During one of my recent weekly walkthroughs in the museum galleries, I noticed the continued excitement and interest connected to our current exhibition Tiff Massey: 7 Mile + Livernois. The exhibition space is always busy with students, community members, and visitors in general. Many take selfies in front of the works; others engage with our security officers by asking questions about the different pieces; and everyone walks around in wonder, taken in by the art’s beauty and scale. 

After one year on view, the exhibition will come to an end on May 11. Most of our audiences applauded the unique decision to keep the show open for so long. Our goals were both to recognize Detroit artistic talent at the highest possible level and to provide plenty of time for the community to learn, admire, enjoy, and rejoice in it. While we do not yet have the final numbers, our informed projection is that a quarter of a million individuals will have visited the show. Among them were thousands of K–12 students from the Tri-County area and beyond who, guided by our gallery teachers, found inspiration in Tiff’s creations—“She is one of our own. She made it, and we can too.” I am sure many of them, if not all, felt a similar sentiment as they stood in front of the artwork.

As soon as we close the show, the museum will enter a period of upgrades and reinstallations on the North Wing’s second floor. During the summer, we will start the process of transforming the galleries into a space where our artworks will shine in an engaging contemporary atmosphere. Everyone in the museum, directly or indirectly, is involved in this monumental effort. A lot of planning has already gone into it. During your near future visits to the DIA, you will encounter several gallery closures. At the entrances of these areas, you will find signs that say: Big changes. Bold art, along with a QR code that connects you to a dedicated webpage with current updates on the progress of this reinstallation effort. 

I want to thank you for your patience when visiting the museum with your friends and families. As we enter this May’s Asian American and Pacific Islander Heritage Month, I   would like to remember a millinery Chinese Proverb, “Hao shi duo mo” or “Good things take time.” While we take this time and work hard, we do it for your benefit—to keep improving the visitor experience: to learn, to enjoy, and to celebrate art and all communities at your Detroit Institute of Arts.

The Detroit Institute of Arts has expanded its archives with a significant acquisition: 62 containers of personal research papers, manuscripts, and journals from William Valentiner, the first professionally trained art historian to lead the museum from 1924 to 1945. Received from the North Carolina State Archives in March, the files span his entire lifetime and nearly double the DIA’s existing Valentiner records. Valentiner was one of the most talented museum professionals working in the US in the 20th century. 

For local scholars, these expanded documentary materials offer a treasure trove of information. Imagine you’re an art lover or a student or professor from the College for Creative Studies or Wayne State, immersed in a research project on the German Expressionism art movement, for instance. You need access to historical materials over 100 years old! The DIA’s Research Library and Archives offers you that amazing material, and it is in itself a haven for art scholars with 190,000 volumes and over 4,000 cubic feet of archive space.

Our collection includes many documentary gems such as a 1938 letter from German artist Ernst Ludwig Kirchner to Director Valentiner. In it, Kirchner writes:

“Many thanks for your kind letter. If you would like to have The Hockey Player, please take it for the price you are able to pay and tell me how much it is. Every sale is of greatest value to me, and you are such a good friend...

“The defamation comes across the frontier most threateningly. The Swiss painters generally do not follow the modern conceptions, and they have a great influence here. I find little support here. From Germany, of course, none whatsoever; although my paintings are still appreciated by my old friends. We will get through all right, but every sale helps toward my existence...”

This correspondence offers a glimpse into Kirchner’s life in Switzerland and his professional relation with Valentiner. The latter formed friendships with many artists and served as a lifeline for creatives like Kirchner, who struggled under Germany’s Third Reich. During this time, Hitler’s regime labeled German Expressionist paintings —characterized by bright colors and distorted forms — as “degenerate” and unpatriotic. Yet, Valentiner recognized their value. He purchased German art for the DIA collection, making our museum the first one in America to seriously collect in this area. Valentiner also championed artists in need of support and, for example, organized Kirchner's first American exhibition at the DIA in 1937.

In a 1937 letter kept in the DIA’s archives, Kirchner declares:

“America has a direct relation to art and therefore a clearer vision of the modern development. It is our land of hope.”

Valentiner’s influence on American museums was significant. After leading the DIA, he served in different directorship roles at the Los Angeles County Museum of Art, the Getty Museum in California, and the North Carolina Museum of Art in Raleigh.

Valentiner’s influence was pivotal in shaping the DIA into a world-class museum. Thanks to him, the DIA’s art collections grew to be extraordinary, and its cutting-edge installation in the galleries was transformative for the museum field. Furthermore, he built relationships with benefactors, such as the Ford Family and Robert Tannahill, which continue to bear fruit. Under his leadership, the DIA made major acquisitions, including van Gogh’s Self-Portrait. He also secured funding from Edsel Ford for Rivera’s Detroit Industry Murals.

The DIA continues to build upon Valentiner’s legacy — not just through its art collection but also through the invaluable resources housed in the Research Library and Archives. Schedule an appointment and explore it yourself. You will discover a rich collection that drives the DIA’s ultimate mission: an enduring connection with art across history and time.

Art historians and general audiences are starting to appreciate the unique needlework creations of the past more and more. Clear proof of the growing interest for this beautiful material is the popularity of our exhibition, Painted with Silk: The Art of Early American Embroidery. An average of almost 5,000 visitors have viewed the exquisite needlework each week since the installation’s opening in December. Girls as young as 8 years old created samplers and embroideries, providing both a visually stunning display for viewers and an intimate experience of family, school, and culture of American society from 1735 to 1835. The exhibition invites visitors to compare the artists’ lived experiences with their own.  

To showcase the significance of these artists’ accomplishments, we shared the girls’ names, ages, hometowns, and schools in the labels. The sophisticated embroideries offer a glimpse into the girls’ lives, highlighting their relationships with parents and teachers and the expectation to act virtuously—by putting others’ needs ahead of their own dreams and desires.  

Since students and teachers worked closely to complete these stunning works of art, we designed the exhibition with school groups in mind. The embroideries reflect historical views about gender roles, the influence of religion, and the moral expectations reinforced by educators. 

To connect the show to today’s world and to emphasize the continuity of the practice, we included 11 embroideries by contemporary artist Elaine Reichek. Her samplers borrow designs and themes from historic embroideries but use them to question older works’ assumptions about gender, race, class, and ethnicity.

Walking through the galleries of this exhibition provides a memorable visual experience. The subtle power of these works and their arrangement in the galleries create an intimate environment that invites visitors to stop and pay attention. By looking at these embroideries, one discovers the skillful balance between delicacy and precision that went into making them. It has been an inspiring moment for me—and a great reminder that making things with one’s hands is beneficial for our mind and general well-being. 

The beauty of these fragile artworks is meaningful on so many levels. In today’s society where digital technology and speed influence most aspects of our lives, I wish we could employ more delicacy and precision for our daily activities—the kind that comes from taking the time to create things with our hands, with patience and dedication. Like a message in a bottle from another time that was brought to our shore, these 1700s and 1800s embroideries have much to teach us. I hope you will take the time to read their messages at the DIA.  

Since the main Detroit Institute of Arts building opened in 1927, the gilt bronze chandeliers in the Great Hall have served as constant, recognizable elements in a space admired for its grandeur. Well known at the time for top-tier design and manufacturing of electric light fixtures and decorative metalwork, Edward F. Caldwell & Co. created the chandeliers in Art Nouveau style. Some think that Caldwell may have even collaborated with the main building’s architect, Paul Phillipe Cret, in the design of these magnificent chandeliers.

The Great Hall’s origins surpass even the Detroit Industry Murals in the adjacent court, which initially served as a serene garden until Rivera began his work in 1932. Throughout the years, the occupants, so to speak, of the Great Hall changed — the space once accommodated The Thinker, which now sits just outside the Woodward Ave. entrance. Today, part of our very fine arms and armor collection inhabits the space with the visitors’ favorite Amemo (Mask of Humankind) — a stunning “textile” comprised of aluminum bottle caps and copper wire — by Ghanaian artist El Anatsui displayed on the travertine walls, thanks to the generous loan from the collection of Padma and Raj Vattikuti.

As a historic landmark, the DIA carefully upkeeps and renovates to ensure a continued extraordinary experience for all visitors. Over a year ago, we started planning how to modernize the system that raises and lowers the chandeliers while enhancing safety measures for those working with them. Watch the process unfold in this video.

Museum staff completes much work behind the scenes — and in the case of the recent chandeliers project in the Great Hall, I mean this quite literally. A one-and-a-half story area, referred to as “the loft,” sits above the decorative barrel-vaulted ceiling. Within that space, authorized employees utilize a roughly three-foot catwalk to gain access to the mechanism that raises and lowers the light fixtures. 

For almost a century, a manual hand crank has mobilized the chandeliers, but a new electric winch system, or cable pulley, completes the same task with the push of a button and in half the time. Previously, staff could only access the manual crank by placing one foot on a support beam and the other on the catwalk. Adding three platforms connected to the catwalk increases safety measures. DIA employees can now easily raise and lower the chandeliers, primarily to change the 48 bulbs on each fixture.

To be compatible with the new winch system, the chandeliers journeyed to Virginia for rewiring in July 2024. How did we transfer these one-of-a-kind, 200- to 300-pound light fixtures? Our Collections Management and Building Operations teams, along with some contractors, used a large, sturdy cart nicknamed “The Cadillac” to carefully move and secure the chandeliers in a truck for transport.

 

When the chandeliers returned in January, a crew of dedicated staff and contractors reinstalled the light fixtures over the span of roughly four 10-hour days. Thanks to these updates, the iconic chandeliers will remain on view at the DIA for another century and beyond. Next time you walk in the space, please look up and enjoy the art and light that hovers over you. At the DIA, we would like you to have an extraordinary experience from all angles.

Upon entering the Detroit Institute of Arts through our busiest entrance off John R Street this winter, a host of colorful panels welcomes you to the museum. Much of this signage showcases larger-than-life examples of just a few of the masterpieces on view inside — Self-Portrait by Vincent van Gogh, Noah’s Ark: Genesis by Detroit Artist Charles McGee, Mushhushshu-dragon, Symbol of the God Marduk from the Babylonian period, and, of course, a detail view of the infamous Detroit Industry Murals by Diego Rivera. 

The panels serve two purposes: to generate excitement for those visiting the DIA and to shield our entryways and reception area from bitter winds during the coldest months of the year. Essentially, we’re utilizing our art for a practical purpose. While visitors may move through these areas quickly, these panels also help our dedicated visitor experience staff and security officers stationed at both John R entrance points stay a bit more comfortable — regardless of the weather — as they do the important work of greeting visitors and ensuring everyone at the DIA has a safe and pleasant visit.  

At the museum, a great deal of time and effort is put into the smallest—and largest — details to ensure that visitors and employees alike feel comfortable and welcome. This project accomplishes one of our primary organizational goals of helping create an extraordinary experience for all visitors, while also cultivating a workplace that anticipates the needs of our high-performing staff. 
 
These temporary, seasonal panels mimic the ones installed at the Farnsworth entrance during the pandemic, when visitors queued outside while waiting to explore the museum at their scheduled time. For the John R entry point, the goal is to install the panels each year in late November or early December and take them down in late March or April. Images will likely be changed each year, allowing us to highlight the vast collection of artwork on display in the museum. 
 
The next time you visit the DIA, we hope you notice and enjoy all of the places where you can experience art — from our entrances to our galleries. 

Each year at the Detroit Institute of Arts, we create experiences for visitors to connect with art by fostering joy and culture through our exhibitions, events, and community programming. Join me in looking back at the incredible moments and milestones of 2024. 

For the second consecutive year, the DIA was voted the best art museum in the nation by USA TODAY readers in 2024. Our award-winning drone video tour of the museum, which continues to generate excitement and serve as a source of pride among Detroiters, has been viewed thousands upon thousands of times around the globe.    

In 2024, more than 500,000 visitors walked through our doors. That includes 70,000 K-12 students and members from over 240 senior groups. Every day, we see the faces of our community’s youngest learners and eldest residents as they discover something new about art and experience a new installation at the DIA.    

Throughout the year, guests explored a captivating array of exhibitions, such as Regeneration: Black Cinema 1898 – 1971, the first of its kind offering a research-driven, in-depth look at the history of Black cinema in America; The Art of Dining: Food Culture in the Islamic World (concludes Jan. 5) exploring connections between art and cuisine from ancient times to the present day; and Tiff Massey: 7 Mile + Livernois (on view through May 11, 2025) featuring sculptures that celebrate Detroit’s evolving neighborhoods.  

We also invite you to experience Painted with Silk: The Art of Early American Embroidery (Dec. 13, 2024 – June 15, 2025). The exhibit highlights around 80 pieces that feature the cultural significance of needlework among schoolgirls from 1600 to 1830. 

Every year, our community exhibitions celebrate local student and community artists, building upon the DIA's commitment to serve as a hub for connection through art. In 2024, these exhibitions included Ofrendas: Celebrating Día de los Muertos, the Wayne County High School Art Exhibition, and the 87th Annual Detroit Public Schools Community District Student Exhibition. The Community Group Exhibition is currently on view through Jan. 5 and highlights art produced through long-standing partnerships with Detroit area human services agencies. Pieces for this exhibition — such as wall hangings, printmaking, ceramic footprints, and more — were created in collaboration with the DIA’s Artmaking Studio. 

But you do not have to step foot in the museum to see a masterpiece. We are making art accessible to all through programs such as Inside|Out, which installed reproductions of artworks in more than 25 cities and public spaces throughout the Tri-County area and on Mackinac Island. And thanks to our Partners in Public Art program, new community-driven murals were unveiled in Clinton Twp., Center Line, Harrison Twp., Hazel Park, and Farmington.

In 2024, we are also celebrating one year of outstanding leadership from Lane Coleman, Board Chair of the DIA. His tireless efforts reinvigorated the museum’s annual gala and uplifted the Center for African American Art, which will undergo a major reinstallation in 2025. 
 
As we close out the year, I want to thank every visitor and patron who brought such vibrancy and excitement to the DIA in 2024. To the residents of Macomb, Oakland, and Wayne counties, I am especially appreciative for your unwavering support. 

I look forward to an equally incredible 2025! 

This fall, the Detroit Institute of Arts earned the highest honor — a three-star rating — in Detroit's first-ever Michelin Green Guide. This prestigious recognition highlights the museum’s exceptional history, art collections and visitor experiences, while solidifying Detroit’s status as a world-class cultural destination.

For many, the Michelin name conjures images of fine dining. The Michelin Green Guide, however, focuses on travel and lifestyle, evaluating cities, regions, and landmarks, and guiding travelers to the most enriching and worthwhile cultural experiences. Earning a coveted spot in this guide –– especially with the highest possible rating of three stars –– puts the DIA among a unique group of institutions, including the Louvre Museum in Paris.”

So, what does it mean to be awarded three stars by the Michelin Green Guide? Quite simply, it means that the DIA has been recognized as an essential experience for anyone visiting Detroit — or, as the guide puts it, "worth a journey." This recognition speaks volumes about the museum’s role in the community and its extraordinary history, as well as the quality of our collection, our dedication to preserving and promoting the arts, and the museum’s profound impact on visitors from around the world.

The DIA is home to over 65,000 works of art, spanning thousands of years and a myriad of cultures. From ancient civilizations to contemporary pieces, our collection offers a glimpse into the universal human experience. Of course, one of our crown jewels is Diego Rivera’s Detroit Industry Murals, a National Historic Landmark that embodies Detroit’s industrial spirit and artistic innovation. I like to think of these murals as the Sistine Chapel of Detroit, inspiring thousands of art enthusiasts from around the nation and the world to make a special trip to the DIA!

But it’s not just our permanent collection that shines. The DIA consistently brings world-class exhibitions and engaging programs and lectures to the heart of Detroit. In September, we opened our latest exhibition, The Art of Dining: Food Culture in the Islamic World, which celebrates the rich culinary history of Islamic culture and art. The exhibition has received glowing reviews in the Wall Street Journal and New York Times!

To see Detroit featured in its first Michelin Green Guide, with the DIA awarded its top honor, is a reflection of the city’s revitalization. This recognition comes at a time when Detroit is not only reclaiming its place on the world stage but also redefining what it means to be a city steeped in both history and innovation. The DIA is proud to be a part of this story, contributing to Detroit’s cultural fabric and helping to shape the city’s future. We are more than just a museum; we are a place where people come together, to have fun, to enjoy an extraordinary experience and to engage with art, with each other, and with the world around them.

Our three-star rating is a testament to the passion, dedication, and creativity of everyone involved in making the DIA what it is today — from our staff and volunteers to our members, visitors and supporters. It’s a recognition that we have created something truly special — a space where the past meets the present, and where art becomes a bridge to the future.

So, next time you’re planning a visit to Detroit — or if you’re already here and looking to experience something truly special — remember that the Detroit Institute of Arts is not just a stop along the way. According to the Michelin Green Guide, we’re “worth the trip.”

In Madrid, Spain, where I was born, there is a tradition of eating “churros con chocolate” in the morning –– especially those early mornings after a late night out with friends. A churro is basically fried dough, in a ribbon form, sprinkled with sugar. It is delicious on its own and even better when dipped in hot chocolate. There is a lot of discussion about the origin of churros, and some credit China for its invention. In Spain, we believe that they were introduced to us during the time of the Islamic rule over the Iberian Peninsula (711 – 1492). For more than seven centuries, Spain was part of the Islamic world, which left an enriching and indelible mark on our language, culture, art and food, to name a few. In fact, some preserved cookbooks from the Spanish Islamic times, include instructions on how to make “al-Zalábiyya” (wheat dough, pressed through a circular hole, and dropped into a pan with hot oil) which is the first ancestor of the Spanish churro. 

I never thought that a churro, which I had always connected to Spanish history and traditions, would have such a fascinating story behind it. Furthermore, it made me realize that culinary practices of the Islamic world may have deep roots in society.  

The Detroit Institute of Arts just opened an exhibition that celebrates breaking bread and coming together around a table. It is called The Art of Dining: Food Culture in the Islamic World. In it, we explore Islamic art through the lens of food and all the traditions that go with it.  

One will not find a recipe for humble churros in it, but an amazing array of beautiful art objects loaned from some of the most important museums around the world. Guided by inspiring narratives throughout the galleries, we discover sophisticated dining utensils, elegant and practical dining outfits as well as musical instruments that were played while enjoying delicious foods. Furthermore, in the galleries you will be invited to smell some of the scents used to prepare the dining rooms before a meal and see some of the ancient books that recorded recipes, some of which bear some resemblance to those we still use today! 

In a more philosophical way, the show invites us to connect with our shared humanity. We are privileged to eat every day, benefiting from the wonderful fruits of nature, as we come together at the dining table. We all have some “art of dining” in our families and the food experience transcends all backgrounds, borders, and nationalities, as one can experience throughout this show. 

Every time we organize a new exhibition, we strive to create a space for you to see something new and beautiful that relates to some inspiring stories. Furthermore, we hope that this space will spark dialogue among different communities and bring some good to all of us as we work together to make our society better. In the meantime, we look forward to welcoming you to The Art of Dining soon –– and after that perhaps you can enjoy some churros that Detroiters produce in the area!

-----

The Art of Dining: Food Culture in the Islamic World is organized by the Los Angeles County Museum of Art. 

At the Detroit Institute of Arts, the exhibition is generously supported by the Friends of Asian Arts and Cultures.

The Art of Dining: Food Culture in the Islamic World has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. 

Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. 

It is with great pride and joy that the Detroit Institute of Arts team reflects on several remarkable achievements and the recognition that your museum has received this year. These acknowledgments from prestigious national and international platforms are a testament to our commitment to excellence, innovation, and community engagement. They also speak to the amazing work being done by DIA teams across the museum and beyond the walls of our building — from the work it takes to put on world-class exhibitions to the efforts put forth by our offerings in the community for all to enjoy. Thanks to your amazing support, we are thrilled to share with you the highlights of our accomplishments and the honors we have garnered this year.  

The Telly Awards, known for honoring outstanding video and television content, celebrated their 45th annual event this year. With nearly 13,000 entries from around the world, the competition was fierce, showcasing work that pushed the boundaries of creativity and embraced new storytelling formats. The DIA's "One Take Drone Fly Through" emerged as a standout, winning Gold Telly Awards in both the Non-Broadcast - Museums & Galleries and Non-Broadcast - Arts & Culture categories. Additionally, we proudly took home the Silver Telly Award in the Non-Broadcast - Drone & Aerial Cinematography category. This recognition underscores our dedication to utilizing innovative technologies to bring our collections to life in new and engaging ways. 

In addition to showing off the highlights of our magnificent museum to online audiences, this drone video is also part of the educational curriculum offered by the DIA. Each year, the DIA hosts tens of thousands of schoolchildren from Wayne, Oakland and Macomb County schools for free field trips, offered as part of our tri-county millage benefits. This fall, as more classes prepare to make a trip to the DIA part of their educational experience, they’ll first take an aerial tour of the museum and hear some informative art highlights. It’s just one more way we’re looking to further enhance these experiences for students of all ages.  

Read more about how this video came together with a behind-the-scenes look on our blog. 

In addition to these awards, the Detroit Institute of Arts was voted the nation’s best art museum in USA TODAY’s 2024 10Best Readers’ Choice Awards. This marked the second consecutive year we have been honored with this prestigious title. It is a testament to the hard work and passion of our entire team, and to the vibrant, supportive community that surrounds us. Being voted as the best art museum in the country is not just an accolade for the DIA; it is a celebration of the rich cultural heritage of Detroit, the enduring spirit of its people, and the deep DIA’s dedication to serving you. 

These awards are a reflection of our ongoing commitment to excellence in all that we do. From groundbreaking exhibitions to innovative use of technology, we strive to provide our visitors with transformative experiences that resonate on a deep and personal level in and outside our building. Our achievements this year are a direct result of the collective efforts of our dedicated staff, the unwavering support of our patrons, and the vibrant creativity of our community. 

Let’s continue this journey of excellence by aiming for a third consecutive win in the USA TODAY 10Best Readers’ Choice Awards! Watch our social media channels for an announcement about next year’s award and be sure to vote for the DIA. We are honored to serve you and work hard to provide you with an extraordinary visitor experience. 

Education and art go hand in hand, helping us learn and express our creativity in amazing ways. As we work every day to provide educational opportunities to students in our Tri-County area, we also look for opportunities to invest in education in other ways. 

That’s why each summer, I look forward to bringing in a new cohort of college students as interns. This year, we have the pleasure of hosting 14 talented interns as part of our 2024 Valade Internship Cohort and the Applebaum Family Philanthropy Internship Program, each bringing their unique skills and passion to various departments within our museum.  

These internships are not just about learning; they are fully paid positions, which enable our interns to focus entirely on their professional and personal growth. And all interns this year are from the Tri-County area, ensuring that this program gives back to the people and places that make the DIA strong. 

Internship positions are spread across several key departments at the DIA, including Volunteer Services, the Museum Shop, Donor Relations, Development Events, Accounting, European Art Curatorial, the Director's Office, Registration, Modern & Contemporary Art Curatorial, and Education Programs. Each intern works in a department that aligns with their academic background and career aspirations, providing them with hands-on experience and valuable insights into museum operations. 

We recently asked our interns to describe their experiences this summer in one word. They answered:  

“Immersive” 

“Inspiring” 

“Engaging” 

“Amazing!” 

It's a pleasure and a benefit to have these up-and-coming professionals contribute to our culture and business this summer. 

At the DIA, we are deeply committed to fostering the next generation of museum professionals. Through our comprehensive internship programs, we aim to provide a nurturing and educational environment where interns can develop their skills, gain practical experience, and explore various career paths within the museum field. Our dedication to teaching and mentoring ensures that each intern leaves with a greater understanding of the art world and the vital role museums play in preserving and promoting cultural heritage. 

Our DIA Valade Internship Program interns and our distinguished Applebaum Fellows embody the future of the museum field. Their contributions this summer will undoubtedly leave a lasting impact on the DIA, and we are honored to be a part of their professional journeys.