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Cleveland Clinic's Art Program organizes several exhibitions each year which are displayed in a dedicated art exhibition area of Cleveland Clinic's main campus.

Our rotating exhibition space showcases art that reflects an interest in underlying concepts such as innovation and teamwork. The exhibitions, alongside the permanent collection, evidence a commitment to supporting the international, national, and local arts communities.

An emphasis on contemporary art fosters an environment of creative excellence, encourages dialogue, and challenges viewers to experience diverse points of view. The art exhibitions bring together works of art, from the permanent collection or on loan from artists, collectors, or other institutions, that explore new ideas, the human condition, our global world, and popular culture.

Current Art Exhibition

See the Current Art Exhibition, on display now in the hallway between the Q and G buildings.


Read about the art and artists in the exhibitions below and view images of the installations.


Common Threads
August 11 - October 17, 2016
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Now in its 10th year, Cleveland Clinic Art Program, Arts & Medicine Institute, continues to enhance the hospital’s patient and public areas throughout the health system. The mission of the Art Program is to enrich, inspire and enliven our patients, visitors, employees and community and to embody the cornerstones and core values of Cleveland Clinic. While the focus is on contemporary art and artists, the program provides a unique and meaningful experience for our viewers.

Global diversity, innovation, collaboration, pop culture and the human condition are only some of the concepts that run through the collection and tie the more than 6,000 works of art together. Artists historically have been a prescient barometer for the spirit of the time in which we live, adeptly responding to the zeitgeist and what is relevant in our society. Finding thematic connections within the artwork is an important part of what the curators do when choosing art for a new building or renovated area.

Impacted by research that shows Cleveland Clinic’s contemporary art collection has a positive impact on health outcomes and the patient and visitor experience, the Art Program uses the art collection to create unique opportunities for engagement. We strive to create amenities including a self-guided audio tour, cell phone stops featuring sound bites from artists, artist and curator talks, Art Ambassador tours, a digital program with highlights from the collection on a patient TV channel, and customized tours for people with memory loss.

Ultimately the power of the art helps to provide diverse perspectives and an opportunity to experience things anew. It is our hope that the art and the response that it elicits has a positive impact on the healing process. In Common Threads, we take a look at some of the recent additions to the collection, many soon to be installed in the new Cancer Building and Avon Hospital.

Images L to R: Derrick Adams, Coming Through, 2015, Mixed media collage on paper; Jean Shin, Domesticated Landscapes (Stump), 2015, Photograph; Chris Johanson, Abstract Art with Cosmic Narrative, 2014, Print.

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Art + Environment: A Delicate Balance
April 7 - July 26, 2016
Cleveland Clinic Art Exhibition Area – between Q and G buildings

From the romantic landscape painters of the late 18th century, to Ansel Adams’ black and white photographs of the American West, to Robert Smithson’s Spiral Jetty constructed with mud, salt and rocks, artists have long since brought awareness to issues of environmental conservation. The advent of the 21st century has made daily headlines like “global warming” and “climate change” part of our collective consciousness. In light of recent dramatic, weather-related occurrences, contemporary environmental artists are more relevant than ever. They have invited us to think more critically about the way we use our land and have contributed to the world-wide dialogue surrounding the changes in the Earth’s condition. 

Connecting the scientific and creative worlds in acts of beauty and activism, artists use their craft to call attention to green initiatives and issues of conservation. Working with materials ranging from the raw to the found to the non-toxic, environmental art can be evocative, provocative, and sublime. The artists in this exhibition communicate the urgent need to find solutions to environmental problems by tackling an array of topics including: climate change, recycling, water purification and plants for restoration,endangered species, alternative fuel sources, and consumption. 

The changing landscape, sustainable living, and the critical loss of natural resources play important roles in each of the works in Art + Environment. Through their vision and innovation, these artists present unexpected views of the world that inspire us to make efforts in our daily lives to respect the Earth and its resources.

The exhibition Art + Environment is a combination of work on loan from local Northeast Ohio artists and artwork from the permanent collection of Cleveland Clinic.

For more information about Cleveland Clinic’s sustainability programs contact the Office for a Healthy Environment at 216-448-8589 or read our sustainability report at

Images L to R: Barry Underwood, Gros Ventre, Photograph, on loan from the artist; Chris Jordan, Light Bulbs (detail), 2009, Photograph; Lori Kella, Public Land, 2012, Photograph, on loan from the artist.

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This Magic Moment

December 10, 2015 - March 23, 2016
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Breathe in. Breathe out. Take a minute to consider. Notice the ordinary and the extraordinary. Take a mental picture. The world around us can be a wondrous place, where we may encounter beauty, humor, excitement, and even love at some of the most surprising moments. At any second in our lives there is an opportunity to privately capture what makes each of us and our experiences unique. What is it that leaves a mark in our minds; is it a fleeting euphoric feeling or a vision burned into our memory? 

Since the very first cave drawings of animals and successful hunts, art makers have continued to translate important events and epiphanies, in paint, pencil, or print. From the artist’s hand and eye a gesture or moment can convey a universal feeling, like Auguste Rodin’s sculpture The Thinker  or Edvard Munch’s painting The Scream. This skill renders visual our understanding of what it feels like to be human. 

We connect with each other through common experiences by seeing and showing through art what may be impossible to tell in words. In Charles Fréger’s documentation of Mardi Gras Indians, there is an homage to the earliest Americans from later generations which exudes a vibrant splendor.  Communal celebrations like these are part of our contemporary life—whether it is watching a holiday fireworks display or planning special occasion, artists like Michelangelo Lovelace and Nikki Woods bring us into the fun and anticipation of sharing events with others. 

Artists Sebastiaan Bremer and Chris Johanson use the natural world as their backdrop for examining potential periods of exhilaration, phenomena, and intimate reflection.  Internal meditations that can result in a physical manifestation of beauty are at the heart of works by Karl Haendel and Sarah Charlesworth. Whether we are looking out or looking inward, these instances can be rife with emotion and clarity.  They are magic moments. 

Images L to R: Charles Fréger, Big Chief Donald from Mardi Gras Indians, 2014; Chris Johanson, Being In My Life #8, 2015; Sarah Charlesworth, Red Bowls, 2011.

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The Journey: A Juried Exhibition of 15 Artists with Disabilities
September 3 - November 30, 2015
Cleveland Clinic Art Exhibition Area – between Q and G buildings

The Journey is the 13th exhibition presented by VSA and Volkswagen Group of America as part of the VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program. This longtime collaboration provides young artists with disabilities, ages 16-25, with an opportunity to display their work nationally, and creates a place in which each artist’s individual talent, mode of expression, and view of the world is showcased and valued.

The 2014 theme, The Journey, asks artists to present work that illuminates innovative viewpoints at the junction of sustainability, creativity, and disability. Here, artists consider the representation of a journey—internal and external, personal and communal, human and technological—and, in response, create compositions highlighting the ways in which our individual journeys shape our aesthetic and environmental terrain and define our daily lives as a community.

Artists responded to this call in myriad ways, incorporating deeply personal narratives into universal concerns. Large-scale, bold abstractions proclaim these messages aloud, while intimately scaled images ask us to step closer and investigate the artist’s treatment of the theme. The works surprise us: traditional fine arts incorporate innovative subject matter or technique, delicate paper works burst forth with aggressive movement, photographs record past and present with illuminating clarity.

With this travelling exhibition, we hope to position and give visibility to the work of artists with disabilities throughout the United States and around the world, cementing their work in the broader context of the history, art, and culture of the American—as well as global—experience.

Images L to R: Jason Wellington, Blood Stains 8; Gianna Paniagua, Never Stopping; Amoako Buachie, The Quiet Painter's Peace.

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March 26 - August 27, 2015
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Dreamscapes are surreal environments that fuse elements of reality with those of the imaginary through the distortion of scale, shape, color, sound, or other sensory information. Each artist explores these distortions, whether it be depicting our everyday world or an abstract concept.

Some artists in the exhibition challenge our perception of our everyday world and its objects. Both Amy Pleasant and Laura Ball's whimsical watercolors represent the liminal space between sleeping and waking, revealing only snippets of actions and containing characters who undertake fantastic adventures, respectfully.  The meticulous illustration of George Washington’s eye by David Opdyke also puzzles the viewer with two simultaneous images. Imaginary landscapes which fool the viewer by Matthew Albanese and also by Walter Martin and Paula Muñoz meticulously construct and photograph small­scale dioramas of strange, emotive places.

Also using photography as his chosen medium, James Welling’s photograms push the concept of abstraction into the realm of a medium that traditionally documents the real world. Often, dreamers just see variations of color that shift and change as their dream progresses, seen also in Lisa Oppenheim’s series. Reminiscent of a Rorschach-folded ink blot used for psychological interpretation, Analia Saban also utilizes alternative photography methods in her work where she manipulates the darkroom print in its last stages and removes the top emulsion surface, transferring it onto a treated canvas. These artists’ works epitomize the most abstract qualities that dreams can possess.

This exhibition marks the culmination of the inaugural collaboration between the Cleveland Clinic Art Program and Case Western Reserve University’s Master of Arts program in Art History and Museum Studies.

Images L to R: James Welling, FDB9, 2009 (Courtesy Aperture Foundation); Laura Ball, Portal, 2007 (Courtesy Morgan Lehman); Matthew Albanese, After the Storm, 2011 (Courtesy Bonni Benrubi Gallery).

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Shared Vision: A Selection of Gifted Artwork 
December 18, 2014 - March 20, 2015
Cleveland Clinic Art Exhibition Area – between Q and G buildings

The act of giving is impactful. For Cleveland Clinic’s Arts & Medicine Institute, gifts which enhance the hospital environment can resonate for many in profound ways. Over the course of our history, Cleveland Clinic has been the grateful recipient of many works of art as well as funds which allow us to acquire new pieces or create art-related programs. Whether in memory of a friend or family member, in honor of a physician, or to support the mission of the Arts & Medicine Institute’s Art Program, philanthropic giving makes a difference. Recognizing one’s gratitude through donations of visual art is a longstanding practice that will continue to be meaningful to our patients, employees, and visitors for years to come.

The ripple effects that are created by a donor’s generosity, and thoughtful discussions concerning how a work of art can be used within the collection, are important aspects of accepting a gift. The Cleveland Clinic Art Collection began with artworks contributed by doctors and grateful patients and their families. In just over 90 years, the collection has grown to nearly 6,000 works—including some key works acquired through philanthropy.

In 1984, Cleveland Clinic’s Board of Governors created an Aesthetics Committee with a directive to serve as an advocate for the aesthetic interests of the institution. Since then, proposed donations have been presented to the Aesthetics Committee for review. In celebration of the Committee’s 30th year, we are presenting a selection of gifts added to the Cleveland Clinic Art Collection since the Art Program’s inception.

Gifts to the Arts & Medicine Institute come in all shapes and sizes. For example, a generous bequest allowed us to commission a site-specific work, Loris Cecchini’s The Ineffable Gardener and the Developed Seed, which was installed on main campus in 2013. Some works promised to the collection are by modern masters, including David Hockney and locally renowned artist Lawrence Channing.  Paintings by Cleveland-based Hildur Asgeirsdottir Jonsson were acquired through funds donated specifically for the purchase of work by local artists. Philanthropic giving has also helped to fund educational projects such as the Audio Art Tour (available at the Miller Family Pavilion information desk). Then there are outright gifts of art, such as the recent donation of more than 75 contemporary artworks. 

This exhibition includes artworks by local, national, and international artists in a variety of media.  These works were donated or promised to help fulfill the mission of the Art Program: to enrich, inspire and enliven patients, visitors, employees and community, and to embody the core values of the institution.

Images L to R: Seydou Keïta, Untitled #430, 1950-55 (Courtesy Sean Kelly Gallery); Hildur Asgeirsdottir Jonsson, Hekla #14, 2008 (Courtesy the artist); Elizabeth Crawford, Light Bulbs, 1998 (Courtesy Jack Shainman Gallery).

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Cut and Paste
September 17 - December 11, 2014
Cleveland Clinic Art Exhibition Area – between Q and G buildings

In the summer of 1912, a young painter named Pablo Picasso temporarily put away his paint brushes and started working on a new group of small scale artworks. Using only a bottle of glue, a pair of scissors and the discarded debris found lying about his studio: scraps of fabric, yesterday’s newspaper, printed sheet music, bits of colored paper and wood veneers, he created the very first collages of the modern day. These works would begin a dialogue for artists about broad experimentation with diverse materials that has continued up to today.

Collage has widely influenced how we accumulate, edit and understand information in the 21st century. Film, literature, poetry, music, fashion and advertising all owe a great debt to the art form. One could contend that the internet is a big integrated collage of ideas and images. Even the socially responsible act of recycling shares a kindred spirit with the transformative nature of collage by repurposing old materials into something new.

Picasso is widely credited with coining the term "collage,” from the French: coller, meaning "to glue, or to build up with parts.” Over the past century, many other art forms have sprung forth from this word. Découpage from the French: découper, "to cut up, to carve,” is the process of cutting fragments from commercially printed or hand painted papers and gluing them to a surface. Photomontage has enabled artists to combine multiple images in one composite photograph. The advent of digital technology has contributed to even more experimentation of this technique.

Cleveland Clinic is pleased to present Cut & Paste, an exhibition that examines how the rich tradition of collage has influenced the artists featured here. The artists featured - Sarah Brenneman, Anne Chu, Blaise Drummond, Chris Duncan, Mark Fox, Daniel Gordon, Michelle Grabner, Andrea Hahn, Ulrike Heydenreich , Soo Kim, Robert Rauschenberg, Peter Sutherland, and Rachel Perry Welty - are primarily painters, sculptors and photographers but together they share a common thread, in that they approach their work through the lens of collage. While the term “cut and paste” has taken on a new meaning in the digital age, contemporary artists continue to examine the tradition of collage and as a way to extend and explore imagery.  Through cutting, tearing, layering, weaving and splicing, these works reveal a subtle poetic shift between the processes of adding and subtracting visual information to generate a new whole.

Images L to R: Chris Duncan, I’ve Got the Spirit, 2012 (Courtesy Jeff Bailey Gallery); Sarah Brenneman, Drunk and Potted, 2008 (Courtesy Jeff Bailey Gallery); Soo Kim, Falling Suddenly to her Knees, 2009 (Courtesy Julie Saul Gallery).

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In Print
April 8 – July 30, 2014
Cleveland Clinic Art Exhibition Area – between Q and G buildings

To many, the word “print” conjures up  something that is mass-produced and glossy, like a poster or a magazine.  Fine art prints are quite the opposite—they are generally produced in small editions or can be unique objects—drawing from a broad toolbox of techniques, some of which are over 600 years old. Museum-goers are familiar with the wood engravings of Albrecht Durer and the moody intaglio etchings of Rembrandt—these types of works on paper dig deep into the language of art history. The Cleveland Clinic’s art collection includes over 1,400 fine art prints by contemporary artists.  Included here are some recent acquisitions which show the variety of forms that prints can take.  Some artists claim printmaking as their primary medium for expression, while others who are less familiar with the skills use prints as a pathway to new ideas.  The fruits of these investigations often result in exciting fresh ingredients to an artist’s way of working.  

For some artists, like sculptors Joel ShapiroLeonardo Drew and installation artist Alyson Shotz, the print shop is a place to learn and realize ways of working that can significantly impact their studio work or reflect back on it.  Conceptual artist John Baldessari uses the print shop as familiar place to regularly experiment, create and collaborate, producing hundreds of print projects over his long career.  Over the last 15 years, the introduction of the archival pigment  printing process (commonly known as inkjet) has left an indelible mark on the world of printmaking.  Multi-media artists Not Vital and Josh Tonsfeldt use this method to push the boundaries between print and photography with interesting results. 

Artists who identify themselves as printmakers often expand the medium by stretching and challenging the familiar tools.  Christiane Baumgartner and Zarina Hashmi work mostly in woodcuts—the earliest print  practice—which becomes  innovative when attached to ideas related to technology, time, and identity.  Corrie Slawson focuses on some of the same themes, but uses  a range of applications like silk screening and stenciling to build a unique artwork  that evokes movement and dynamism.  Alternatively, in Hung Liu’s portraits, we see a crossover of old techniques to photo-based imagery, suggesting  a new take on traditional portraiture. In all of these print works we see how transferring ink to paper by using metal, wood, stone, and fabric has led artists since the 15th century  to creative invention and discovery through technology and innovation. 

Images L to R: John Baldessari, Eight Soups: Corn Soup, 2012 (Courtesy Gemini G.E.L. at Joni Moisant Weyl); Paul Morrison, Rhexia, 2011 (Courtesy Pace Prints);  Hung Liu, Shui – Water, 2012 (Courtesy Paulson-Bott Press).

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Three Generations
November 26, 2013 - March 31, 2014
Cleveland Clinic Art Exhibition Area – between Q and G buildings

An artist’s creative voice can communicate across borders and bridge cultural gaps. In the United Arab Emirates, artists use different media to explore the identity of the people of this relatively young country in a region steeped in history. Inviting cultural dialogue and a better understanding of the customs and viewpoints of Emirati artists, Three Generations offers a unique opportunity for viewers.

In the swiftly changing environment of the UAE, familiar customs and practices are often affected by popular culture. The artists represented here are at varying points in their careers, but share an interest in investigating the dichotomy between conventional and new forms of expression and identity.

Three Generations

The variety of media used by these contemporary artists speaks to the diversity of Emirati heritage and the impact of globalism. Traditional calligraphy is transformed into pictorial landscapes in Abdul Aziz Mohammad Saeed Al Fadli’s drawings. Natural materials are used to evoke the passage of time and memory in the mixed media works of Mohammad Al Astad. Conversely, international widget symbols enhance a simple garment in Karima Al Shomaly’s painting; Ebtisam Abdulaziz explores the impact of consumerism on identity in a performance art video, and in emerging artist Saoud Al Dhaheri’s work, the regal falcon is embellished with bling. Using iconic images such as da Vinci’s Mona Lisa, sunglasses, burqas, and ATMs, the artists here combine their worldview to bring a fresh understanding of life in this part of the Arabian peninsula. Three generations of artists give us insight into how the transition to modernity balances with tradition.

This exhibition was presented by the Cleveland Clinic Art Program and Global Arts & Medicine Institute in collaboration with the Abu Dhabi Music & Arts Foundation and under the patronage of His Highness Sheikh Hamdan bin Zayed Al Nahyan, Ruler’s Representative of the Western Region. Three Generations was supported by Mubadala Healthcare’s Cleveland Clinic Abu Dhabi.

Download the Three Generations brochure

Associated Event:

Arabic Calligraphy Then and Now 
Wednesday , March 5, 2014 at 1:45 p.m. 
Glickman Conference Center, Q 1-300 

Imam Ramez Islambouli spoke about Islamic Calligraphy with examples on view from the Cleveland Public Library’s Special Collection. Following the talk, Curator Bellamy Printz gave a tour of the exhibition.

Images L to R: Hamdan Buti Al Shamsi, State of Mind, 2011, Digital Image; Dana Al Mazrouei, Reflection, 2012, Acrylic 3D & acrylic paint; Abdul Aziz Mohammad Saeed Al Fadli, Number 9, 2013, Acrylic on canvas with gold leaf (All images courtesy of the artists)

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Natan Dvir: A Lens on Israel
May 16, 2013 – November 20, 2013
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Natan Dvir is an Israeli photographer who focuses on the human aspects of political, social and cultural issues. Using his camera as a tool for examination and to break through barriers, he documents religious ceremonies, political events and daily life throughout Israel. Through this lens, Dvir looks at Israel’s diversity and complexity. The photographs included in this exhibition are from three different series: Belief, Eighteen, and The Tel Avivians. By separating these different topics he combines specific observations of the public with a focus on individuals and their experiences. Dvir explores various subjects through his documentary approach to photography, such as the impact that religion and faith have on Jews, Christians and Muslims; misconceptions and stereotypes of Arab men and women at age eighteen; and the people who make up the diverse and dynamic fabric of Tel Aviv.

Natan Dvir (b. 1972 - Nahariya, Israel) received his MBA from Tel Aviv University and his MFA in Photography from the School of Visual Arts (NY). His work has been published by numerous international magazines including the New York Times, Newsweek, Wall Street Journal, and Le Monde among others. Dvir has exhibited in many solo and group shows in the United States, Europe, South America and Israel including at the Museum of Fine Arts (Houston); the Museum of Contemporary Art (Cleveland); and the Tel Aviv Museum of Art (Israel). He has received several awards including the Photo District News (PDN) Annual, American Photography Award, International Photography Award (IPA), and the Picture of the Year Inter-national (POYi) Award. Dvir is based in New York City and photographs around the world for Polaris Images. Six of these images were featured in Belief at the Jewish Federation of Cleveland in 2013.

Images L to R: Natan Dvir, Angham and Johaina, 2009 from Eighteen; Samaritans Pilgrimage, 2007 from Belief; Nisim, 2007 from The Tel Avivians (Images courtesy of the artist)

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January 31, 2013 – May 8, 2013
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Mapping has been traditionally used to impose meaning and order to the world. The artists in this exhibition have mapped their personal experience by extracting essential features of their environment and specifying how they interconnect. Each artist takes a rigorous, calculated approach to their work. Whether it is diagramming results, creating lyrical pathways between the imagined and real, exploring the connectivity of cultures and history, or constructing new patterns of narrative, the outcome is always personal and often abstract.

El Anatsui and Nevin Aladağ draw their aesthetic traditions from their respective native countries (Ghana and Turkey), referencing relationships between different peoples and customs. Similarly, Mark Bennett’s blueprint lithograph is a nod to the collective American pop culture experience with his imaginative floor plans of Baby Boom era sitcoms and popular television series. Ingrid Calame’s tracings and rubbings are not mere graffiti but rather literal maps of the evidence of modern human activity, whether it is the stains and cracks on the streets or on the Indianapolis Motor Speedway.

Taking a scientific approach while referencing famous images from art history, Analia Saban’s laser cut lines map their own course as they collapse from the drawing to the floor of the frame. In his abstract and geometric works on paper, and in her prints of fantastic structures, former Clevelander Steven Bindernagel and Sarah Sze, respectively, explore relationships between decay and growth that generate a dialogue between painting, sculpture and architecture. Parallel themes of deterioration and creation are also evident in the works by Charles Long. In his drawings made directly on photographs, Long connects two seemingly separate worlds, the imagined and the photographic.

Images L to R: Mark Fox, Ack, 2008 (image courtesy of Mark Fox); Terry Winters, Interval, 2003 (image courtesy of Two Palms Press); Charles Long, Untitled, 2006 (image courtesy of Charles Long)

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Photo Finish
August 23, 2012 – January 22, 2013
Cleveland Clinic Art Exhibition Area – between Q and G buildings

This exhibition features selected photography from the Cleveland Clinic Art Collection, offering an opportunity to view recent acquisitions before they are installed throughout our facilities.

With all of the technological possibilities available in the 21st century, the desired end-product for contemporary photographers is an ever moving target. For artists like Mariah Robertson and Matthew Brandt, the physical composition of emulsions and papers propels their work into experimentation, where the image is created through science, chemistry and light. Multi-media artist Corin Hewitt’s quizzical photographs document the aftermath of activities that he performs, retooling materials and forms, as part of his gallery exhibitions. Walead Beshty, like Hewitt, records his exhaustive process of editing and altering a single appropriated photograph using photographic software, without ever showing his original source.

Alternatively, Elisabeth Sunday draws on tradition by employing a technique created by Louis Daguerre in the 1840’s. By shooting directly into mirrored sheeting, the artist is able to distort the image—create her haunting images of women in Africa. Tal Shochat creates a physical stage for her subjects, fruit trees, by filming them in front of a black velvet curtain, eliminating all extraneous information about their environment.

The artists in this international group exhibition have taken to investigating new ideas in both in the creation of the subject and the process of producing the final print. Cleveland Clinic as an institution looks to innovation as a cornerstone of its mission, and these artists, through their work, reflect this focus.

Images L to R: Corin Hewitt, Untitled #8 from Drying Flowers with Microwaves, May 17, 2010, 2010 (image courtesy of Laurel Gitlen Gallery); Mariah Robertson, Untitled, 2009 (image courtesy of Marvelli Gallery); Tal Shochat, Afarsemon (Persimmon), 2011 (image courtesy of Andrea Meislin Gallery)

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In My Room
April 16, 2012 – August 15, 2012
Cleveland Clinic Art Exhibition Area – between Q and G buildings

The artists in this exhibition all consider the idiosyncratic sense of place to be an important element in their artworks. When it comes to where we spend most of our time, what we want in these environments is often different that what we need.

Expectations for the perfect home are concerns of artists Stuart Hawkins and Aaron Koehn, whose works here depict the idealized domestic environment, or their wish for one. In Susan Vincent, Timothy Callghan and Darius Steward's paintings, the focus is on what happens in the room - how our dwellings identify us and who we are. Andrew Moore's glimpse of regulars at a neighborhood recreation center, like that of Andy Freeberg's museum sitters, show a sense of casual ownership and connection to familiar scenes. In Cleveland Clinic Medical Photographer Janine Sot and Marcella Hackbardt's images, nature seems to penetrate the room transitioning between the outside and interior worlds.

What do you think of when you envision the ideal refuge? In the end, it may be an environment that you shaped or a place that is designed and chosen for you. Wherever you find yourself, this is where decisions are made, and thoughts and dreams are created.

Images L to R: Douglas Bloom, Bedroom, 2007 (image courtesy of Carrie Secrist Gallery); Timothy Callaghan, Host Picture (Cindy), 2011 (image courtesy of the artist); Janine Sot, Ginger in Camera Obscura, 2009 (image courtesy of the artist.)

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Building Identity: Contemporary Cuban Art from the Private Collection of Shelley and Donald Rubin
November 19, 2011 – April 10, 2012
Cleveland Clinic Art Exhibition Area – between Q and G buildings

The Art Program is pleased to present works from the private collection of Shelley and Donal Rubin, founders of the Rubin Museum of Art (RMA) in New York City. The RMA holds one of the world's most important collections of Himalayan art including paintings, pictorial textiles, and sculpture drawn from cultures that extend from Afghanistan to Myanmar. While the Rubins are primarily recognized as collectors of Asian art, they continue to immerse themselves in cultures worldwide and are avid patrons of Cuban art. Shelley and Donald Rubin have generously loaned works of art from their contemporary Cuban collection to form the basis for the exhibition.

Cuba's rich and often difficult history has shaped the vision of generations of artists who express their complex cultural identity through a diversity of media. After 52 years under Fidel Castro's Cuban Revolution, the Cuban people have endured many hardships associated with a repressive and totalitarian government. However, the exchange of art and culture remain outside the current US Embargo and it has thus become one of the only legal forms of diplomacy between the two nations. This exhibition features a range of Cuban artists. Some are widely known outside of Cuba, others are not. Some continue to live in the country while others live abroad. Each of these artists came of age in communist Cuba, an island nation known for its strong artistic culture, complex politics and crushing poverty.

The artworks featured here share an emphasis on the exploration of both public and domestic spaces, offering a lens through which the viewer can experience Cuban culture. The artists share their various influences through their work: Yamilys Brito and Kadir Lopez, both are graduates of Instituto Superior de Arte (ISA), the esteemed art school which was established at the start of the revolution. Armando Marino, whose career flourished in Cuba, now lives in New York. Jose Toirac, currently featured in a group exhibition at the Museum of Contemporary Art Cleveland, will be an artist in residence at the Cleveland Institute of Art in 2012. Los Carpinteros, the internationally recognized Cuban art collective has exhibited worldwide. Jose Bedia was one of the first contemporary Cuban artists to gain recognition outside of Cuba. Cordero is often noted for showing the first Cuban video art in a gallery setting in Havana.

The often fragmented images of official buildings and familial homes in these artworks give an intimate glimpse into societal memory and notions of cultural displacement and dislocation. There are different themes presented through these works: some reveal concerns about poverty and gentrification while others look at Utopian agendas through the window of urban planning. Through the guise of architecture we are able to obtain diverse perspectives of life in Cuba. Ultimately, we can see that environment not only shapes us but inspires us.

From L to R: Alexandre Arrechea, Dreaming Havana, 2010; Yamilys Brito, Visitantes en Las Habana, 2003; Kadir, Shell,2008

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Don Hisaka: The Cleveland Years
August 19, 2011 – November 11, 2011
Cleveland Clinic Art Exhibition Area – between Q and G buildings
And the Glickman Urological & Kidney Institute Lobby

Cleveland Clinic's Arts and Medicine Institute Art Program, is pleased to announce “Don Hisaka: The Cleveland Years,” an exhibition currently on view in the Art Exhibition Area and the Glickman lobby. The exhibition, produced by the Cleveland Artists Foundation, features images, models, and descriptions from key architectural projects throughout this period of Don Hisaka’s long career. Audiences will have an opportunity to learn about Hisaka’s unique approach to architecture and environments in and around the Cleveland area, and connect them with their own observations as they travel through the region. The exhibition will travel to the Mansfield Art Center in January 2012.

Don Hisaka FAIA received cautionary warnings from colleagues in 1960 when he decided to leave Chicago for Cleveland. Though rich in traditional architecture, the industrial city on the banks of Lake Erie had not yet embraced the modern movement. To Hisaka, the culturally conservative climate presented an opportunity rather than a deterrent. “Cleveland was a place somewhat quiet and undiscovered,” he said. “It was big enough to support a movement. We came searching for a place to nest. Things began to happen for me.”

Hisaka’s early influence on Cleveland architecture came from the design of his own Shaker Heights home, which won the only American Institute of Architects honor award in Cleveland history. This honor, along with the creation of a bustling architecture firm which was housed at the Arcade, led to his recognition in the community as a 1970 recipient of the Cleveland Arts Prize. Hisaka’s projects varied between public and private buildings throughout almost 20 years living in Cleveland. Projects like the Thwing Hall at Case Western Reserve University, the Mansfield Art Center, and the Gund summer residence in Peninsula exemplify Hisaka’s commitment to postmodern architecture with an understanding and sensitivity to both the connecting environment and utility.

In the 21st-century, his influence continues, especially at the Cleveland Clinic where Bill Blunden, who started working with Hisaka in 1961, now serves as architecture consultant. Landscape architect Peter Walker was commissioned, at Hisaka’s recommendation, to create a grand new entrance for the 140-acre urban campus. “Cleveland was good to us,” Hisaka, who currently lives in Berkeley, CA said in 2008. “People had the courage to use us and support us. We are so fond of Cleveland. It is still home to us.”

Includes excerpt from Don Hisaka: The Cleveland Era by Wilma Salisbury

The View From Here
May 6, 2011 – August 12, 2011
Cleveland Clinic Art Exhibition Area – between Q and G buildings

“The View from Here” exhibition features selected paintings, drawings, prints and photographs from the Cleveland Clinic Art Collection. This is an opportunity to see works that are permanently installed in locations throughout the Main Campus buildings thematically curated for an exhibition.

A bird’s-eye view of the world is one that we often imagine when watching a flock of geese fly by. Without the conscious experience of what it is like to live in the familiar settings of cities, farms, and other locales what would the landscape look like?

The artists in this exhibition strive to re-contextualize our everyday environments by taking us to varied heights to see the landscape from an unexpected view. Singular neighborhoods and land masses are propelled into a greater geographical context, where cities merge and state borders disappear. Artists Harold Gregor, Isabelle Fein and Rachell Sumpter paint rural, urban and coastal scenes from above, inserting their artistic interpretations into each piece with the creative use of color and scale. Houses and roads become toy-like representations in the aerial photography of Terry Evans and Naoki Honjo. Local artist Lori Kella and Argentinean artist Leandro Erlich utilize photography to document constructed sets and staged events; while Adam Humphries, Brian Alfred and Benjamin Edwards use digital media to fabricate scenes of debris, agriculture, and city streets. With their varying mediums and approaches, each artist portrays an alternative perspective on the world.

Images L-R: Isabelle Fein, Untitled (über der Stadt), 2011; Terry Evans, Public Swimming Pool, Highland Park, Lake County. June 23, 2003, 2003; Brian Alfred, GEcropcircle, 2008.

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Celestial Skies: Real & Imagined
January 10, 2011 – April 30, 2011
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Immense, mysterious, and seemingly untouchable, the celestial sky has awed and enchanted the human spirit throughout the ages. While gazing upward at innumerable constellations and galaxies, ancient philosophers and contemporary thinkers alike have been prompted to ask fundamental questions about human existence: Who are we? Why are we here? Where are we going?

The artists included in this exhibition have produced evocative works that filter the cosmos through their personal experiences and their unique artistic approaches. Each addresses the attraction and allure of the skies, either through constructed scenes or through an actual engagement with the study and observation of space. Included in the exhibition at Hillcrest are David Levinthal, Sarah Anne Johnson, Nicholas Kahn and Richard Selesnick, Abelardo Morell, Simon Norfolk, and Matthew Pillsbury. At Main Campus, some of these same artists along with Robert and Shana Parke-Harrison, Tseng Kwong Chi, Magali Nougarede, Josef Hoflehner, Mitch Robertson and Cleveland artist Jerry Birchfield round out this diverse investigation of space and our fascination with the mysteries of the universe beyond our own planet. Celestial Skies: Real & Imagined is two exhibitions presented concurrently in the Main Concourse of the new Jane and Lee Seidman Tower at Hillcrest Hospital and in the Art Exhibition Area at Cleveland Clinic's Main Campus.

Images L-R: Anonymous, NASA Moon walk, courtesy Bonni Benrubi Gallery; Magali Nougarede, Saying No; David Levinthal, Untitled (Space Series,) courtesy of artist.

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Currents: Life on the Yangtze River
September 15, 2010 – December 17, 2010
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Currents: Life on the Yangtze River explores two different views of the environmental and social effects of the Three Gorges Dam on the Yangtze River and its inhabitants.Flowing through the center of China, the Yangtze River has for thousands of years been a primary artery for trade, commerce and natural resources. It is also home to millions who are dependent on the Yangtze for their livelihood and farming, creating a specific culture which revolves around the river. The Three Gorges Dam in its first phase of completion in 2003 affected over 300 miles of the Yangtze River Valley. Over 1.3 million people have thus far been relocated as 1,500 cities, towns and villages disappeared under the waters that rose over 600 feet. Artists Yun-Fei Ji and Linda Butler have endeavored to portray the impact of the Three Gorges Dam through their unique visual vocabulary.

Born in Beijing, artist Yun-Fei Ji’s traditional methods of drawing and printmaking create a unique and often pointed commentary on contemporary Chinese life. Cleveland artist Linda Butler has made the topic of the Three Gorges Dam a focus of her artistic work for the last several years. Her photographic images inform the viewer and reveal the challenges that the people on the Yangtze must face everyday. Through two distinctly different media, these artists translate their impressions of the epic transformation, resulting in an opportunity to educate and illuminate.

Images from L-R: Linda Butler, Coal Transport and a Container Ship, near Beishi (detail), 2010; Yun-Fei Ji, Three Gorges Migration (detail), 2009.

Unfolding Identity
May 4, 2010 – August 6, 2010
Cleveland Clinic Art Exhibition Area – between Q and G buildings

A portrait, whether painted, photographed, sculpted or drawn has traditionally served as an iconic form of identity. The ability to capture the character of the subject, both emotional and physical, is at the core of an artist’s expression. This exhibition offers a window in which to observe and consider visual representations of individuality. Cleveland artists Dexter Davis and Anna Arnold are both well-known locally for their portraits. Davis considers personal experience to be the building blocks of his images. Arnold uses images of recognizable figures to find a palpable connection with her subjects as she engages in the act of painting. Similarly, Germany-based artists Simone Lucas and Matt Saunders reference periods in European history and cinema to express nostalgic impressions of their subjects. Painter Kehinde Wiley combines the precedents of portraiture with the gestures and appearances of contemporary African-American men—creating a complex dialogue between beauty, culture and power. Iñigo Manglano-Ovalle’s DNA portraits reach beyond the figural in an effort to graphically reveal the genetic individuality of his portrait subjects.

Images from L-R: Kehinde Wiley, A Bacchante after Sir Joshua Reynolds, 2009; Iñigo Manglano-Ovalle, UFO SKY (DNA PORTRAIT OF DARIO ROBLETO), 2003 (not included in exhibition); Simone Lucas, Untitled, 2009.

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The Expansive Gesture
January 8, 2010 – April 4, 2010
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Viewers find different ways to appreciate Abstract Art—an important and current style of art making. The artists exhibited here reference many real-world experiences and environments in their abstract works. In exploring these paintings and drawings, one might find the seed of something familiar with which to begin a visual journey.Erik Neff’s broad use of color reminds one of mapping, wherein topographical transitions are created by painted gestures. Similarly, Dana Oldfather’s use of paint, both broad and thick in comparison to the fragile lines of her figures, suggest to the viewer a way to enter into a mysterious environment. In Seth Rosenberg’s artwork, emotive gesture gives way to structure and dynamism. Explosive energy and considerations of color and tone are harnessed to create a futuristic world. In contrast, Matthew Kolodziej’s seemingly chaotic compositions are squarely based in architecture. One might find that the experience of viewing these exaggeratedly textured canvases changes with distance—revealing structure and depth. Like Kolodziej, Martin Ball’s physical and purposeful method of making images is palpable. By consciously layering color and line in a seemingly random way, the artist engages the viewer in his act of creation.

Collage of images from L to R: Martin Ball, Untitled, 2007; Erik Neff, Geography, 2005; Seth Rosenberg, Abstract Thinking, 2007.

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Empathy & Art: Considering the Human Experience
August 5, 2009 – January 3, 2010
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Artists often strive to relate to their audience on a personal level through their artwork. It is by means of this connection with the visual image that the viewer can experience empathy. The artists exhibited here use photography, sculpture and printmaking to create visual objects with which many of us can identify. In this exhibition photographers Dawoud Bey, David Hilliard, Gillian Laub, Magali Nougarede, Cleveland-based Nancy McEntee and conceptual artist Dennis Oppenheim create intimate portraits expressing empathy between people. Laub, McEntee and Oppenheim capture their families and friends in both spontaneous and staged moments, allowing the viewer to share in private moments of universal appeal. Bey and Nougarede photograph members of their local communities of varying ages, genders and social classes—emphasizing their subjects’ shared humanity. Matt Ducklo explores the relationship between touch and sight through his evocative portraits. Ohio artists Hui-Chu Ying and Eva Kwong use printmaking and sculpture to emphasize the physical, emotional and spiritual methods of communicating about life. Shimon Attie mines the collective memory of post-World War II Europe, creating images that connect history to the present.

Images L to R: Nancy McEntee, Washbowl (image courtesy of the artist), Magali Nougarede, Blind (image courtesy of Rosenberg and Kaufman Fine Art), Eva Kwong, Lament (image © Cleveland Museum of Art).

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Social Structures
March 25, 2009 – July 10, 2009
Cleveland Clinic Art Exhibition Area – between Q and G buildings

Social Structures features the work of Christi Birchfield, Amy Casey, Julie Langsam and Glenn Ratusnik and runs from March 25 through July 10, 2009. The experience of living and working in Cleveland was the starting point to organizing this exhibition of paintings, drawings and prints by four artists in varying stages of their careers. The artwork speaks to different elements related to living in or growing up in this geographical region. Each artist considers relationships between dwellings, objects, community, and memories, resulting in either a literal translation of the environment or a more idealized reality.

Christi Birchfield is a Cleveland native who is still very tied to her roots. Based in traditional landscape drawing, Birchfield’s enigmatic images are about the personal exploration of consciousness and memory. Her newest drawings are about formations of thought—a mindscape--with structural rules and parameters.

A true citizen of the “Rust Belt,” Amy Casey moved from her hometown of Erie, PA to attend the Cleveland Institute of Art, where she earned her BFA in 1999. Casey’s images remind one of a dream scene gone awry, where the industrial landscape is overrun by fantastical beings or organic elements.

Since 1998 Julie Langsam has been exploring the relationship between Modernist architecture and the utopian landscape in her paintings. Her images show us an impossible moment and place in time, where ideals of beauty, innovation and social introspection are combined.

Glenn Ratusnik’s images reveal his familiarity with Cleveland and its many neighborhoods. As a native, he has seen the ebb and flow of society’s impact on the local environment, both urban and suburban.

Image: Details from works by Julie Langsam, Christi Birchfield, Amy Casey & Glenn Ratusnik

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Oh! The Places We Can Go!

Selections from the Cleveland Clinic Collection

February 13, 2008 – May 15, 2008

For centuries artists have offered viewers the opportunity to discover new, idealized or surreal environments and situations through their works. In the visual arts, the window reveals fantastic, whimsical, and introspective moments or places where the impossible becomes logical, and familiar child-like images hold a new meaning. The exploration of these thoughts and settings present a dreamscape that is sometimes surprising or strange, and at other times beautiful and funny.

In the exhibition of acquisitions by the Cleveland Clinic Art Program, contemporary artists from around the world interpret dreams, memories, and observations through photography, painting, drawing, and other media. Most of the artworks in this exhibition were installed throughout the Sydell and Arnold Miller Family Pavilion and Glickman Urological and Kidney Institute in Fall 2008, so this was a unique opportunity to experience them as a group.

From L to R: Ena Swansea, 4 Seasons (Four), 2007, color serigraph; Torben Giehler, K2 (Green), 2005, silkscreen; Weng Fen, Staring at the Sea #2, 2003, chromogenic print.


People, Places & Things

Selections from the Cleveland Clinic Collection

October 24, 2007 – January 31, 2008

People, Places & Things represents a small set of diverse works by artists including Seydou Keita, Tim Callahan, Willie Cole, and Judith Linhares. This exhibition highlights acquisitions by Cleveland Clinic's Art Program. The art that was chosen for the collection includes works from all corners of the world. In this exhibition, there are artists working from Cleveland to Mali, and from Australia to New York. Currently the art collection includes over 2,500 works on paper, photographs, paintings, mixed media and experimental works of art that are distributed throughout the Cleveland Clinic system.

From L to R: Iris Schomaker, Ohne Titel (portrait), 2004, acrylic on wood; Timothy Callahan, The Long Way, 2007, acrylic, ink and oil on canvas; Willie Cole, Pressed Iron Blossom No. 3, 2006, color lithograph.

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City Seen

David Bergholz, Laurence Channing, Masumi Hayashi & Michelangelo Lovelace

August 29, 2007 – December 11, 2007

Cleveland is a vibrant, yet often challenged environment, where old urban problems and issues come head to head with innovative ideas and progressive moves to energize old infrastructure. Here--on Cleveland Clinic’s Main campus between Carnegie and Euclid Avenues--an area once home to the city’s commerce is now full of possibility for rebirth. Cleveland mixes the residential with the industrial; the urban with the natural, and in City Seen, four local artists share their experiences of the city’s many sides.

Masumi Hayashi is perhaps best known for creating striking panoramic photo-collages, using sometimes hundreds of smaller color photographs like tiles in a mosaic. Her energetic and captivating images of Cleveland’s civic and landmark areas hint at the silent histories that lay behind the stones and structures of her adopted hometown. Hayashi taught art at Cleveland State University for 24 years until her death in 2006. In addition to the two works seen in this exhibition, four of Northeast Ohio’s premier art venues – The Akron Art Museum, Cleveland State University Art Gallery, MOCA Cleveland and SPACES – will celebrate and pay tribute to the rare gifts and artistic accomplishments of Hayashi. Each institution mounted a major exhibition that was on view at approximately the same time over three months, from October 27 through January 27, 2008.

Laurence Channing’s meticulously created drawings reveal the hidden corners of Cleveland’s neighborhoods and industrial areas. Channing’s homemade charcoal gives his works a dream-like, atmospheric appearance that reflects their subjects—quiet places that are often overlooked or ignored. The frequently large-scale drawings are at once matter-of-fact and heroic representations of the grittiness that is associated with Cleveland’s reputation as a steel-belt city.

As a long-time Cleveland resident, David Bergholz knows the nuances of the city. He began documenting his observations on Carnegie Avenue in 2002, chronicling the street’s changes. To him, the raw, occasionally humorous moments he captured spoke to the identity of the entire city: “I believe that to travel this piece of Carnegie is [an unparalleled] experience of Cleveland’s unadorned persona—no more, no less.”

Michelangelo Lovelace’s paintings depict the realities of the urban environment in which he grew up and still lives. Often challenging and always pointed, Lovelace has made a career of telling the true story of his experiences as an African-American in the inner city. Mainly self–taught, he presents paintings that tell all—from the text on the billboards, to the store signs, and the people walking on the streets. The neighborhood is a place where anything can happen—good and bad, with humor and horror—and we are all bearing witness.

From L to R: David Bergholz, Masumi Hayashi, and Michelangelo Lovelace.

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Two Views: Select Photographs

Special Exhibit

May 16, 2007 – August 20, 2007

The architectural magnificence and heroism within the walls of Cleveland Clinic are elegantly captured in Two Views, a published book of photographs taken by artists Larry Fink and Andrew Moore.

The coffee table book comprised of color and black and white photographs was the inspiration of Toby Cosgrove, MD, CEO and President of Cleveland Clinic. The book’s images depict a day in the life of Cleveland Clinic, from physicians, nurses and patients, to the construction and intricate architectural details that intersect the healing within.

“Everyday acts of compassion, life-saving heroism and humility take place within the vastness of our institution,” Dr. Cosgrove said. “With their photographs, Larry Fink and Andrew Moore have captured the energy and essence of Cleveland Clinic, its people, its buildings and vibrancy, in moving images that inspire.”

A select group of these photographs, curated by the Cleveland Clinic Art Program, were the subject of Two Views, an exhibition in Cleveland Clinic’s Main Campus H Lobby, which ran May 16 through Aug. 20.

In 2005, Cleveland Clinic invited the two artists to witness its people, buildings and activities over the course of several seasons. Internationally known photographers Larry Fink and Andrew Moore were chosen for their outstanding abilities and contrasting temperaments. In accord with their individual inclinations, the artists pointed their cameras at different and sometimes overlapping subject matter. Larry Fink photographed people. Andrew Moore photographed places.

Dr. Cosgrove assured that no door at Cleveland Clinic would be closed to the two photographers – beginning with his own operating room, where until December 2006 he performed several surgeries a day.

Armed with unprecedented access, the two photographers roamed from rooftop to basement, street side to bedside, in quest of images. Chance and opportunity governed their choice of places and subjects. Designers Nesnadny+Schwartz surveyed all the photographs taken, and chose the best images for this book. While Two Views includes the world of medicine, art, science and architecture, it is not a comprehensive record, but rather an impressionistic overview of Cleveland Clinic at a moment in time, hard at work putting patients first.

The Art Of Giving: An Exhibit Of Works Donated By Jay And Jean Kislak

49 Works of Art Donated by the Kislak Family

January 24, 2007 – April 15, 2007

The Art of Giving included works on paper donated to Cleveland Clinic’s Art in Medicine Program by Jay and Jean Kislak in Honor of Brian P. Griffin, M.D., a cardiologist at Cleveland Clinic. The Kislak family donated 49 works of art to Cleveland Clinic’s Art Program, which were added to the hospital’s permanent collection. Suites of prints by American artists Pat Steir, and Jack Tworkov and French artist Bernar Venet were installed in Cleveland Clinic’s renovated G lobby. The Art Program organized the exhibition to view the larger part of the donation before the pieces were installed permanently throughout the hospital.

Works in the exhibition included a suite of woodblock prints by contemporary artist Jennifer Bartlett, a diptych by Texas artist Vernon Fisher, images by Nancy Graves, April Gornik, Robert Bechtle, and Cleveland-native Susan Crile. A suite of prints about robots by renowned multi-media artist Nam June Paik were included. The varied group of works on paper provided viewers with an intimate look at a corporate art collection that spans many widely recognized artists and art movements of the last 30 years.


Family Ties: Ohio artists explore childhood and experience
October 19, 2006– January 18, 2007
Cleveland Clinic Main Campus - H Lobby Gallery

Family Ties included artwork by five artists investigating issues revolving around family relationships, childhood memory and the experience of growing up. Originally part of a larger exhibition, Growing Pains, which was curated for the Ohio Arts Council by Bellamy Printz, Assistant Curator for Cleveland Clinic's Art Program, this edited version showcased artists from all over the state working in various media, including photography, printmaking and painting.

Lynn Whitney’s photography tells of the deeper context of family life. The active patterns of child rearing and the partnership between mother and father are documented here in traditional black-and-white photography. Using photography as a journaling device, Bridget Murphy Milligan revisits her childhood home in central Ohio. The photographs become the basis for her mixed-media paintings, which include materials from her family farm and suggest a yearning for the less-complicated period of youth. Brooke Inman’s work reads like a diary. In State Proofs of My Life 2005, Inman uses basic intaglio techniques to generate autobiographical images from a single matrix. The suite of prints that results contain memory—ghosts of each version or state seen previously. Cultural identity is at the forefront of Eliana Calle-Saari’s woodcuts. Saari, a native of Colombia, questions not only the cross-generational ties between mothers and daughters, but also the connection to ethnicity. Marcella Hackbardt challenges the way society views traditional gender roles and the choices people make through vibrant and active images in color photography. In All Boy, the artist photographs boys who are defying societal constraints by participating in dance.

‘Travelogue,’ An Exhibit Of Works By German Artist Elger Esser
October 2, 2006 - January 11, 2007

Cleveland Clinic's Art Program displayed Travelogue, an exhibition of several works by German artist Elger Esser. The exhibit of large-scale photographs was on loan through the Sonnabend Gallery, in New York City and displayed in the M Corridor on Cleveland Clinic’s Main Campus Oct. 2 through Jan. 11, 2007.

Since childhood, Elger Esser has been fascinated with old postcards from around the world. His photographs exude the same tranquility and romantic spirit of the 19th century postcards that have served as inspiration for him.

Mass-produced postcards from the early days of tourism both captured and reflected memories, moods and feelings of universal validity. A picture postcard, chosen and posted, established a rapport, an identifying moment, between the sender and the addressee.

Esser’s re-interpretation of these small mementos take on a monumental scale as the viewer is invited into a historical landscape that is reminiscent of both painting and printmaking. His images of empty landscapes of the French Atlantic coast and the people who lived and worked in this harsh seaside environment often have a compelling abstract quality.

Esser has exhibited his work internationally, and in the spring of 2006 had his first solo museum exhibition in the United States at the Haggerty Museum of Art, Milwaukee, WI. His works are included in many public collections, including the Metropolitan Museum of Art, NYC, the Albright-Knox Gallery, Buffalo, NY, and the Stedelijk Museum, Amsterdam. Esser lives and works in Düsseldorf, Germany.

Transformations & Meditations

Susan Danko, Andrea Joki, and Hui-Chu Ying

July 5, 2006 – October 3, 2006
Cleveland Clinic Main Campus - H Lobby Gallery

Susan Danko, Andrea Joki and Hui-Chu Ying explore ideas about the synthetic, organic and spiritual worlds and how they bridge from one area to another, crossing real and imagined environments. For example, the transformation from growth to decay—natural elements in our physical and spiritual lives--are visible through these artists’ works.

Susan Danko’s paintings capture landscape and color, suggesting symbolism and abstraction of the familiar. She creates spaces and objects that are at once identifiable and at the same time mysterious and somewhat alien through her explorations of botanical forms and composition. Using a subtle palette, Andrea Joki evokes a sense of movement and memory in her works on paper. Fine lines wind and twirl around a grid-like system—suggesting an ebb and flow which is slowly pulling the fabric of the invented matrix apart. Her works create a sense of transition, as if visitors were observing the slow dissolution of solid matter. Hui-Chu Ying’s prints convey energy and healing through image, language and texture. By utilizing symbols and structures from the physical world, the artist conveys a sense of transcendence as she investigates intangibles such as compassion, humility and hope.

Susan Danko (Parma) graduated from the Cleveland Institute of Art with a Bachelor in Fine Arts in 1998. Since her graduation, she has had numerous selected exhibitions, and her work can be found in the corporate headquarters of BF Goodrich and American Greetings. Andrea Joki (University Heights) recently received her MFA in Printmaking from Kent State University. A native of Minnesota, Joki’s work was has been included in many regional exhibitions, including the NEO Show at the Cleveland Museum of Art, and exhibitions in Dresden, Germany. Hui-Chu Ying of Akron grew up in Taiwan and received her MFA from West Texas A & M. She is Associate Professor at the Myers School of Art at the University of Akron and exhibits her work internationally.

Images from Left to Right: Susan Danko, Botany; Andrea Joki, Untitled; Hui-Chu Ying, Heaven and Earth.

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Photographs by David Levinthal

June 29, 2006 – September 26, 2006
Cleveland Clinic Main Campus - M Corridor

In Baseball, internationally acclaimed artist David Levinthal recreates and recognizes important players and moments in baseball history. Through the use of toy miniatures, both antique and recently manufactured, Levinthal celebrates America’s pastime in richly colored large format photographs. The exhibition at Cleveland Clinic represents a small part of a larger series that Levinthal has been working on over the last few years. Players included here are Bob Feller, Babe Ruth, Satchel Paige, Omar Vizquel, Jackie Robinson and many others.

For more than three decades, David Levinthal has examined American popular culture and social behavior as reflected through toys and miniatures. For Levinthal, the playful surface of children’s objects shrouds other meanings, which he cleverly uncovers in photographs that are equally stunning for both their beauty and irony. His is a vision that not only underscores our country’s uniqueness but also its desire for iconic representations and recognizable heroes. Levinthal lives in New York City and collaborated with the Art Program on this special exhibition.

Images ©David Levinthal. L: Bob Feller, Cleveland Indians; R: Willie Mays, New York Giants.

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The Visual Voice: Paintings By Seth Chwast
May 22, 2006 – September 29, 2006
Beachwood Family Health Center

Seth Chwast was diagnosed with autism as a very young child. A dramatic change came at age 20, when Seth’s parents signed him up for an oil painting class at the Cleveland Museum of Art. Seth discovered that he had an innate ability to mix colors and create amazing, large oil paintings that give a “voice” to his world and allowed him to connect with viewers. By 23 years old, Chwast had filled his entire house with his art.

Chwast chooses the subject matter, palette and does all the painting. Through passionate discipline he has evolved his paintings into spectacular landscapes with aurora skies and mysterious forests to magical worlds populated with griffins and Pegasus. He has translated his early obsession with horses and the love of repetition into immense color grids and frequently engages in the discipline of the self-study, which is now one of his recurring subjects.

The paintings were on loan courtesy of the artist. Seth Chwast is represented by the Red Dot Project. More information about his work can be seen at

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New World Views

Photographs by Lori Kella & Michael Loderstedt

March 21, 2006 – June 20, 2006

Cleveland Clinic’s new Art Program presents the photographic works of Cleveland artists Lori Kella and Michael Loderstedt in an exhibition of works on view in the H Lobby area from March 21st- June 20th, 2006. A lunchtime artist’s talk will be presented on Wednesday, May 3rd at 12pm in the Bunts Auditorium, 2045 East 90th Street.

In their photographic works, Michael Loderstedt and Lori Kella explore and investigate the concept of coastlines—real, historic, and imagined. Loderstedt’s travels across Lake Erie and along the Atlantic coastline are uniquely documented to convey journeys of early explorers and of the artist himself. In this exhibition two major bodies of work are represented: Crossings and Landings, both depicting the artist’s experience of travel and discovery.

Kella photographs dioramas that she creates to mimic geographic regions that are researched and are reminiscent of toy landscapes. Often from an aerial perspective, her photographs suggest topography, mapping, and at the same time, show the flaws and inconsistencies of her invented subjects. In New World Views, Kella includes a body of work looking at Newfoundland’s coastal terrain, as well as some excerpts from a new body of work that the artist is currently developing. Kella’s work is included in Cleveland Clinic's art collection.

Kella and Loderstedt are married and live on Lake Erie in Cleveland.

Images: L: Laurentide Ice Sheet, Lori Kella, 2006; R: Crossing (10:20 am), Michael Loderstedt, 2000

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