Choice of Artworks

Unless groups comes with very specific lists of what they wish to see, selecting objects and cultural resources for your tour is a chance to incorporate a diversity of artists, materials, and eras to provide more of a global group experience and exposure to many artistic voices in Mia’s collection.

Tip: Jaclyn Roessel, president and founder of Grownup Navajo, suggests decolonizing museum practices through the language used to describe the cultural material of non-Anglo cultures. As she states, “Terms like artifact and object contribute to the erasure of the indigenous histories. Using community-centered terms like belonging and cultural resource acknowledge the ownership and value these items have within indigenous communities that still exist today.” 1 In discussing this practice, guides and docents also suggest being specific when speaking about an artwork from a non-Anglo culture. Use the artwork’s title and specifically reference the culture to which it belongs.

Taking the example of the adult tour with a theme on how 20th-century artists were influenced by the natural world, here is a diverse list of objects and belongings in our collection that fit within the theme:
Figure 1
George Morrison, 1919–2000, Collage IX: Landscape, 1974, wood, The Francis E. Andrews Fund, © Estate of George Morrison / Briand Morrison View in Mia’s collection
Figure 2
Louis Majorelle, 1859–1926, Chicorée style buffet, 1902, black walnut, The Modernism Collection, Gift of Norwest Bank Minnesota View in Mia’s collection
Figure 3
Helena Hernmarck, 1941, Four Tulips, 1999, wool, Gift of Helena M. Hernmarck ©1999 Helena Hernmarck View in Mia’s collection
Figure 4
John Snyder, United States, 1956, Niagara Falls (detail), 1993, oil and glitter on paper, Gift of Donald McNeil and Emily Galusha in celebration of the 100th anniversary of the Minneapolis Institute of Art, © 1993 John Snyder View in Mia’s collection
Figure 5
Gustaf Edolf Fjaestad, 1868–1948, Winter Landscape (detail), 1908, oil on canvas, The Christina N. and Swan J. Turnblad Memorial Fund View in Mia’s collection
Figure 6
Kamisaka Sekka, 1866–1942, Screen with four fans (detail), 1920s–30s, ink, color, and gold on silk, Gift of the Clark Center for Japanese Art & Culture View in Mia’s collection
Figure 7
Louis Henri Sullivan; Designer: George Grant Elmslie; Caster: Jerry Bonnette,1869–1952, Cast of teller’s wicket (detail), 1967 (designed 1908), bronze, Gift of Roger G. Kennedy View in Mia’s collection
Figure 8
Djunmal, Bark Painting with Suns, Fish and Plants (detail), 20th century, Gift in memory of Nucy Meech from her children Laurie, Christopher, Charlie and Julie View in Mia’s collection
Figure 9
Fukami Sueharu, Japan, 1947, Dances with Waves, 1977, semi-porcelain, Gift of Elizabeth and Willard Clark, © Fukami Sueharu View in Mia’s collection
Figure 10
Empress Dowager Cixi, China, 1835–1908, Good Fortune and Longevity (detail), 1902, ink and color on silk, Gift of Yang and Helen H. Wang View in Mia’s collection


For the example of the student-tour theme focused on insects, here is a diverse list of choices within the collection:

Figure 11
Kanbe Tomoyuki, 1975, The Foundation of Light (detail), 2006, gold leaf and color on paper, Gift of Willard and Elizabeth Clark, © Kanbe Tomoyuki View in Mia’s collection
Figure 12
Henri Matisse, 1869–1954, Boy with Butterfly Net (detail), 1907, oil on canvas, The Ethel Morrison Van Derlip Fund © Succession H. Matisse / Artists Rights Society (ARS), New York View in Mia’s collection
Figure 13
China, Robe (silk with butterflies), 19th century, silk, The John R. Van Derlip Fund View in Mia’s collection
Figure 14
Vincent van Gogh, 1853–90, Olive Trees (detail), 1889, oil on canvas, The William Hood Dunwoody Fund View in Mia’s collection
Figure 15
China, Cricket Catching Net, 19th century, copper, Gift of Ruth and Bruce Dayton View in Mia’s collection
Figure 16
Dakhóta, Cradle board cover, 1880, hide, quills, beads, ribbon, sequins, cloth, The Driscoll Art Accessions Endowment Fund View in Mia’s collection
Figure 17
Abraham Mignon, 1640–1679, Still Life with Fruits, Foliage and Insects (detail), 1669, oil on canvas, Gift of Bruce B. Dayton View in Mia’s collection
Figure 18
Japan, Bonten, the Creator (detail), 10th century, Japanese cypress wood, Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation View in Mia’s collection
Figure 19
Leonora Carrington, 1917–2011, Dear Diary—Never Since We Left Prague (detail), 1955, oil on canvas, Bequest of Maxine and Kalman S. Goldenberg, © Artists Rights Society (ARS), New York View in Mia’s collection
Figure 20
Nicola di Maestro Antonio (di Ancona), 1472 – 1510, Madonna and Child Enthroned (detail), 1490, tempera and oil on panel, The John R. Van Derlip Fund View in Mia’s collection

Limit the number of artworks on the tour. For a one-hour tour, featuring six to eight artworks is preferred. This number allows time for observation and discussion at each stop. If too many objects or belongings are included, the tour becomes more of a monologue, with the docent’s or guide’s voice dominating. Have a couple of extra artworks in mind for backups if you are unable to get to certain stops.

Tip: If you have a group of younger students, and the artwork is high in a case or wall, reconsider your choice. Sit on the ground to be at the level of students to be sure the work of art is visible.
Tip: Some kids (and chaperones) are uncomfortable with nudity, so be aware of the other artworks in the gallery next to your choice and your planned route.


Notes

  1. Jaclyn Roessel, Restoring Indigenous Perspectives, Museum, July-August 2019. ↩