, and reciprocity. The exhibition is accompanied by a fully illustrated catalogue, featuring essays and interviews by Mia staff and many curatorial council members.

The Lyrical Artwork of Jim Denomie

Also on view at Mia is “The Lyrical Artwork of Jim Denomie,” featuring approximately 60 artworks from acclaimed Anishinaabe artist Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955–2022). Best known for his monumental paintings, Denomie was a prolific artist whose work spanned numerous mediums. Throughout his career, he aimed a critical lens on the histories of Indigenous people and their intersections with mainstream culture. Highlighting Denomie’s singular vision and signature style over the second half of his career (2007–22), the exhibition is the first to bring together his iconic— and iconoclastic—paintings alongside lesser-known works and sculptures. The exhibition is on view through March 24, 2024. Drawing inspiration from lived experiences, pop culture, Anishinaabe traditions, and American histories, Denomie’s work portrays compelling narratives that depict his experiences of being Native in America. Despite the emotional weight of his subject matter, Denomie’s dry wit prompts and provokes necessary conversations about the legacies of colonization and the nature of humanity. The exhibition examines Denomie’s creative process, tracing his ability to transform inspiration into monumental artworks.

“Reimagining Native/American Art”

What happens when Native American and American art is seen together, rather than in separate places? Might we look at these artworks in a new way? What stories and connections emerge from this new way of being together? These are some of the questions that guided a collaboratively reimagined suite of galleries. This Indigenous-led, consensus-based curatorial experiment is based on Dakota philosophies and ways of being. It includes thematic installations that center “place”, honor the living land, explore the power of relationality — the idea that we are all connected and build relationships based on this awareness – and ends with a reflection, inviting visitors to join us in imagining the future we wish to have. What does it look and feel like? How do we build it together?

Press Contacts

About the Minneapolis Institute of Art

Home to more than 100,000 works of art representing 5,000 years of world history, the Minneapolis Institute of Art (Mia) inspires wonder, spurs creativity, and nourishes the imagination. With extraordinary exhibitions and one of the finest art collections in the country—from all corners of the globe, and from ancient to contemporary—Mia links the past to the present, enables global conversations, and offers an exceptional setting for inspiration.

General admission to Mia is always free. Some special exhibitions have a nominal admission fee.

For more information, call + 1 612 870 3000 or visit artsmia.org. For images, please see here.

View original content: https://www.prnewswire.com/news-releases/stunning-native-american-photography-now-on-display-at-minneapolis-institute-of-arts-newest-exhibit-301983942.html

SOURCE Minneapolis Institute of Art

#inform-video-player-3 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

Stunning Native American Photography Now on Display at Minneapolis Institute of Art’s Newest Exhibit

Stunning Native American Photography Now on Display at Minneapolis Institute of Art’s Newest Exhibit

#inform-video-player-1 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

#inform-video-player-2 .inform-embed { margin-top: 10px; margin-bottom: 20px; }

MINNEAPOLIS, Nov. 9, 2023 /PRNewswire/ — “In Our Hands: Native Photography, 1890 to Now” features over 100 photographs of, by and for Native people and is one of three Native art exhibitions on view at the Minneapolis Institute of Art (Mia).

This major exhibition, on view at Mia through January 14, 2024 builds upon the work of Native artists, scholars, and knowledge-sharers to trace the intersecting histories of photography and First Nations, Métis, Inuit, and Native American cultures, from the Rio Grande to the Arctic Circle. Developed in partnership with a curatorial council comprised primarily of Native advisors, “In Our Hands” centers the work of Native photographers with a diverse array of photographic objects that illuminate the ways in which Native people have advanced the medium of photography for over a century. The exhibition opens on October 21, 2023 and will be on view at Mia through January 14, 2024.

“In Our Hands: Native Photography, 1890 to Now” was collaboratively organized by photojournalist and Mia guest curator Jaida Grey Eagle (Oglala Lakota), Casey Riley, Chair of Global Contemporary Art and Curator of Photography & New Media, and Jill Ahlberg Yohe, Associate Curator of Native American Art, in partnership with a curatorial council of fourteen advisors that includes internationally renowned artists, academics, and knowledge-sharers based in Canada and United States. Together, the curatorial council and Mia staff developed the checklist and thematic organization for the show and grounded their decision-making in Native methodologies, including consensus and relationship building, mutual respect, and reciprocity. The exhibition is accompanied by a fully illustrated catalogue, featuring essays and interviews by Mia staff and many curatorial council members.

The Lyrical Artwork of Jim Denomie

Also on view at Mia is “The Lyrical Artwork of Jim Denomie,” featuring approximately 60 artworks from acclaimed Anishinaabe artist Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955–2022). Best known for his monumental paintings, Denomie was a prolific artist whose work spanned numerous mediums. Throughout his career, he aimed a critical lens on the histories of Indigenous people and their intersections with mainstream culture. Highlighting Denomie’s singular vision and signature style over the second half of his career (2007–22), the exhibition is the first to bring together his iconic— and iconoclastic—paintings alongside lesser-known works and sculptures. The exhibition is on view through March 24, 2024. Drawing inspiration from lived experiences, pop culture, Anishinaabe traditions, and American histories, Denomie’s work portrays compelling narratives that depict his experiences of being Native in America. Despite the emotional weight of his subject matter, Denomie’s dry wit prompts and provokes necessary conversations about the legacies of colonization and the nature of humanity. The exhibition examines Denomie’s creative process, tracing his ability to transform inspiration into monumental artworks.

“Reimagining Native/American Art”

What happens when Native American and American art is seen together, rather than in separate places? Might we look at these artworks in a new way? What stories and connections emerge from this new way of being together? These are some of the questions that guided a collaboratively reimagined suite of galleries. This Indigenous-led, consensus-based curatorial experiment is based on Dakota philosophies and ways of being. It includes thematic installations that center “place”, honor the living land, explore the power of relationality — the idea that we are all connected and build relationships based on this awareness – and ends with a reflection, inviting visitors to join us in imagining the future we wish to have. What does it look and feel like? How do we build it together?

Press Contacts

About the Minneapolis Institute of Art

Home to more than 100,000 works of art representing 5,000 years of world history, the Minneapolis Institute of Art (Mia) inspires wonder, spurs creativity, and nourishes the imagination. With extraordinary exhibitions and one of the finest art collections in the country—from all corners of the globe, and from ancient to contemporary—Mia links the past to the present, enables global conversations, and offers an exceptional setting for inspiration.

General admission to Mia is always free. Some special exhibitions have a nominal admission fee.

For more information, call + 1 612 870 3000 or visit artsmia.org. For images, please see here.

View original content: https://www.prnewswire.com/news-releases/stunning-native-american-photography-now-on-display-at-minneapolis-institute-of-arts-newest-exhibit-301983942.html

SOURCE Minneapolis Institute of Art

#inform-video-player-3 .inform-embed { margin-top: 10px; margin-bottom: 20px; }