August 22nd The American Visionary Art Museum is screening Black Panther, bring a blanket and a picnic to enjoy a free movie night with your family and loved ones under the stars. Museum is open and free between 5:15PM and 9PM on flicks nights. Movies are screened rain or shine. Rain location: JRVC 3rd floor. Free Films every thursday starting July 11th through August 22nd under AVAM's giant golden hand. For more info please visit www.AVAM.org
Beauty stops us in our tracks. It makes us pause, look, consider. Sometimes it overwhelms us. We are often told art should aspire to this standard and be proportionate, symmetrical, naturalistic, and orderly. But what of work that is designed to revolt and terrify? Across subSaharan Africa, artists working across a range of states, societies, and cultures deliberately created artwork that violated conceptions of beauty, symmetry, and grace—both ours and theirs. Subverting Beauty features approximately two dozen works from sub-Saharan African’s colonial period (c.1880-c.
For more than 30 years, New Orleans-natives Keith Calhoun (b. 1955) and Chandra McCormick (b. 1957) have been documenting life in the Louisiana State Penitentiary at Angola. Known as “The Farm,” the prison was founded on the consolidated land of several cotton and sugarcane plantations. Slavery, The Prison Industrial Complex includes poignant photographs and videos that record the exploitation of men incarcerated in the maximum-security prison farm while also showcasing their humanity and individual narratives.
Every Day: Selections from the Collection is the BMA’s first reinstallation of its contemporary collection centered on black artistic imagination. Nearly 50 works of painting, sculpture, video, printmaking, and photography from the BMA’s permanent collection, alongside a select group of loans primarily from the celebrated Pamela J. Joyner and Alfred J. Giuffrida Collection, foreground the critical contributions black artists have made to postwar visual art.
In the fall of 2018, the BMA’s oldest friends group, the Print, Drawing & Photograph Society (PDPS), will celebrate its 50th anniversary by sponsoring an exhibition to highlight a selection of late 19th-century, modern, and contemporary works on paper that PDPS has helped the BMA acquire over the years. Installed in a gallery adjacent to the Cone Collection, this one-gallery exhibition will be organized in two six-month presentations, each including 20–30 prints, drawings, and artists’ books.
MacArthur award-winning artist and Baltimore icon Joyce J. Scott’s earliest art lessons were at the knee of her mother, the renowned fiber artist Elizabeth Talford Scott. The eldest Scott passed down to her daughter knowledge inherited from generations of craftspeople in their family who had honed their expertise and persisted in their artistry through the extreme deprivations of slavery and its aftermath in sharecropping, migration, and segregation. “They couldn’t buy things,” Joyce J. Scott recounts, “so they made things.
Projected lights, sounds, and reflective surfaces convey a sense of flowing water in Oletha DeVane’s installation, Traces of the Spirit, presented inside the BMA’s Spring House. The exhibition references the building’s past as a dairy and place where enslaved people were forced to labor and creates an altar-like location for a selection of the artist’s spirit sculptures. For these totem-like objects, DeVane (American, b.
This exhibition is on view through March 2020. The MdHS museum is open Wednesday-Saturday, 10 am-5 pm, and on Sundays, 12 pm-5 pm.
The exhibition features one-of-a-kind appliqué quilts created by Baltimore-native Mimi Dietrich. Ms. Dietrich is one of Maryland’s and the nation’s most accomplished quilters. In 2015 she was inducted into The Quilters Hall of Fame in Marion, Indiana. “Hometown Girl” tells Ms. Dietrich’s story as a life-long Marylander and Baltimore native, and draws inspiration from the many students she has taught over her 35-year career.
UMBC's Albin O. Kuhn Library Gallery presents Experimentalist: The Art of Robert W. Fichter, the first retrospective of the artist’s career in over thirty years. Drawn from his archive at UMBC, the 55 works in this exhibition created between 1962 and 2006 highlight Fichter’s exploration of the human condition across photography, printmaking, and painting. Fichter employs shifting moods and mediums as well as wit, humor, and satire to deliver trenchant critiques of war, nuclear proliferation, and environmental disaster.
ADAM STAB STREET LIFE ART is an uncomfortable acknowledgement of the experience of growing up and living on the streets where graffiti is made, and where others tend to avoid. This suite of artwork is inspired by the consideration of what it means to be a part of the world during this time of extreme polarization. Labels of ‘outcast’ and ‘outsider’ may be sought out and embraced by some, while adding to the already sizable burden of those born without access to wealth, opportunity or privilege and subjugated to the lowest rungs of (American) society.
UMBC's Center for Art, Design and Visual Culture (CADVC) presents Spectrum: 2019 Visual Arts Faculty Exhibition, featuring artworks by Dan Bailey, Steve Bradley, Cathy Cook, Jules Rosskam,Evan Tedlock, and Vin Grabill. Spectrumprovides an in-depth exploration of recent research projects in film, video, photography, sound, installation, and sculpture by selected members of UMBC’s Department of Visual Arts.
Celebrated performance artist Karen Finley presents Venus in Retrograde, a performance in two parts — Grabbing Pussy and Parts Known — that expands on Finley’s career-long pursuit of performatively articulating the injustices committed by the U.S. government and society at large. The performance examines loss of love, dignity, and humanity, and issues a call to beat back with an exquisite heart. Standing against a backdrop of film projections, Finley narrates a poetic call to action in resistance to today’s times.
Join us at the Hamilton Gallery for the opening reception of Dan Dudrow: The Builder's Dream. Dudrow recently retired from MICA after teaching there for nearly 50 years. His work can be described as narrative abstraction. The show runs September 6 - 29, 2019. There will also be a second reception on Sunday, September 15, from 1:00 p.m. - 3:00 p.m. Gallery hours are Friday, 4:00 - 8:00 p.m., Saturday: 12:00 p.m. - 8:00 p.m., Sunday: 11:00 am - 3:00 pm.
Costume Historian Nora Ellen Carleson will explore the late 19th and early 20th century dressmakers of Baltimore who clothed the city's most fashionable denizens through importing, smuggling and the creation of their own luxurious fashions. This lecture is part of the Francis Scott Key Lecture series. Cost is $50 for member and nonmembers.
Lisa Dillin & Nicole A. Martinell: The space between (us)
Exhibition runs September 4 – October 20, 2019
Gibbs Street Gallery, VisArts, 1st floor
September 13, 7 & 7:45 PM (with opening reception and artist talk)
September 14, 2 PM & 7 PM
The space between (us) is an interdisciplinary performance work by visual artist/sculptor Lisa Dillin and Deep Vision Dance Company’s Artistic Director Nicole A. Martinell.
The Moment Was Now is a new musical play that takes place in post-civil war Baltimore in 1869, a turning point in US history where America almost did the right thing. Echoing the current moment, the play centers around the impassioned search for unity between the dynamic historic leaders of powerful constituencies during Reconstruction. The conflicts and possibilities unfold at a fictional meeting convened by Frederick Douglass and are elevated by the musical and spoken word format. Hope hangs in the balance at this most unusual gathering of suffragette, abolitionist Susan B.
BEYOND BACH CONCERT SERIES
Music of the Gods
September 15 at 4 pm
Church of the Redeemer, Baltimore
Handel’s Water Music (Suite No. 2)
Beethoven’s Egmont Overture, Op 84
Mozart’s Symphony 41 in C major, “Jupiter” Symphony
Enter a wonderland of airy horses, birds, and sea creatures appearing to fly, swim, run and swirl. Sayaka Kajita Ganz creates sculptures from reclaimed plastic objects, arranging the fragments of waste into fluid images of birds and animals that appear to be created from brush strokes. The artist states, “My work is about perceiving harmony, even in situations that appear chaotic from the inside,” and notes that her work is inspired by “Shinto animist belief that all things in the world have spirits.”