Watch as the brilliant colors in “Tomás Saraceno: Entangled Orbits” transform our East Lobby throughout the day in this time-lapse video captured by Mitro Hood. These iridescent-paneled modules suspended by a net of strings reminiscent of a spider web will be on view at the BMA through July 8, 2018.
Caroline Lampinen: Community Engagement Coordinator
The BMA is excited to introduce the newest member of the Education team, Caroline Lampinen, who joins us as the Community Engagement Coordinator. She works closely with the Manager of Community Engagement, Dave Eassa, to facilitate programming with the BMA Outpost across Baltimore.
What is the BMA Outpost?
The BMA Outpost is a community initiative of the Baltimore Museum of Art, acting as a nomadic and flexible mobile museum that collaborates with a wide range of stakeholders across the city of Baltimore for periods of three months at a time. The Outpost engages communities through artmaking, conversations, and visual connections to the BMA’s physical collection. The Outpost’s democratic and collaborative programming is guided by the overarching theme of “home” and the diverse representations and emotions that each individual can bring to the conversations around home. The BMA Outpost encourages residents to contribute drawings, paintings, ideas, and conversations to build a museum about their community by the community. It becomes a space where the unrecorded conversations and dialogue are just as important as the ideas documented and contributed through visual art.
Who is Caroline?
Caroline grew up in metro-Detroit with a musician father and nurse mother. After earning a BFA in Graphic Design from Western Michigan University, she moved to rural Arkansas where she taught literacy for four years and coached novice teachers for three, earning a Master’s in Educational Leadership along the way. From there she spent a year as an Education Pioneers Fellow at Denver Public Schools. Her passions include building, fostering, and teaching inclusive and equitable practices for all people in all industries; running; spending time with her rescue dog, Blue; and art making.
Visit the Outpost!
Starting Jan. 23, the BMA Outpost will begin its next three-month collaborations with the Loch Raven VA Clinic working with veterans, and at the Cherry Hill Town Center working with the residents of Cherry Hill.
Caroline will be facilitating programming at Cherry Hill Town Center, collaborating with Catholic Charities to turn an unused store front into a dynamic arts and community space for the next three months.
Cherry Hill Town Center Hours:
BMA Voices is a collection of stories about home, but most importantly they are a collection of stories from you, our guests. The Imagining Home exhibition in the Joseph Education Center is a cross-collection exhibition of objects, sculpture, painting, photography, textiles, and more that highlight the diversity of what the idea of Home can mean to someone. Every Saturday and Sunday, our Gallery Interpreters will be working with the public to identify works in the exhibition that resonate with individuals and their stories. This blog serves as an archived history of those conversations.
Eugene and Henry Kupjack
Urban New England Dining Room, 1800 – 1815
I moved around a lot when I was younger, so home was always a thought, emotion, or a memory. Not having the physical space made me reflect internally, constantly dreaming about that perfect dream home. A dog, named Scooter, white picket fence, polished silverware so I could host huge dinner parties, all the good stuff. I guess I wanted to be a princess in a pretty castle all to myself and a very cute dog. Later in life I moved in with my parents and found it hard to just be in one place for so long after moving so much, but in the end I got more than my dog and castle; I got a very beautiful home with an amazing family.
Last year, I had just gotten kicked out and simultaneously broken up with. That was the end of two relationships. I moved in with my best friend and we filled the void with cooking. It was like the more food got chopped, the less my heart did. I healed through avoidance kind of, because cooking and ignoring my own shortcomings helped everything hurt less. Life moved on, so did I, and things began to change again; I found myself repeating this process except now I don’t have a cutting board or a best friend. Just a boyfriend, a mom and a cat that seemingly feel bad for me.
Frances Benjamin Johnston
Wye Plantation or Paca House, Queen Anne County, Maryland
Ever since graduating college in 2013, I have lived a nomadic life. I’ve had many jobs and moved 9 times. I spent a lot of time in Sullivan County, NY, about 2 hours northwest of NYC. Sullivan County, while in a beautiful part of the country, has many abandoned homes. Most recently, I have moved to East Baltimore where I have seen similar issues. Blocks and blocks of abandoned row houses. I am new to this community but it is my home now. I have grown to love it more and more as time passes and as I meet more beautiful people. I am originally from the Shenandoah Valley in Virginia. I lived there from age 7 to age 22. That was my home. Home is still my parent’s house on the top of the hill. I will always love my home. Now that I’ve lived in many places and seen houses that are boarded up and overgrown, it breaks my heart. What happened? Why has no one moved back? Why did former owners leave? If walls could talk, right? There may be some who know once roamed the walls, but for now, only imagination can tell. I imagine living there. I imagine a family there. I imagine having the funds tho breather life back into the space. Unrealistic, sure, but I’m a dreamer. I hope. I go home to my apartment in East Baltimore, thankful for where I am and I wonder where I shall call home next.
Frances Benjamin Johnston
Mills Point, St. Mary’s County, Maryland
There’s something about wide, open, seemingly “empty” spaces that reminds me of where I’m from. Or at least how I thought about my home as a child and the small city I grew up in. Frances Benjamin Johnston’s work “Mills Point” strikes me as the style in which my mother likes to keep your family house – grand and like no one lives there. As if its a show house ready for an open house at anytime. My parents are truly big hearted people but striving towards perfection in a space that’s function is typically associated with comfort, nesting, and relaxation is frustrating, ya know?
Follow along as our Gallery Interpreters work with the public every Saturday and Sunday in the Joseph Education Center Galleries at http://blog.artbma.org/bma-voices/.
Need an art break? Take a quick tour of the new exhibition, Beyond Flight: Birds in African Art with Associate Curator of African Art Kevin Tervala.
Beyond Flight presents approximately 20 works from sub-Saharan artists who drew inspiration from the birds that occupied their world. This exhibition explores the varied roles of birds across 19th and 20th-century African states, societies, and cultures. From the largest ostrich to the smallest warbler, the works on view highlight the symbolic meaning and aesthetic appreciation of birds in Burkina Faso, Cameroon, Cote d’Ivoire, Democratic Republic of Congo, Nigeria, and Uganda.
Which work is your favorite?
Did you make it to Art After Hours this fall?
The party on Friday, Nov. 3, was inspired by the work in four amazing exhibitions: iridescent spheres and spider webs in Tomás Saraceno: Entangled Orbits; colorful, swirling collages in Spiral Play: Loving in the ‘80s; digitally produced textiles and sculptures in Annet Couwenberg: From Digital to Damask; and the intense, immersive environment of Phaan Howng: The Succession of Nature.
There were so many things to do! Visitors stopped by to:
•Build a giant inflatable futurist sculpture with architecture students from Maryland Institute College of Art and Morgan State University
•Make a wearable rope spiral with Clare Nichols
•Watch a performance by Baltimore-based artist Phaan Howng in the immersive environment she created with unnatural colors inspired by toxic waste
•Chat with artist Annet Couwenberg about her new work inspired by the biology of fish and her passion for digital and traditional fabrication processes
•Browse a carnivorous plant demo and sale with the Mid-Atlantic Carnivorous Plant Society
•Make a miniature laser-cut sculpture with Open Works
•Enjoy music by DJ Dubble8 and drinks and light bites by City Seeds
Click through our photo gallery below, and share with your friends. The next Art After Hours takes place Friday, March 23. Save the date!
(Photos by Maximilian Franz)
A new exhibition opened this fall at The Baltimore Museum of Art, highlighting our rarely shown collection of prints and drawings by renowned Mexican artists from the 1930s to the 1940s.
Crossing Borders: Mexican Modernist Prints features 30 works on paper by artists such as Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, known as “Los Tres Grandes,” or the Three Great Ones, as well as images by Elizabeth Catlett. The works on view document the political, social, and cultural shifts that took place in the years following the Mexican Revolution.
Take a quick tour of the exhibition in this short clip with Senior Curator Rena Hoisington:
Artist Njideka Akunyili Crosby invited art enthusiasts inside her creative process the same day her new exhibition, Front Room: Njideka Akunyili Crosby | Counterparts, opened at The Baltimore Museum of Art.
On the heels of being named a 2017 MacArthur Award winner, Crosby sat down with BMA Senior Curator of Contemporary Art Kristen Hileman at The Maryland Institute College of Art to discuss culture, technique, and the beauty of breaking the rules.
[Photo: Mitro Hood]
How do you make a path to power where none exists? How do you assess a community’s needs and create access and opportunities for self-determination?
Artist Mark Bradford and BMA Director Christopher Bedford explored these topics and more during the first event of our new series, The Necessity of Tomorrow(s).
On Saturday, November 11th, guests filled the pews of Union Baptist Church to hear Bradford discuss his childhood experiences and lessons learned, his artistic practice, and commitment to community-based work. Doors opened with live performances curated by the Baltimore-based group SunSets with spoken word by Kondwani Fidel and jazz selections by Clarence Ward III & Dat Feel Good band.
The conversation, which was also streamed live at Morgan State University’s Turpin-Lamb Theater, touched on the launch of our upcoming partnership with Bradford, the Greenmount West Community Center (GWCC), and Noisy Tenants to provide skills-based training and equipment to begin a silk-screening project at the GWCC with Baltimore youth.
The Necessity of Tomorrow(s), invites nationally and internationally acclaimed artists and thinkers to Baltimore for conversations on art, race, and justice. The series borrows its title from an essay by science fiction author Samuel Delany who argues for the role of creative speculation in making a more just future. The BMA is encouraging communities throughout Baltimore to come together for these creative conversations.
What’s your tomorrow? How do we get there? Share your thoughts at bmatomorrows.org.
If you tune in to WYPR 88.1 FM regularly, you may have spotted a new segment hosted by BMA Director Christopher Bedford.
“Art Matters,” airing the first Friday of every month at 4:44pm, connects listeners with some of the most innovative artists creating today. Each four-minute interview finds Director Christopher Bedford in conversation with an artist, exploring his or her work, vision, and influences.
The series kicked off this fall with Baltimore-based artist Amy Sherald, who was selected to paint the official portrait of former First Lady Michelle Obama. A conversation with artist Tomás Saraceno followed, where he discussed the inspiration behind Entangled Orbits, his new exhibition currently on view in the BMA’s East Lobby.
Listen to the latest chats HERE and tune in to 88.1 FM the first Friday of every month for more!
[Photo: Mitro Hood]
BMA Curatorial Assistant Morgan Dowty took over our Instagram feed this week to showcase some of her favorite images in our renowned Prints, Drawings & Photographs Collection.
In case you missed it, here’s a roundup of her top six picks from the BMA’s collection of 65,000 works on paper:
- Morgan Dowty, BMA Curatorial Assistant, signing on from the Department of Prints, Drawings & Photographs to bring you some of my favorite works on paper this week. With 65,000+ works on paper in the collection, there are plenty to choose from! I’ll begin with a favorite suite of engravings by Wenceslaus Hollar, “Diversa insectorum aligerorum,” c. 1646.
[Wenceslaus Hollar (Bohemian, 1607-1677) “Diversae insectorum aligerorum,” c. 1646. Eight etchings. Each approximately: 115 × 180 mm. (4 1/2 × 7 1/16 in.) Garrett Collection. BMA 1946.112.2413-20]
2. Tantalus, Icarus, Phaeton, and Ixion are four mythological figures whose hubris caused them to fall from Mount Olympia. In this suite of the “Four Disgracers,” Hendrick Golzius, master engraver of the 16th century, captures the falling body from all angles.
[Hendrick Goltzius (Dutch, 1558-1617) after Cornelis Cornelisz. van Haarlem (Dutch, 1562-1638). “The Four Disgracers,”1588. Four engravings. Gift of Ruth Cole Kainen, in Honor of Jay McKean Fisher, Senior Curator of Prints, Drawings and Photographs, BMA 2005.47 / Gift of James and Leslie Billet, Baltimore, BMA 1983.11 / Blanche Adler Memorial Fund, BMA 2013.357 / Garrett Collection, BMA 1984.81.137]
3. This album by Charles Norman Sladen is a new one of my favorites. On each page, Sladen includes photographs from a family vacation in 1916 to Great Chebeague Island, which he expands through imaginative pen and ink drawings. Scroll right to see some detail shots!
[Charles Norman Sladen (American, 1858-1949). “Great Chebeague Island, Maine,” 1916. Album of black ink drawings and gelatin silver print collages, bound with leather and fabric cover. The William G. Baker, Jr. Memorial Fund. BMA 2001.289]
4. In this self-portrait, Käthe Kollwitz captures her own likeness in just a few precise marks.
[Käthe Kollwitz (German, 1867-1945). “Self-portrait,” 1924. Woodcut. Blanche Adler Memorial Fund, BMA 1956.176]
5. Printmakers often pull working proofs, or test prints, as they develop an image to track their progress. Swipe to compare these two states of Felix Bracquemond’s portrait of the French literary critic Edmond de Goncourt.
[Félix Bracquemond (French, 1833-1914). “Edmond de Goncourt,” 1879-1882. Etching. Purchased as the gift of Mrs. Fenwick Keyser, Reisterstown, Maryland, BMA 1997.19 / Purchased as the gift of the Print & Drawing Society, BMA 1983.76]
6. It’s been a treat to share a few of my favorites this week! If you’re interested in exploring more works on paper, consider making an appointment to visit the Samuel H. Kress Foundation Study Room of Prints, Drawings & Photographs by emailing PDP@artbma.org.
[Arthur Wesley Dow (American, 1857-1922) “Group of Buildings, Dow’s Compound, Ipswich,” /”Garden, Dow’s Home, Ipswich,” / “City Island, New York,” c. 1885-1897. Three cyanotypes. Gift of Susan Ehrens, Oakland, California, in Honor of Jay McKean Fisher, BMA 2015.343-345]
Which image is your favorite? Follow us on Instagram at @BaltimoreMuseumOfArt.