Current Exhibitions

The Vase Project: Made in China – Landscape in Blue

November 9 - January 14, 2015
Exhibition Opening
November 9, 2014

The Vase Project: Made in China—Landscape in Blue is a conceptual work consisting of 101 porcelain vases painted by Qing Hua (blue-and-white) artists in Jingdezhen, China. The exhibition results from the unusual collaboration of the curator, Barbara Diduk, with the artists. Working with Zhao Yu (a ceramic-sculpture student at the time, now an assistant professor at the Hunan Normal University, in Changsha, China), Professor Diduk explored Jingdezhen, China’s “porcelain capital,” looking for vase painters who would participate in this project. Although all the vases depict the subject matter—landscape—traditionally found on vases, Diduk played a special role in the creation of the works. She asked the first artist to paint the vase with a landscape incorporating the ubiquitous kiln stacks of the city. The second painter was given a blank green-ware vase and asked to use the first piece for inspiration. Painted and fired one at a time, subsequent painters referred to the immediately previous artist’s work. The result is a “chain letter” of 101 vases in differentiated painting styles, capturing the interpretive liberties taken by individual vase painters in response to the landscape subject. 

The installation examines contemporary industrial-landscape imagery in the context of the traditional, idealized landscape. The pieces taken together constitute a statement about the relationship between traditional and contemporary artifacts, with each piece deserving recognition in its own right. Displayed serially, in the order completed, the full aesthetic value of “Made in China—Landscape in Blue” emerges with the experience of the works viewed as an ensemble. Part visual narrative, part sociological study, and part archival document, it is a tribute to the largely unacknowledged artists and artisans caught working in a time of profound economic transformation.

The Vase Project: Made in China – Landscape in Blue




Barton's Place

November 16, 2013 - Ongoing

Barton Lidice Benes lived in a magical apartment in New York City. It was filled with over $1 million in African, Egyptian, South American, Chinese and contemporary art, plus much more as touted in the New York Times when it announced Barton’s intended gift to North Dakota (2/6/05).

Barton Benes and his treasure trove spent decades tucked away in a glorious boxcar space in Westbeth, the artist community in New York’s West Village. There, rare works of art joined ranks with the arcane, the wistful, the amusing, the deeply serious, and a “maddening and morbid array of things” (a human toe found on New York’s Williamsburg Bridge, a stuffed mink wearing a mink coat, an eight-foot giraffe head). This temporary installation suggests the drama and mystery embedded in Barton’s private wonderland. Continue reading...


Radiolab Podcast: As It Happens




Walter Piehl / ULAE print benefits NDMOA


North Dakota artist Walter Piehl collaborated with Bill Goldston, Director of Universal Limited Art Editions on Long Island, to create a work of art as a benefit for the North Dakota Museum of Art. ULAE is known as a pioneer for its work with artists such as Jasper Johns, Robert Rauschenberg, and James Rosenquist as they introduced lithography as a fine art form to Americans. Only thirty Walter Piehl prints exist. Print number one will go into the Museum's permanent collection. Print two will be raffled off to the general public, and the remaining twenty-eight are available for Museum supporters, Walter's friends, and collectors. Contact the Museum 701.777.4195 to secure your print, destined to take its rightful place in the history of art on the Northern Plains.

Price: Twenty-eight prints to be sold with all proceeds going to the Museum. Graduated price structure: Edition #3-10 for $2,000 each (SOLD); Edition #11-20 for $2,500 (SOLD); Edition #21-30 for $3,000.

Walter Piehl, Smokey Nellie, Pigmented ink-jet with lithography, 24 x 32 1/4 inches, 2013.
Walter named the work after the two horses his friend Bill Goldston rode as a youngster in Oklahoma.