Joyce J. Scott: Walk a Mile in My Dreams
Joyce J. Scott: Walk a Mile in My Dreams is a 50-year career retrospective of artist Joyce J. Scott, one of the most significant artists of our time.
Joyce J. Scott: Walk a Mile in My Dreams is a 50-year career retrospective of artist Joyce J. Scott, one of the most significant artists of our time.
Dyani White Hawk (Sičáŋǧu Lakota) presents one new and two existing sculptural works from her Carry series. Each Carry piece, composed of a large copper bucket and ladle adorned with glass beads, bears extravagantly long fringe whose draping emulates arboreal root structures. Alongside the artist’s works, White Hawk selected historic Lakota belongings from the BMA’s collection. Through these works, White Hawk insists upon an interdependence between art and function—and by extension art and life—effectively calling into question art history’s tendency to devalue craft.
This exhibition reflects upon the buffalo as essential to Indigenous lifeways on the Plains since time immemorial. Euro-American colonizers and the United States government attempted to eradicate the species in a calculated strategy to subdue Native people and force them onto reservations in the late 19th century. This effort fundamentally transformed Native artmaking, both historically and presently. The critical importance of the buffalo within Plains Indigenous cultures can be felt across artworks that pre- and post-date the attempted eradication of the species.
For this new solo site-specific installation, Caroline Monnet (Anishinaabe/French) interweaves inspiration from eel trap pots made by Indigenous people of the Chesapeake Bay watershed along with traditional Anishinaabe longhouses. The artist responds to the Museum’s architecture as a departure point for her distinct aesthetic vocabulary, which inscribes traditional Anishinaabe motifs and cultural practices within contemporary forms and materials. Optically vibrating and resonating outwards, the forms forcefully claim space while also reflecting both a sense of reception and transmission.
This installation highlights the ways in which Native artists have increasingly asserted agency—the exertion of one’s own power—over representations of their communities and identities over time. In the early 20th century, white arts educators encouraged Native artists to create “authentic” art—as defined by settlers—that embraced traditional subject matter while often neglecting present realities. In the decades that followed, generations of artists have shrugged off settler expectations by depicting their community on their own terms.
“Blood is a gift and the land is a gift and our past is a gift. In the questions they ask and in the wandering they do, the short films in this program uncover and explore generational memory. They give thanks to those who are gone and those who are yet to be born, and to those who are here living right now. They drift through time, movement, memorial, and landscape towards some unknown and neverknown place and serve as a much-needed reminder that we’ll all get there together, just not at the same time.” —Sky Hopinka, Guest Curator
This exhibition pairs Henri Matisse’s compositions with those of 19th-century Japanese woodcut artists to explore the global appeal of color and pattern across space and time. The Art of Pattern: Henri Matisse and Japanese Woodcut Artists features several paintings and prints by Matisse from the 1920s, with posed models and heavily patterned interior backgrounds, reflecting the artist’s interest in layering his works from this period with decorative items from around the world.
This presentation speaks to Native people’s dynamic and powerful relationship with land, home, and sanctuary. While they have beliefs and practices as wide and vast as this continent, Native communities share a recognition that humans exist as part of a larger ecosystem that must stay in balance. As the pressures of colonization and contemporary life have assaulted traditional lifeways, the works in this exhibition demonstrate the resilience and versatility with which Native artists maintain their cultures, community connections, and sense of home.
Seo Jungmin is a Korean Gayageum artist and composer who pushes the boundaries between traditional and contemporary music with her exceptional skills on the 25-string Gayageum. As a member of the renowned Korean traditional music duo Su:m, Seo has earned global recognition through performances at major festivals such as WOMEX, WOMAD, and SXSW.
Baltimore City Public Art Commission (PAC) Meetings will be held on the 3rd Friday of each month from 10AM – 11:30AM administering Baltimore's Percent-for-Public-Art Program, as well as the review and approval of all gifts of permanent public art to the City of Baltimore. Meetings of the PAC are open to the public to observe.
Kerplunk! is great for younger kids and families! Join us in the Creativity Center every Saturday to create fun seasonal crafts and art projects based on current exhibitions!
This show bursts with the vibrant energy of Gould's American Salute and the jubilant beats and rhythms of star-spangled delights. The evening culminates with the grand finale of Tchaikovsky's 1812 Overture, igniting cannons and bells, all while capturing the essence of patriotic celebrations.
Nicholas Hersh, conductor
Wordsmith, spoken word artist
From the delicate whispers of spring to the fiery passion of summer, each movement of Vivaldi's Four Seasons promises to whisk you away on a musical journey through vivid landscapes in a pastiche of seasonal celebration. The BSO performs this timeless classic with acclaimed violinist Simone Porter.
Nicholas Hersh, conductor
Simone Porter, violin
DUKAS The Sorcerer’s Apprentice
VIVALDI The Four Seasons
ANNA CLYNE This Moment
GRIEG Selections from Peer Gynt: Suite No.1