Category Archives: Inspiration

Slow Art Day at the BMA

Tomorrow is Slow Art Day, a day that encourages slow, detailed looking at art. You will find that when you spend more time with a work of art, you make discoveries that you would not otherwise experience. My colleague at the BMA Katie Bachler and I came up with some suggestions for exploring art slowly at the museum.

Explore art slowly
Allow yourself to look at only 3-5 works of art during your visit. With those 3-5 works, spend longer time with each work, as if they were old friends you are happy to see, and soak in their energy. As you spend time with each work, allow yourself to notice new details, subtle colors and textures, and even the space around the art.  Being with works of art in this way can be very relaxing. Resist temptations to overthink concepts and ideas and try to spend more time with the sensual qualities in each work of art.

Here are some selected works and some slow ways to enjoy being with them.

American Wing
Find William Picknell’s large painting Paysage (A Winter Day in Brittany) in the American Wing. (A Visitor Services Associate can point you to the central gallery on the east side of the Wing.)

William Lamb Picknell. Paysage (A Winter Day in Brittany). 1881. Oil on canvas. W. Clagett Emory Bequest Fund, in Memory of his Parents, William H. Emory of A and Martha B. Emory. BMA2011.44

William Lamb Picknell. Paysage (A Winter Day in Brittany). 1881. Oil on canvas. W. Clagett Emory Bequest Fund, in Memory of his Parents, William H. Emory of A and Martha B. Emory. BMA2011.44

As you look at the painting, take a breath. Breathe in for 4 counts and out for 8 counts. Notice the space around the person and the cool, crisp air. Imagine the sound of the horse trotting and the smell of the wet earth.

Take a second breath. Walk closer. Notice the myriad shades of vivid colors hidden in the brown and grey tones. Take a close up photograph of your favorite hidden colors.

Take a third breath. Just be with the painting. Where does your eye go? Where does your mind go?

European Galleries
Once in this contemplative space, head over to the European galleries. Find the still life by Dutch artist Abraham Mignon, Garland of Fruit and Flowers.

Abraham Mignon. Garland of Fruit and Flowers. Late 1660s. Oil on canvas. Gift of William A. Dickey, Jr. BMA1957.32

Abraham Mignon. Garland of Fruit and Flowers. Late 1660s. Oil on canvas. Gift of William A. Dickey, Jr. BMA1957.32

Notice the fruits and flowers brimming with life as they reach forward, out of the darkness.

Step closer. Imagine hearing the water droplets falling to the ground. Listen closely to hear the fluttering wings of the moths and the sounds of the insects eating away at the foliage.

Take a deep breath. Imagine a time lapse. What will happen in 10 minutes, 11 days, 12 weeks, 13 months, 14 years?

Contemporary Wing
Meander over to the Contemporary Wing. Find the sculpture by John McCracken, Untitled (Light Chromium Yellow Plank).

John McCracken. Untitled (Light Chromium Yellow Plank). 1980. Polyresin and fiberglass on plywood. Fanny B. Thalheimer Memorial Fund. BMA1992.6

John McCracken. Untitled (Light Chromium Yellow Plank). 1980. Polyresin and fiberglass on plywood. Fanny B. Thalheimer Memorial Fund. BMA1992.6

Breathe in and imagine your body lengthening to the height of the piece.
Breathe out slowly and allow your body to relax. Stand comfortably like this for a little while, taking in the brilliant yellow shaft of sunlight embodied.

Take a few steps to the side of the piece and notice the gentle way it rests against the wall. Take in the subtle grey tones of the shadows that fan softly onto the wall.

Breathe in and step close to the surface of the sculpture. Breathe out and notice your reflection on the surface. Continue observing the surface and notice the space around you also reflected. Stand quietly feeling the space around you and between you and the sculpture.

These are just a few ways that you can explore the BMA slowly. Be sure to sit and relax while at the museum exploring the art. On Slow Art Day, you can also attend our 10 Chairs event. Reflect with 10 scholars on 10 iterations of the humble chair in the BMA’s collection.

Slow Art Day is April 11th, 2015. 10 Chairs is on at the BMA from 2pm-4pm.

A moment of solitude

Kirsten Savage. Museum Solitude. 2015.

Kirsten Savage. Museum Solitude. 2015.

This painting of a familiar-looking museum interior caught our eye on Twitter recently, so we contacted the artist to find out more about it. Kirsten Savage lives in Colorado but grew up in Maryland and received her BFA from Maryland Institute College of Art. She told us, “Baltimore is still close to my heart and I have many fond memories of wandering the galleries and special exhibitions at the BMA with my family and friends.”

The sculpture in the painting is Aristide Maillol’s Torso of Summer, 1910-1911 (cast before 1960), from the Alan and Janet Wurtzburger Collection (BMA 1966.55.15). It is currently on view in Antioch Court.

We love seeing how people respond to the BMA. If you’ve been inspired by the collection or the building, let us know! 

How to Collect Art: Tips for New Collectors

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Collectors at the 2012 Baltimore Contemporary Print Fair.

The Baltimore Contemporary Print Fair (March 27-29) is a biennial fair that brings printers, publishers, and dealers to Baltimore for one weekend to sell the latest in contemporary prints and multiples. Ranging from emerging to blue chip artists, and from $500 to $50,000, there is something for everybody. The BCPF provides a wonderful opportunity for younger and first-time collectors to add reasonably priced works of art by today’s best makers, and also offers visitors the opportunity to engage directly with the people who worked with the artists to make the prints. Staff from many of the country’s most important print studios will be on hand to tell you about their experiences and help you understand how the prints were made. It’s a not-to-miss event. In addition, to make visitors feel welcome, Museum staff will be on hand to offer guidance throughout the weekend.

If you are a first-time collector, or just looking for a better experience buying art, these tips might help.

The Basics
The International Fine Print Dealers Association (IFPDA) defines an original print as a work of art on paper that has been conceived by the artist to be realized as a print, rather than as a reproduction of a work in another medium. There is always a fuzzy line between posters and prints, but suffice it to say, at the BCPF, visitors will be looking at original prints.

Condition
While most prints at the BCPF are very recent, the first thing to consider when looking at any potential purchase is condition. Check to make sure the print hasn’t been compromised, meaning it’s not scratched, torn, wrinkled, or too yellowed. You want the paper to be free of marks, creases, and dents.

Technical knowledge
If you like an image but are unfamiliar with the techniques used to realize it, ask the dealer to help you understand better. There are lots of glossaries around that describe printmaking techniques. A handy one can be found on the IFPDA’s website here: http://www.ifpda.org/content/collecting_prints/glossary.

We can’t emphasize enough the value of engaging the vendors in conversation. They are there to help you understand not only the technical aspects of a work of art, but also to help you understand what the artist was thinking; as we say in the department, the “what’s the what”.

Making a purchase
When it comes to making a purchase, please know the deal is between you and the vendor. Negotiating is part of the deal. Don’t be afraid to ask if a discount is available; it can’t hurt to try!

The bottom line on purchasing art is that purchases should not be made based on the speculative future value of the object, but it should be bought because you love it and want to live with it.

Framing
Once a purchase has been made, you’ll want to frame the work. There are many good framers in the Baltimore metro area. The museum can recommend several who will treat your purchase well. The quality of the materials the framer uses is important. The bottom line: pay for the best materials you can afford.

Care at home
Bringing your purchase home is always exciting. When considering placement within your home, several factors come into play. When possible, steady climate control is best. Dampness and heat should be avoided in the area where the print is stored, if possible. Be sure to keep your print out of direct sunlight as this can also cause damage to the ink and paper. If your print is unframed, be sure to store it flat to keep the edges from curling and/or tearing.
More information on how to care for your work on paper.

The Baltimore Contemporary Print Fair will be held at the BMA March 28-29, 2015. See the website for full details about exhibitors, and special events. Entry to the event is free for BMA Members. Tickets for non-members are $15 for both days, and $10 for one. Students and teachers with a valid I.D. are free. 

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The Broken Jug (After William Merritt Chase)

William Merritt Chase. Broken Jug. c. 1876. Oil on canvas, 61 1/16 x 25 in. (155.1 x 63.5 cm.) Given by Dr. and Mrs. Donald Houghton Hooker, in Loving Memory of Dr. and Mrs. Donald Russell Hooker

William Merritt Chase. Broken Jug. c. 1876. Oil on canvas, 61 1/16 x 25 in. (155.1 x 63.5 cm.) Given by Dr. and Mrs. Donald Houghton Hooker, in Loving Memory of Dr. and Mrs. Donald Russell Hooker

The Broken Jug
After William Merritt Chase

Look, sweet one, how she is obeying
a bargain not to be still life

How she’s been posed on the verge of speaking
yet kept silent; I don’t wish this for you.

Look, here the artist abandoned alabaster
for an earthen jug, simple clay, the color of us,

and the hills behind nearly bruised to black
set on horizon as if in the past

we must remember. Knuckle on knuckle,
that’s not the grasp of prayer. Her broken heirloom

that midwifed milk, wine watered down, whatever
drowns thirst, left on the road like a baby

doll after a war. Look, little one, how she will not
look at us. Unease on wooden shoes painted

a potato’s yellow. She’s never heard the word bastard
until a moment before dropping her jug. I imagine

her peeling potatoes down to white
while her father scrapes black ice

tobacco from his pipe, her mother dying
this scrap cloth a dull yellow

to wrap her newly womaned waist.
That wisp of a headband more red than watermelon flesh.


Steven Levya

Steven Leyva was born in New Orleans, Louisiana and raised in Houston, Texas. His poems have appeared in The Fiddleback, The Light Ekphrastic, The Cobalt Review, and Little Patuxent Review. He is a Cave Canem fellow, the winner of the 2012 Cobalt Review Poetry Prize, editor of the Little Patuxent Review, and author of the chapbook Low Parish. Steven holds a MFA from the University of Baltimore, where he teaches in the undergraduate writing program.

This poem by Baltimore-based poet Steven Leyva was written in response to William Merritt Chase’ Broken Jug, c. 1876. We welcome guest writers to our online discussions of art of the modern era, from the 19th century to the present. If you are a local creative writer who has been inspired by a work of art in the BMA’s collection, and would like the opportunity to be published on the BMA Blog, email BMASocial@artbma.org.

We heart art!

Auguste Rodin. The Thinker. Original model 1880; this cast 1904‑1917. The Baltimore Museum of Art: The Jacob Epstein Collection, BMA 1930.25.1

Auguste Rodin. The Thinker. Original model 1880; this cast 1904‑1917. The Baltimore Museum of Art: The Jacob Epstein Collection, BMA 1930.25.1

Last weekend, we celebrated Valentine’s Day at the BMA by asking visitors to share their love for art, and place a paper heart on the floor in front of an artwork crush. We had a great time watching people decide which works of art deserved their love. One couple wandered around the BMA for hours, hearts clutched in their hands, debating which work was their favorite. Dozens of children ran up to the Welcome Desk multiple times, unable to choose only one work of art to love.

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In three days, there were 1705 hearts placed next to the works of art. From that, your most loved works were:

61 hearts Auguste Rodin The Thinker Original model 1880; this cast 1904-1917
48 hearts Edgar Degas Little Dancer, Aged Fourteen Original model 1881; this cast 1919-1921.
29 hearts Nick Cave Soundsuit 2013
28 hearts Louis Comfort Tiffany Window: Baptism of Christ c. 1897
23 hearts Henri Matisse Purple Robe and Anemones 1937
23 hearts Pablo Picasso Mother and Child 1922
20 hearts Auguste Rodin The Kiss Original model c. 1880-1881; this cast before 1923
20 hearts Dario Robleto American Seabed 2014
19 hearts Hugh Finlay Center Table 1820-1830
18 hearts Jean-Baptiste-Camille Corot Thatched Village (Flesselles, near Amiens) 1864

Visitors were also invited to photograph their heart and favorite work of art, and post to Instagram or Twitter, tagged with #artbma #heartsforart for a chance to win a BMA Catalogue. We are pleased to announce that @draloysius (Twitter) was the winner. We’ll be in touch to discuss how you can collect your prize.

Thank you everyone who participated in #heartsforart. We loved seeing what you love. It made our week!

Our Visitor Services team loved being part of #heartsforart.

Our Visitor Services team loved being part of #heartsforart.

Much love for Nick Cave. Soundsuit. 2013. The Baltimore Museum of Art: Fanny B. Thalheimer Memorial Fund, and Ellen W. P. Wasserman Acquisitions Endowment, BMA 2013.325. © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York

Much love for Nick Cave. Soundsuit. 2013. The Baltimore Museum of Art: Fanny B. Thalheimer Memorial Fund, and Ellen W. P. Wasserman Acquisitions Endowment, BMA 2013.325. © Nick Cave. Courtesy of the artist and Jack Shainman Gallery, New York

Olafur Eliasson. Flower observatory. 2004. The Baltimore Museum of Art: Fanny B. Thalheimer Memorial Fund, and Collectors Circle Fund, BMA 2003.233. © Olafur Eliasson

Olafur Eliasson. Flower observatory. 2004. The Baltimore Museum of Art: Fanny B. Thalheimer Memorial Fund, and Collectors Circle Fund, BMA 2003.233. © Olafur Eliasson

Edgar Degas. Little Dancer, Aged Fourteen. Original model 1881; this cast 1919‑1921. The Baltimore Museum of Art: Alice Morawetz Bequest Fund, BMA 1943.1

Edgar Degas. Little Dancer, Aged Fourteen. Original model 1881; this cast 1919‑1921. The Baltimore Museum of Art: Alice Morawetz Bequest Fund, BMA 1943.1

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Inspire your heart with art this weekend

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Sir Anthony Van Dyck. Rinaldo and Armida. 1629. Oil on canvas, 93 x 90 in. (235.3 x 228.7 cm) The Jacob Epstein Collection, BMA 1951.103

 

This Valentine’s weekend, share your love for art with #HeartsforArt. Museums all over the country are inviting visitors to show their love for a favorite work of art by placing a paper heart on the floor in front of an artwork crush. Spread the love by photographing your heart and favorite work, and posting to Twitter or Instagram using #artbma #heartsforart.

How it works:
Step 1: Pick up a paper heart at the Welcome Desk.
Step 2: Place the heart on the floor in front of a work of art you love.
Step 3: Photograph your heart and favorite work of art, and post to Instagram or Twitter, tagged with #artbma #heartsforart for a chance to win a BMA Catalogue.

We’ll announce the winner next week on Instagram and Twitter.

Follow the hearts throughout the museum to see what brings others to say “I do”, or see what art-lovers across America are passionate about by following the #heartsforart hashtag on social media.

Will you play hard to get and visit all of the galleries before choosing your favorite or be direct and go right to ‘the one’? We can’t want to see what you fall in love with.

Thanks to our museum friends at the Oakland Museum of California and Columbus Museum of Art who initiated the #heartsforart program, and invited the BMA to be involved.  

Books to Have and Hold

Books are so exciting these days, both in content and as objects to touch and explore. It seems like book design gets more thoughtful every season. Following are a few standouts, for one reason or another!

Chatting with Henri Matisse: The Lost 1941 Interview
Henri Matisse with Pierre Courthion
Matisse wanted to call this Bavardages or chit-chat. Swiss art critic Pierre Courthion spoke with Matisse as he recovered from surgery over the course of months. This is the never before published interview – more an extended conversation – with the great master.  It is marvelous. Informal and personal, reading it transports you to a shared table with Matisse and a bottle of wine at a cafe. One can dream.chattingwithhenrimatisse

The Book of Trees: Visualizing Branches of Knowledge
Manuel Lima
Tree diagrams – branched structures for organizing knowledge (think family tree) – have been used for more than eight centuries. It was the cover of this book that initially got my attention but once I cracked it open… wow! I wanted to see and know more. The variety and breadth of subject, from the medieval tree of virtue to the contemporary Blog Tree will engross and even inspire.
bookoftrees

Book from the Ground: from point to point
Xu Bing
Is one picture worth 1,000 words? Both an art form and a written language, contemporary artist Xu Bing’s tale is told entirely in pictograms (symbols and icons). Seven years in the making, the “novel” follows 24 hours in the life of a white collar worker in the city. It is an oddly compelling work whose beauty, in addition to its visual appeal, lies in the recognition of simple human needs and actions that we all share. This fills the artist’s stated “ideal of a single, universally understood language” with no translation needed.bookfromgroundup

Bruce Nauman: The True Artist
Peter Plagens
The book on Nauman – it’s all here – stories of his life, photos, scholarship, and most significantly, the work. And the work is astonishing in its range, including sculpture, performance, sound, video, and installation art. Author Plagens is a lifelong friend of the artist and the access and insight that provides shines through. Beautiful as an object in itself, this book has a raw neon stitched binding and folded cover.  Collectible: get one while you can!
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Richard Diebenkorn: Abstractions on Paper
Edited by Bart Schneider
This is a visual gem of a book. Compact and strikingly well-illustrated, it consists solely (solely!) of gorgeous images with the occasional quote from the artist dropped in. Three periods of Diebenkorn’s career are covered through 88 works, most of which are previously unpublished: the early experiments, the Ocean Park years, and the final years in California. Luminous in all senses of the word.
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Maija Isola: art, fabric, marimekko: The story of a legendary designer of Marimekko
Edited by Kaoru Takahashi
Maija Isola was the creator of more than 500 print designs for the famed and enduring textile company Marimekko, including the instantly recognizable Unikko rose. This book is a small treasure that includes pages from the designer’s sketchbooks, and page after delightful page of exuberant color and cheering and inspirational patterns. Definitely one for the reference shelf.

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Whistler: A Life for Art’s Sake
Daniel E. Sutherland
James McNeill Whistler likely led one of the more controversial lives of any American artist.  He seemed to deliberately cultivate it.  Author Sutherland uses Whistler’s own words to dispel myths and clarify character in a very readable account of the artist and the times. This brilliant man of contradictions was, above all, passionate about his art. Includes many illustrations.

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We carry all of these books in the BMA Pop-Up Shop. You can also order them online at shopartbma.org, or via the links above.

Happy reading!

Mapping Home at Mildred’s Lane

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Katie Bachler is an artist and the 2014 Meadows Fellow at The Baltimore Museum of Art. In July, she spent a week mapping notions of home at Mildred’s Lane – a contemporary art complex(ity), situated deep in the woods of rural northeastern Pennsylvania. These are her reflections.

I was invited to go make a map of the layers of a place; of the home as the natural world and all the tiny tendrils of what grow on the land – the ferns and the weeping moss walls – the blue Marsalis shale. The cups and bowls, the caring of the body, how the towels are hung over the edge of the sink, a garden for growing food, the places we walk in the morning, shared meals, the way that the counters get wiped with a sponge… All of these acts are part of the Mildred’s Lane complex, a home-space that is a laboratory and school about how to live, how to create systems of engagement that are unique and outside of the dominant modes of production in the art world as object making and exchanging. What if all of the parts of life are treated with as much care as the art objects themselves?

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I was invited to look at the complexity of this site, by talking with people and learning how to live in an intentional way, my hands holding objects in a new way; Mildred’s Lane became a home through the mapping of it. This is a story of that process.

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Through the many hills that make up the state of Pennsylvania – the marble of Wilkes Barre – the great Delaware River Gap where people live off the land and the Hudson River school painters felt the thrill of light – exist the possibilities of what could be around a bend or the edge of some far away hills, and the romanticism of what was not the city in a time of the industrial revolution. It prompts a question: Where do we go to feel like ourselves; a parallel need for a wild place as the urban becomes future-like, not stopping, not us, not now.

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Over a bridge that was a drawbridge painted green, and that rumbles underneath the tires as we drive, artists who wanted to make a life that was everything that a life is, moved up here in 1996 to build a home on some land; a home that started as a slab of concrete. Morgan Puett and Mark Dion, who had been a part of perhaps the last great swell of galleries and spaces in NYC in the early 1990s with American Fine Arts began making art to return to life; to all of the singular events and decisions that make up a moving life. A home is a place to learn about how to live together. A home is a shared intentional world. Puett calls it entanglement, workstyles, comportment. The creation of a language to name the specificity of a world.

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How to map what matters to people, to map a relationship between city and country, between land and people?  A map is a changing organism that responds to space and time, and to the people who relate to it, who create it, who feel the woods and the way the paint peels off of buildings, or the light hits a long table in the evening as we prepare a meal on zig-zag tables, with upside down cups, in a way that is called workstyles because everything is done with intention.

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Creating a map with people becomes about mapping a way of being, a specificity of a human intention to make a new sort of place, one with its own order and ways of investigating the components of a human existence, how we make decisions, how we live together in a world that is based on capitalist modes of production much of the time.

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What if all modes of life are self-determined? Is this kind of utopia possible? Maybe it is my job to map it, but then to think of the map as a shifting exploration of a place. A map of any kind of utopia has to be open to change, so I make a growing map, an open map.

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I will go back for a weekend in August to keep working on it, and for time after that as well, being in time and through time.

Posts for print lovers

Christian Gottfried Schultze (German, 1749‑1819)
After Peter Paul Rubens (Flemish, 1577‑1640)
Neptune Calming the Tempest, 18th‑19th century
Engraving
The Baltimore Museum of Art: Garrett Collection, BMA 1946.112.13497

In June, the Department of Prints, Drawing & Photographs (PDP) at the BMA launched its first social media account with a Tumblr dedicated to highlighting captivating works on paper from the collection. With the Museum’s online collection constantly growing, this new space offers PDP a chance to give a more intimate glimpse into the Department’s daily meanderings through the collection. It is also a place for interaction and research where you can ask questions about the works you see on the site, or other works on paper from the BMA collection. What do you want to know?

Benjamin Levy Curatorial Assistant Department of Prints, Drawings & Photographs The Baltimore Museum of Art

Benjamin Levy
Curatorial Assistant
Department of Prints, Drawings & Photographs

To find out more about this new project, we spoke to Benjamin Levy, Curatorial Assistant in the Department of Prints, Drawings & Photographs:

Ben, the BMA has more than 65,000 works on paper in the collection. What are some of the highlights of this collection? What might surprise me about the collection?
The size is normally the first thing that surprises people; works on paper make up about 70% of the collection. The works on paper collection ranges from the 15th century to yesterday. It is really a hidden gem. Every box and drawer has something unexpected, and that discovery is what is so exciting and surprising on a daily basis.

The core of the print collection, which you will see as the Tumblr chugs along, is made up of two collections – the Garrett and Lucas collections, both of which contain between 15,000 and 20,000 prints. They came to us in the 1930s. We are strong in Old Master, 19th century French, Modern and Contemporary works of art.

You’ve just started a Tumblr to share some of these works with the public. What can people expect from the Tumblr?
Because works on paper are sensitive to light they can’t be out in the galleries for extended periods of time. The way the public, classes, and scholars get access to the collection is through our Study Room. People can expect a parallel experience, showcasing works from the collection that are not regularly on display in the galleries for a personal viewing.

You can also expect to see the collection through my eyes, as an artist going through the boxes. Sometimes there is a visual theme that seems to come up often, like death and skulls, shipwrecks through the centuries, or just scrumpy mark making!

Have you been surprised by anything that you’ve found so far when choosing works to appear on the Tumblr?
My colleagues and I are surprised by the depth and variety of the collection daily, as we go about caring for it. This is exactly what we would like to share with a larger audience – a peek into what we see every day – the beautiful and the strange, and everything in between.

It’s probably the strange that catches my attention more than anything. Since prints are “The People’s Medium”, you can really get a sense of the popular culture and the sociopolitical currents of a place and time so far removed. Some things translate well, but others come off as completely alien, especially those involving scenes of everyday life, like Callot’s etchings of Italian street performers or Daumier’s lithographs caricaturing the people of 19th century Paris.

In the opening post for the Tumblr, you mention that you want the Tumblr to be a daily dose of inspiration, but I’d like to know what inspires you. What catches your attention and inspires you, online and offline?
What jumps out of the boxes and drawers most of the time will land on the Tumblr. The selection process is more or less visual, and while the works on the Tumblr are things that stand out for one reason or another, very few of them were specifically sought out for research.

What is inspiring is the amazing stories that arise when we go into research. It is so exciting learning about small moments in history, bits of biographies, myths and lore – not to mention the amazing diversity of artistic expression over the last 500 years or so.

The inspiration comes full circle when classes, especially studio art classes, come to the Study Room and that inspiration is shared and utilized to make new work. This is a working collection; not works entombed, but a vibrant place for learning and education that will inform the next generation of artists, art historians, and anyone who has a passing interest. We also get to make connections between historic works in the collection and contemporary works, and there is no better place to do that than the biennial Baltimore Contemporary Print Fair, scheduled for March 28-29, 2015.

What do you think? Is there anything you’d like to see on PDP’s new Tumblr? What kinds of works on paper inspire you?

Benjamin Levy is a native Baltimorian, printmaker, critic, and curator. He is a 2009 graduate of MICA and since then has been at the BMA in the Department of Prints, Drawings and Photographs. At the Museum he works with the works on paper collection, teaching in the department’s study room and is also the co-organizer of the Baltimore Contemporary Print Fair with Associate Curator Ann Shafer.

Drawing with Her Eyes

I had the most wonderful conversation with a member of my church yesterday who reminded me why my work at the BMA matters. She recalled a conversation with me several years ago when she told me that she wanted to take her granddaughter to the BMA, but had to work on Thursdays when the museum was free. I said something to her about not doing my job very well because she didn’t know that the BMA had eliminated general admission fees since 2006. She was very excited to learn this and began taking her 2-year-old granddaughter Athena to the museum.

AthenaAthena was born with quadriplegic cerebral palsy and is non verbal, but these physical challenges haven’t diminished her spirit. This extraordinary young girl has found ways to enjoy ice skating and horseback riding… coincidentally both activities that make me very nervous. Four years after her first visit to the BMA, Athena began making art using new technology that enables her to design using eye and finger movements. Her family was astonished to discover her works were not simple fingerpaintings or fanciful doodles, but beautifully rendered drawings that show movement and intention. Now 7-years-old, Athena’s artwork was featured in a recent exhibition at the Maryland Institute College of Art curated by graduate student Danielle Chi. You can see a video clip of Athena (the first child in the video) and Danielle’s graduate project on eyeartist.net. Her proud family has also published a book of Athena’s drawings on createspace.com.

Athena Storm. Chasing Ice. 2013

Athena Storm. Chasing Ice. 2013

You never know what will spark a child’s imagination. I think this little girl already had the innate talent and vision to create art, but perhaps didn’t realize it until she began visiting the BMA and then learned about the new technology. It gives me great joy to see how Athena’s creative expression has blossomed. I hope it will inspire others who wonder why they should visit a museum or who have any doubts about their abilities. It is extraordinary what you can accomplish with passion and vision.