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:
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)
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.
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.
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.
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.
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.
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)
When I first moved to Baltimore from Chicago, the questions most often posed by friends were regarding John Waters and the depiction of Baltimore in his films. At the time, the references were lost on me, but it didn’t take long for me to discover that the renowned director, celebrated for campy and at times raunchy films set in his hometown, is synonymous with the city.
Prior to the BMA’s Campaign for Art, the Museum’s collection included just one work by Waters. Dorothy Malone’s Collar, a photomontage from 1996, is a quintessential example of Waters’ early foray into appropriation art. The work, which resembles a horizontal photo strip, begins with an image of an eponymous title screen followed by nine stills of actress Dorothy Malone sporting her signature upturned collar. The artist obtained each image by scouring hours of film, pausing the movie, and taking a picture of the frozen scene on his television screen. The format proved a natural means for Waters to share his sharp observation, wit, and love of film with an expanded audience.
In 2010, contemporary photography collectors Robert E. Meyerhoff and Rheda Becker gave the Museum John Jr., 2009. Once again, Waters found inspiration in another artist’s work. The source is a pastel portrait by a respected Baltimore portraitist who was commissioned by Waters’ parents to capture the artist as a boy. Waters took a picture of the pastel and manipulated it ever so slightly by using Photoshop to add a hint of the trademark pencil mustache that he has worn for most of his adult life. Through this simple gesture the artist unites his juvenile and mature selves. Considering the resulting image, it is just as easy to imagine that Waters was a precocious child as it is to see that the child in him lives on.
In 2015 a donation from the BMA’s Friends of Modern and Contemporary Art facilitated the acquisition of one of Waters’ most recent works, Kiddie Flamingos, 2014. Like Dorothy Malone’s Collar and John Jr., the work grew out of another artwork—the artist’s notorious film Pink Flamingos, 1972. The movie, which put Waters on the map as “The Pope of Trash,” quickly became a cult classic and continues to shock viewers. In Kiddie Flamingos, children perform a table reading of Waters’ adaptation of Pink Flamingos for a general audience. Seated in front of a backdrop featuring a trailer home, the kids wear clothing, wigs, and accessories that evoke the unforgettable characters of the original film. Waters’ distinctive voice delivers stage directions off camera while the children earnestly perform their roles in this remake of the battle for the title of “the filthiest people alive.” Those who have seen the original film will recognize that, though purged of its obscenity, the new script artfully alludes to the indelible scenes that make Pink Flamingos scandalous to this day.
John Waters’ reputation precedes him and in many circles he is regarded as the face of Baltimore. It is a fitting tribute to the local icon that two of his works joined the BMA’s collection through the Museum’s Campaign for Art.
John Jr. is on view through May 8, 2016 in New Arrivals: Maryland Artists.
Kiddie Flamingos will be running on a continuous loop in the Museum’s Black Box from September 21, 2016 to January 22, 2017.
This is the final of four explorations into Henri Matisse’s “The Yellow Dress” by Jay Fisher, Deputy Director for Curatorial Affairs. In this piece, we consider the collector. How did The Yellow Dress come to Baltimore, and become part of the BMA’s collection? And what does that tell us about Matisse?
Review the previous videos in this series: In part one, we find out more about Matisse’s process, and discover how this dress relates to his history and life. In part two, we see some of the studies for the painting, and learn more about other related works. Part three shows us two paintings that followed The Yellow Dress, to see how Matisse’s work developed after this important piece.
BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.
Reproduction, including downloading of Henri Matisse works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York.