In the 1890s, B.A. Haldane sets up a photography studio in Alaska and begins documenting the vibrant life of his Tsimshian community—even as non-Native photographers like Edward Curtis are trekking to reservations, documenting what they believe is a "vanishing race.” Quietly contradicting a president and scientists steeped in theories of white supremacy and evolution, Haldane and other Native artists offer an alternative vision only now being rediscovered. A story of resistance and resilience and what we miss by seeing only through our own lens.

You can learn more about Haldane in the work of Tsimshian scholar Mique’l Dangeli. And revisit the exhibition “In Our Hands” that featured Haldane and other Native photographers at the Minneapolis Institute of Art.

Tickets for The Object LIVE! on October 30 are now sold out, but some tickets will be available at the door! And if you have tickets already, don't forget to come to our hour-long live taping of The Object podcast with very special guest Chan Poling of The Suburbs and New Standards, quizzes, and storytelling at the Minneapolis Institute of Art. Part of a full evening of activities at the Minneapolis Institute of Art, including food, drink, gallery tours, a costume contest, and more celebrating the 100th anniversary of The Great Gatsby and the art of the Jazz Age. More info here: https://new.artsmia.org/event/the-object-live-presented-by-ameriprise-financial

And now, today's brand-new episode:

In the 1860s, a French naturalist is hailed as the re-discoverer of the vast Angkor Wat temple complex in Cambodia. Soon, one of the world's most remarkable architectural and spiritual treasures becomes caught up in colonial intrigues as a "lost city" of ancient splendor. A story of power and prejudice, curiosity and wanderlust, and how the obvious is sometimes right under a giant stone nose. 

You can see some of the incredible artworks mentioned in the episode in "Royal Bronzes: Cambodian Art of the Divine," featuring a giant statue of Vishnu and other bronze works, opening at the Minneapolis Institute of Art on October 25.

Tickets are going fast for our next exclusive live taping of The Object podcast on October 30 at the Minneapolis Institute of Art, with special guest Chan Poling (The Suburbs, The New Standards), fun quizzes, curator conversation, and of course storytelling—all about the 100th anniversary of The Great Gatsby and the art of the Jazz Age. Tickets are absolutely FREE but you do need to have them. Go to the Tickets page at Artsmia.org and get yours today!

And now, today's episode:

Artists have captured unicorns for thousands of years, and for most of that time people thought they were both magical and real. What can an imaginary creature tell us about ourselves? What did we lose when we stopped believing? And why do we still love them anyway?

You can see unicorns in art through the ages in the collection of the Minneapolis Institute of Art, including a "millefleurs" tapestry from the late Middle Ages, a remarkable 1555 engraving of "A King Pursued by a Unicorn" by Jean Duvet, and Albrecht Dürer's "Abuction on a Unicorn" from 1516.

Thanks to Natalie Lawrence and Marguerite Ragnow for sharing their expertise on this episode.

Lawrence is a freelance writer with a PhD from the University of Cambridge on exotic monsters in early modern Europe. Check out her new book, Enchanted Creatures: Our Monsters and Their Meanings. 

Ragnow is a historian and curator of the James Ford Bell Library at the University of Minnesota, a collection about trade and exploration, featuring rare books, maps, and manuscripts. She is working on a book about unicorns.

Big news! Tickets are now available for the next edition of The Object LIVE! Our hour-long live taping of The Object podcast on October 30, with very special guest Chan Poling of The Suburbs and New Standards, quizzes, and storytelling. All about the 100th anniversary of The Great Gatsby, the joys of jazz and St. Paul, and maybe the proper occasion to wear an ascot. Which is quite possibly this show—it’s “Great Gatsby’s Ghost!” The day before Halloween—Thursday, October 30, at 7 p.m. at the Minneapolis Institute of Art. Tickets are FREE but limited. Reserve your seats now by going to the tickets page on the Mia website, or follow this link: https://new.artsmia.org/event/the-object-live-presented-by-ameriprise-financial

And now, today’s episode:

In the fall of 1930, Frida Kahlo and Diego Rivera travel to the United States for the first time, welcomed as celebrity artists, ambassadors of an ancient and powerful Latin American identity. But as the months turn to years, can Rivera’s vision of one united Pan-America—and his marriage—survive the pressures of politics, fame, temptation, cultural differences, and scandal?

You can see examples of Diego Rivera’s work, and that of other modernist Mexican artists, in the collection of the Minneapolis Institute of Art: https://collections.artsmia.org/search/Diego%20Rivera

You can see Rivera’s San Francisco mural “Pan American Unity,” discussed on the show, here: https://www.sfmoma.org/exhibition/pan-american-unity/

You can see photos of Frida and Diego taking San Francisco by storm here: https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco

You can see (and read) Kahlo’s heartfelt letter to Rivera from a San Francisco hospital (“Diego, mi amor”) in the collection of the Smithsonian: https://www.si.edu/object/frida-kahlo-letter-diego-rivera%3AAAADCD_item_739

Vienna in the early 1900s is a kind of paradise of power and beauty, the center of an empire that will seemingly go on forever. Only an eccentric young artist, who sees faces in trees and finds God in the forest, seems to understand the fall that is coming. A loss of innocence that will consume him—and much of the world.

You can see the work of Egon Schiele, Josef Hoffman, and the other artists, designers, writers, and philosophers mentioned in this episode in the new exhibition "Timber! Art and Woodwork at the Fall of the Austro-Hungarian Empire" at Mia.

Save the date: The next live taping of The Object podcast will be October 30 at 7 p.m. at the Minneapolis Institute of Art, absolutely free. Special guest and ticket info coming soon. Now, enjoy this encore episode about a story as old as life itself: things fall apart. But what really happened to all those ancient statues missing arms, legs, heads, and other appendages? And how have we come to treat them as normal—a normal way of seeing the classical age, like paintings of the Renaissance or black-and-white photos of the 1900s? Have they shaped a perception of the past as more remote, mysterious, and, well, broken than it really was?

See some of the battered artworks mentioned in this episode, including the Tiber muse, a Graeco-Roman torso, an ancient Egyptian figure, and the Venus de Milo.

Truth and fiction collide in two stories of museum life. One of a curator who goes missing in the 1950s. The other of a curator who finds himself in the aftermath of World War I, a life chronicled in diaries recently found inside a forgotten storage space. A life filled with beauty and tragedy and the redemptive power of art. 

Save the date: The next live taping of The Object is October 30 at 7 p.m. at the Minneapolis Institute of Art, all about the 100th anniversary of The Great Gatsby, F. Scott Fitzgerald, and the art of the Jazz Age. Guests and details coming soon!

Save the date: The next free live taping of The Object podcast will be October 30 at 7 p.m.! Special guests and ticket info TBA. Now, enjoy this encore episode about one of the largest jade sculptures in the world, a 640-pound mountain commissioned by the Chinese emperor. In 1901, in the ugly aftermath of the Boxer Rebellion, it ends up leaving China—only to resurface on the dinner table of a lumber baron. It’s a story as old as stone: can anyone be king of the hill for long?

You can see "Jade Mountain Illustrating the Gathering of Scholars at the Lanting Pavilion," now in the collection of the Minneapolis Institute of Art, here. 

The Renaissance, which began in Italy some 700 years ago, may be one of the last true ideals we have. It's this beacon of beauty and truth that led us out of the Dark Ages. It gave us Leonardo da Vinci, Michelangelo, and Raphael. But the Renaissance was also extremely, delightfully weird. A story of what happens when repression recedes and freedom moves in—and how this strangeness gave us our modern world.

You can see some of the "weird" artworks discussed in the episode here. Then, if you're able, see them in person at the Minneapolis Institute of Art. 

Truth, beauty, transcendence. For millennia, people think they know the rules of great art. Then, in the 1950s, a guy named Bob breaks every one of them, declaring car tires and Coke bottles and entirely blank canvases part of his art—and, in turn, being declared the greatest artist of his time. As war gives way to optimism, is Robert Rauschenberg offering a weary world a new way of seeing, or is he simply, entertainingly, and quite lucratively bamboozling it?

Here, you can see Rauschenberg's 1970 exhibition at Gallery 12, atop Dayton's department store in Minneapolis: www.rauschenbergfoundation.org/art/archi…allery-12

Here's an iconic print, commissioned but ultimately rejected by Time magazine in 1969, acquired the following year by the Minneapolis Institute of Art when the museum held a major retrospective of his prints: collections.artsmia.org/art/7519/sign…-rauschenberg

And here's an incredible shot of a boat hauling Rauschenberg's massive canvas across Venice for the 1964 Biennale: www.rauschenbergfoundation.org/art/archi…-biennale