Category Archives: Baltimore

Art Matters: BMA hosts new radio segment on WYPR FM

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]

Timelapse video shows Tomás Saraceno’s Entangled Orbits

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.

Have you seen Entangled Orbits yet?

Pleased to Meet You! Caroline Lampinen joins BMA staff

Carolineweb

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.

Come visit any time during our open hours! Be sure to check our website, Instagram, and our Facebook and Twitter pages for any changes, or to find out about any of our other amazing programs!

Cherry Hill Town Center Hours:

Tuesday: 3pm-7pm
Wednesday: 4-8pm
Thursday: 3pm-7pm

Explore the beauty of birds in Beyond Flight: Birds in African Art

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.

Watch Below:

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?

Beyond Flight: Birds in African Art is on view at the BMA through June 17, 2018.

Art After Hours: Future/Nature at the BMA

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!

Art After Hours: November 2017

(Photos by Maximilian Franz)

Los Tres Grandes on view in Crossing Borders: Mexican Modernist Prints

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:

Crossing Borders: Mexican Modernist Prints is on view through March 11, 2018.

WATCH: Njideka Akunyili Crosby discusses new exhibition at The Baltimore Museum of Art

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.

WATCH BELOW:

Front Room: Njideka Akunyili Crosby | Counterparts is on view through March 18, 2018. 

[Photo: Mitro Hood]

Top 6 Prints, Drawings, Photographs at The Baltimore Museum of Art

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:

  1. 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.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

This image is owned by The Baltimore Museum of Art; permission to reproduce this work of art must be granted in writing. Third party copyright may also be involved.

[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.

BMA Outpost finds Home in Remington, Upton neighborhoods

The BMA Outpost is the mobile museum of the Baltimore Museum of Art, a flexible and nomadic art making space that works with different communities across Baltimore City for three months at a time.

Every day the Outpost sets up, it builds a Museum around the idea of “Home” and encourages residents to contribute drawings, paintings, ideas, and conversations. It becomes a space where the unrecorded conversations and dialogue are just as important as the ideas documented and contributed through art.

This fall, the BMA Outpost has been in residence in the city’s Remington and Upton neighborhoods, working with Church of the Guardian Angel, R. House, and the Union Baptist Church as host sites.

The BMA Outpost at the Church of the Guardian Angel in Baltimore's Remington neighborhood.

BMA Outpost at the Church of the Guardian Angel in Baltimore’s Remington neighborhood.

Talking about the idea of home quickly becomes complex and loaded for everyone. Home is a relationship that can bring up feelings of happiness, confusion, anger, frustration, love, and everything else that could fall on the spectrum of human emotion.

Individuals can have many different associations with the idea, thinking about their nuclear family and place of residence, as well as a more expanded view of how they relate to their community. While our communities are constantly in flux and changing—sometimes for the better sometimes for the worse—art-making and dialogue can help us envision ideal futures and different realities.

Art can be a catalyst for us to ask, “What would a better future look like?” while also recognizing and honoring past histories.

In Remington, the Outpost has been working with Church of the Guardian Angel every Saturday from 10am to 2pm, in conjunction with the Church’s Thrift Store hours, as well as at R. House for “Remington Night” every Thursday from 3pm to 7pm.

Remington as a neighborhood has vastly changed in the last decade, with a major influx of development from companies like Seawall Development. As change happens rapidly, how does a community work together to envision a brighter future that includes everyone? The Outpost poses this question to Remington residents to encourage dialogue across the boundaries of age, gender, class, and others, to not only think about what that brighter future sounds and looks like, but to also develop real actions to move towards those goals. The Outpost strives to create a space for both agreement and dissent, as art-making can be a powerful tool to bring people together and find commonalities.

The BMA Outpost at Union Baptist Church in Baltimore's Upton neighborhood.

BMA Outpost at Union Baptist Church in Baltimore’s Upton neighborhood.

In Upton, the Union Baptist Church and the BMA Outpost have created a pop-up museum called “Art and Spirit,” which nods to the longstanding histories of the Upton neighborhood, the Church’s home since 1905.

The Upton neighborhood has deep ties and major contributions to African American liberation and autonomy, Civil Rights era activism, community building, and boasts many past residents and architectural structures of historical significance. Dr. Harvey Johnson’s pastoral and civic achievements, and the childhood home of Thurgood Marshall, the first African American individual to serve on the Supreme Court, are just pieces of Upton’s history.

Art and Spirit is inspired by past Soul Schools of the neighborhood, which were unofficial places of thought, organizing, and support in the Upton community. They were places where young people learned from their elders with a deep sense of community as the social fabric. Art and Spirit is a reflection of the creative community of the past, present, and future of Upton. Art and Spirit is open every Tuesday and Wednesday from 1pm to 5pm and Thursdays from 8am to 12pm.

BMA Outpost visitors with City Councilwoman Mary Pat Clarke in Remington.

BMA Outpost visitors with City Councilwoman Mary Pat Clarke in Remington.

The BMA Outpost’s collaborations with the Remington and Upton communities will culminate in an exhibition at R. House highlighting the work created. The exhibition will be on view and open to the public in December 2017.

Beginning in January 2018, the Outpost will begin new collaborations with the Cherry Hill Town Center in south Baltimore, and the Loch Raven VA Clinic in northeast Baltimore through March 2018.

Find the BMA Outpost online HERE.

(Author: Dave Eassa, Manager of Community Engagement at the BMA)

Fairy Tale Etchings by David Hockney

"THE OLDER RAPUNZEL" FROM ILLUSTRATIONS FOR SIX FAIRY TALES FROM THE BROTHERS GRIMM 1969 ETCHING IN BLACK 9 1/2 X 10" © DAVID HOCKNEY PHOTO CREDIT: RICHARD SCHMIDT

David Hockney. “The Older Rapunzel” from “Illustrations for Six Fairy Tales from the Brothers Grimm,” 1969. Etching Edition of 100 Portfolio and 100 Book-C. 17 3/4 x 16 1/4″ © David Hockney

In the spring of 2016, Senior Curator of Prints, Drawings & Photographs Rena Hoisington taught the course “Paper Museums: Exhibiting Artists’ Books” to 11 students in Johns Hopkins University’s Program in Museums and Society. The students’ work resulted in Off the Shelf: Modern & Contemporary Artists’ Books, now open.

The exhibition presents more than 130 artists’ books—artworks conceived of and produced in book form—and prints by artists such as Pablo Picasso, Joan Miró, Kiki Smith, David Hockney, and Ed Ruscha. Stephen King, Frank O’Hara, and Robert Creeley are among the 30+ authors represented. More than half of the artists’ books and related prints in the exhibition have never before been on view at the BMA.

In addition to determining the exhibition’s checklist and organization, Rena’s students wrote descriptions of the artworks featured for wall labels as well as blog posts that explore individual artworks featured in Off the Shelf. The first in the blog series is by Julia Raphael on David Hockney’s etchings:

In 1970, Petersburg Press published Six Fairy Tales, a collection of stories by the Brothers Grimm with etchings by David Hockney. The six stories that Hockney chose to include are: The Little Sea Hare, Fundevogel, Rapunzel, The Boy Who Left Home to Learn Fear, Old Rinkrank, and Rumpelstilzchen.  Upon first viewing Six Fairy Tales, I was immediately struck by what a distinctly different and innovative approach Hockney took to illustrating the tales contained in this book. I, and I might venture to say most readers, have become accustomed to encountering publications of fairy tales that are elaborately illustrated in bright colors with fantastic ornamentation. We’ve developed this conception from many of the other illustrated versions that exist of these same stories and even from the popular Disney films based on tales by the Brothers Grimm.

It is well known that Hockney has a great affinity for the Brothers Grimm’s work, having read more than 200 of their folktales. Regarding their tales Hockney said that, “They’re fascinating little stories, told in a very, very simple, direct and straightforward language and style; it was their simplicity that attracted me. They cover quite a strange range of experience from the magical to the moral.”[1]  His etchings reflect much of what Hockney himself said he admires most about the stories.

Each story is accompanied by a number of illustrations – as few as four and as many as 11. Interestingly, when illustrating the stories, Hockney did not always choose to illustrate the passages that were the most dramatic or significant for the advancement of the plot. Instead, he chose those parts of the text that most inspired his imagination or presented artistic challenges. For example, Hockney chose to illustrate the glass mountain from Old Rinkrank because it was not immediately clear how one would go about drawing such a mountain and he wanted to explore that graphic dilemma.  He chose to include “The Boy Who Left Home to Learn Fear” because it is such a strange, imaginative story that presented a breadth of artistic opportunities. [2]

Additionally, Hockney chose to portray a much less idealized version of the stories in which even the princesses are not strikingly beautiful, as is shown above in his etching “The Older Rapunzel.”  This unusual presentation challenges the viewer to think about the tales in a different light and emphasizes some of the darker themes present in the stories.

Hockney’s etchings—simple in composition, yet incredible detailed—offer the reader a different way of engaging with these popular fairy tales, effectively leaving their creative interpretation up to the reader.

[1] Robert Flynn Johnson, “David Hockney and the Brothers Grimm,” David Hockney: Six Fairy Tales, Landau Traveling Exhibitions, 2010.

[2] “David Hockney: Illustrations for Six Fairy Tales from the Brothers Grimm,” Christies, http://www.christies.com/lotfinder/prints-multiples/david-hockney-illustrations-for-six-fairy-tales-5532594-details.aspx.