BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas. For a more comprehensive perspective, check the BmoreArt Calendar page, which includes ongoing exhibits and performances, and is updated on a daily basis.
To submit your calendar event, email us at firstname.lastname@example.org!
GET BMOREART’S WEEKLY NEWSLETTER
1 Olympic Plaza : Towson 21204
On Tuesday Sept. 27, WTMD is hosting a live show by Dan Deacon, Brooks Long, Shodekeh, Wendel Patrick and others. It’s called Embody, and is a one-of-a-kind showcase of the human voice.
This is a chance to see some of your favorite Baltimore musicians like you’ve never seen them before. The performers are only allowed to use their voices — no other instruments. There will be singing, beat-boxing, harmonies, and audience participation.
Brooks Long will be performing with a vocal ensemble he’s calling “Free Tines a Mady,” inspired by the classic Saturday Night Live skit. Then, Wendel Patrick, who just started teaching the first ever college course on hip-hop at Peabody, will perform with the classically trained opera singer Melissa Wimbish (she also sings in the band Outcalls). And Dan Deacon, one of the most popular and influential musicians in Baltimore, will close out the night.
Embody is curated by the Baltimore vocal artist Shodekeh. He’s been doing Embody for years, and WTMD is thrilled to help bring Embody to a broader audience. Shodekeh and WTMD’s Sam Sessa will co-host Embody right here at 1 Olympic Place on Tuesday Sept. 27.
The entire show will be broadcast live on air.
Tickets are only $10 and available now at missiontix.com
Doors open at 8 p.m. and the show starts at 9 p.m.
Sponsored by Flying Dog Brewery
400 Cathedral Street : Baltimore 21201
AN OPRAH BOOK CLUB PICK! From prize-winning, bestselling author Colson Whitehead, a magnificent, wrenching, thrilling tour de force chronicling a young slave’s adventures as she makes a desperate bid for freedom in the antebellum South.
Cora is a slave on a cotton plantation in Georgia. Life is hellish for all the slaves, but Cora is an outcast even among her fellow Africans, and she is coming into womanhood; even greater pain awaits. Caesar, a recent arrival from Virginia, tells her about the Underground Railroad, and they plot their escape. Matters do not go as planned — Cora kills a young white boy who tries to capture her — but they manage to find a station and head north.
In Whitehead’s ingenious conception, the Underground Railroad is not a metaphor — a secret network of tracks and tunnels has been built beneath the Southern soil. Cora and Caesar’s first stop is South Carolina, where both find work in a city that at first seems like a haven. But the city’s placid surface masks an insidious scheme designed for its black denizens — and Ridgeway, the relentless slave-catcher sent to find her, arrives in town. Forced to flee again, Cora embarks on a harrowing journey, state-by-state, seeking true freedom. Like Gulliver, Cora encounters different worlds at each stage of her journey — Whitehead brilliantly recreates the unique terrors for black people in states in the pre-Civil War era. The Underground Railroad is at once a kinetic adventure tale of one woman’s ferocious will to escape the horrors of bondage, and a shattering, powerful meditation on the history we all share.
Colson Whitehead is the New York Times bestselling author of The Noble Hustle, Zone One, Sag Harbor, The Intuitionist, John Henry Days, Apex Hides the Hurt, and one collection of essays, The Colossus of New York. A Pulitzer Prize finalist and a recipient of MacArthur and Guggenheim fellowships, he lives in New York City.
10 East North Avenue : Baltimore 21218
Expanding economic opportunity in Baltimore will be a game-changer for the future of our city.
Leaders across the city are shaping strategies to grow economic opportunity, build community wealth, strengthen neighborhood businesses, resource diverse entrepreneurs, and prepare our workforce.
Join us for a collaborative strategy session with leaders of economic opportunity in Baltimore. The session is focused around the questions and challenges people are facing in their work. This is a chance to lend your ideas, connections, and support.
- C. Harvey | Baltimore’s Gifted
- Tammira Lucas & Jasmine Simms | Moms As Entrepreneurs
- Richard May | Innovation Village
- Eric Lin | Latino Econonic Development Center
- Deborah Haust | City Seeds
- Laurin Hodge | Mission:Launch
- Jamal Jones and Jay Gillen | Baltimore Algebra Project, P2P Incubator
- Andy Cook | Made in Baltimore
- Kurt Sommer | Baltimore Integration Partnership
- Derek Lindsey | Inspiration Factory
Light fare will be provided. Donations and tickets help us cover the cost of food and materials.
Please plan to attend for the entire time.
116 West Mulberry Street : Baltimore 21201
PLATFORM is pleased to present BBW, a solo exhibition of works by Theresa Chromati. BBW, an acronym used in popular culture, is reclaimed by Chromati in this body of work to celebrate the excellence of black women. Chromati takes Platform into the her BBW world through a full scale installation to compliment and court her series of works on paper. The gallery becomes a three dimensional portrayal of wilderness with a kitchen-esque checkerboard flooring. The space is accompanied by aerial melodies paired with dissonant accents produced by Pangelica.
Creating a world for each of her femme figures, Chromati taps into idealized depictions of black women as partners. In each figure, Chromati highlights the beauty of black women’s essence, from their poses to the elegant curves of each silhouette. The details in each piece centralize the figure’s with a heavy reliance on color and mood. Primary colors and dramatic lighting are reminiscent of clubs and nightlife in Baltimore city.
“BBW” stands for “big beautiful women”. And I agree we have assets that are big and beautiful, but there is more to them then just bounce. Could it be that The B’s in this acronym point to other descriptors? The artwork seen in “BBW”, with it’s leisure scenes of black women enjoying life with and without interruptions….just living, reflects on the many “B” words that weave themselves in and out of the varied narratives of Black women: black, besties, bold, brave, bodies, baes, benefits, brains, bliss, blending, bruised, and blame. Just to name a few.”
– Theresa Chromati
In conjunction with BBW, Platform will host an artist talk on September 29th from 6-8pm which will be moderated by Elise Peterson.
UMBC Performing Arts Center
UMBC : Halethorpe 21227
”Seeing is enough to create…” THE OBSERVER EFFECT.
In this richly layered performance, a dancer, two musicians, and a video artist respond to the quantum puzzle that suggests there is no passive witnessing in the universe, and that we are at once subject and object of our own creative forces. Created collaboratively by four artists, the piece is both structured and improvisational, with the performers responding to a spacious and alive score that supports moment to moment decision making. Inviting, visceral and abstract, this interdisciplinary work deeply engages the viewer in an otherworldly and dream-like experience. Dancer/choreographer Tracy Broyles grew up in Maryland and is a 1995 UMBC graduate, returning for the first time to the area to perform. She is working with live musicians Adrian Hutapea and Lisa DeGrace, and video artist Stephen Miller.
THE OBSERVER EFFECT originally premiered at the Headwaters Theater in Portland, Oregon, and was created with support from the Regional Arts and Culture Council and residencies at Studio Two and Water in the Desert.
Rice Gallery – Peterson Hall
McDaniel College : Westminster 21157
Cash examines the cultural and social constructs of landscape in his work.
He said, “My work examines how land use, landscapes and their social histories influence cultural geography. Themes of ownership, demarcation and utilization are explored across media. Such investigations contemplate the social, economic and political forces that define particular landscapes, as well as the cultures that are dependent upon them.”
Cash was born in Texarkana, Texas, and was raised in South Carolina, receiving his Bachelor of Fine Arts degree from the University of South Carolina. He earned his Master of Fine Arts degree from the University of Connecticut and currently lives and works in Charlotte, N.C. He has exhibited nationally in both solo and group exhibitions. His first monograph, “Dangerous Waters: A Photo Essay on the Tennessee Valley Authority,” is set to be published by the University of Tennessee Press in fall 2017. More information about Cash can be found at
UMBC Center for Art, Design, and Visual Culture
UMBC : Halethorpe 21227
Revolution of the Eye: Modern Art and the Birth of American Television is the first exhibition to explore how avant-garde art influenced and shaped the look and content of network television in its formative years, from the late 1940s to the mid-1970s. During this period, the pioneers of American television—many of them young, Jewish, and aesthetically adventurous—had adopted modernism as a source of inspiration. Revolution of the Eye looks at how the dynamic new medium, in its risk-taking and aesthetic experimentation, paralleled and embraced cutting-edge art and design.
Highlighting the visual revolution ushered in by American television and modernist art and design of the 1950s and 1960s, Revolution of the Eye features fine art and graphic design, including works by Saul Bass, Alexander Calder, Marcel Duchamp, Allan Kaprow, Roy Lichtenstein, Man Ray, Eero Saarinen, Ben Shahn, and Andy Warhol, as well as ephemera, television memorabilia, and clips from film and television, including Batman, The Ed Sullivan Show, The Ernie Kovacs Show, Rowan and Martin’s Laugh-In, and The Twilight Zone.
Revolution of the Eye examines television’s promotion of avant-garde ideals and aesthetics; its facility as a promotional platform for modern artists, designers, and critics; its role as a committed patron of the work of modern artists and designers; and as a medium whose relevance in contemporary culture was validated by the Museum of Modern Art’s historic Television Project (1952–55).
Bromo Arts Tower
21 South Eutaw Street : Baltimore 21201
The Bromo Seltzer Arts Tower presents two new exhibits: “On the Line” by Melanie Gritzka del Villar in the First Floor and Mezzanine Galleries, and “Evolve” by Stewart White in Gallery 203: The Bromo Seltzer Arts Tower Studio Resident Gallery. Both exhibits are on view Saturdays from September 17 through December 3, 2016 from 11am to 4pm. A free opening reception takes place Friday, September 30 from 5:30 to 7:30pm where guests have the opportunity to view the exhibition, meet the artists and enjoy light refreshments. The Bromo Seltzer Arts Tower is managed by the Baltimore Office of Promotion & The Arts and is located at 21 S. Eutaw Street.
“On the Line” is a solo exhibition by artist Melanie Gritzka del Villar. With a background in figurative painting, Melanie Gritzka del Villar has long been drawn to the use of found surfaces and mixed media processes. Born to German-Philippine parents, Gritzka del Villar has lived, worked, and studied in Germany, Spain, England, Thailand, and the Philippines, and is currently based in the US. Her creative journey has been shaped by an ongoing search for harmony out of disparate cultural and environmental elements. This translates into a sensibility towards castaway objects as holders of fleeting meaning, and of latent possibilities for alternative narratives. Her creations reflect a concern with the current state of living in an increasingly fragmented and fragile world—they are palimpsests traced from a dialogue with the stranded materials and the environments of which they are a product.
“Evolve” is a solo exhibition by Bromo Seltzer Arts Tower resident studio artist and American Impressionist painter, Stewart White, President of the Mid-Atlantic Plein Air Painters Association. White’s paintings reflect his background in architectural illustration and offer a pleasing combination of structure and painterly style. This exhibition is a revival of his impressions from twenty years’ worth of old sketch journals, which he has transformed into newly developed works.
Towson Arts Collective
40 West Chesapeake Avenue : Towson 21204
WE ARE ORLANDO, an exhibition and art auction benefiting the families of the victims of the Pulse shooting in Orlando. A variety of artists are coming together to share their work and unite against hate and intolerance with love and acceptance. Proceeds of the art sales will be donated to the One Orlando fund. Bring your friends and loved ones to both the free opening reception Friday, September 9, 6-9p.m. at The Arts Collective’s EBC Arts Center, 40 W. Chesapeake Ave, 21204.
Rachel Horner and Gallery 788 are organizing this show of art that highlights LBGTQ themes related to the concepts of unity, healing, love, and acceptance. During Wed.-Sat. gallery hours noon- 5pm, the community is invited to create their own artwork alongside artists involved in this exhibition. This exhibit is free and open to the public. The exhibit ends Friday, September 30 with a silent art auction from 7-10pm. www.towsonartscollective.org
National Museum of Women in the Arts
1250 New York Avenue, NW : Washington DC 20005
The National Museum of Women in the Arts (NMWA) is pleased to present NO MAN’S LAND: Women Artists from the Rubell Family Collection from Sept. 30, 2016, to Jan. 8, 2017. Born in 15 countries across five continents, the more than 35 contemporary artists use their aesthetically diverse work to address varied political and intellectual themes. The presentation is organized by the Rubell Family Collection/Contemporary Arts Foundation (RFC), Miami, in collaboration with NMWA. The exhibition in Washington, D.C., centers on the process of making as well as images of the female body—both topics that extend from the feminist art movement of the 1970s.
Among the celebrated artists whose work is featured in the exhibition are Cecily Brown, Marlene Dumas, Isa Genzken, Yayoi Kusama, Josephine Meckseper, Dana Schutz, Mickalene Thomas and Rosemarie Trockel.
This highly focused selection of works in the exhibition concentrates on painting and sculpture. These mediums are among the oldest and traditionally most revered fine art forms, yet in the hands of many contemporary artists, they are avenues for experimentation, play and subversion.
NO MAN’S LAND imagines a visual conversation between artists new to the Rubell Collection and those whose works they began collecting decades ago.
Baltimore Theatre Project
45 West Preston Street : Baltimore 21201
Andrew Lippa’s The Wild Party was an off-broadway gem that garnered an array of industry accolades, including Drama Desk, Outer Critics Circle, & Obie awards. Adapted from Joseph Moncure March’s 1928 narrative poem of the same name, The Wild Party tells the story of Queenie and Burrs. In a relationship marked by vicious behavior and recklessness, they decide to throw a party to end all parties. In Iron Crow Theatre’s queering of the piece, The Wild Party exists in a dreamlike state, somewhere between sexual fantasy and nightmare. As guests arrive, we meet an assortment of characters who exemplify what it means to live beyond the binary and on the edge while Queenie ‘sets the stage’ for a brutal game of lust, jealousy and deception. One wild evening gives us a stark insight into the danger and risk inherent within the game some call love.
Please note that The Wild Party explores mature themes, contains adult language, sexual content and violence.
The Wild Party may not be suitable for patrons under the age of 18.
Baltimore Museum of Art
10 Art Museum Drive : Baltimore 21218
The Baltimore Museum of Art (BMA) today announced that visitors to the museum on Saturday, October 1 will have the rare opportunity to see a performance of one of Oliver Herring’s Areas for Action performances directed by the artist. When the BMA opens at 11 a.m., four volunteers will begin spitting colored food dye onto three walls of a gallery adjacent to the BMA’s East Lobby, creating a vibrant backdrop for a new installation of Herring’s work that will be on view beginning Saturday, October 22. The playful, but physically demanding performance is expected to take several hours to provide the audience with a visceral understanding of the profound commitment of time and effort involved in artistic experimentation.
“I am excited to welcome artist Oliver Herring to Baltimore for this live performance of Areas for Action,” said BMA Dorothy Wagner Wallis Director Christopher Bedford. “This extraordinary experience invites visitors to connect with artists and be a part of the creative process in a way that is seldom found in larger museums. I look forward to bringing more of these kinds of experiences to the BMA.”
In addition to the colorful walls, the gallery installation will include 12 videos acquired by the BMA in 2011 that document previous performances of Herring’s Areas for Action series. Each performance included an exceptional quantity of common materials like food dye, yarn, foil, and glitter provided to volunteer performers who completely and literally immersed themselves in color, texture, and sculptural forms.
ICA Baltimore @ Gallery Four
405 West Franklin Street : Baltimore 21201
Institute of Contemporary Art Baltimore presents Unending, artwork by Skye Gilkerson at Gallery Four in Baltimore, MD. Using video, installation, and works on paper, Gilkerson creates subtle interventions. Manipulating ubiquitous materials like newspapers, mirrors, and shards of found ceramic, the artist disrupts the viewer’s awareness of their surroundings and destabilizes familiar structures. Space, time, light, and language, as well as architecture and landscape become the media for exploration. Conflating the cosmic with the everyday, the exhibition focuses on record keeping and the passage of time. Unending features new works addressing the human relationship to place, with particular attention directed to vantage point, perspective, longing and distance.
Skye Gilkerson skyegilkerson.com
Skye Gilkerson’s work has been shown in solo, two person, and group exhibitions in museums and galleries across the US including the Contemporary Museum in Baltimore, the Temple University Gallery in Philadelphia, and Select Art Fair in New York. Skye was a 2011 and 2012 Trawick Prize Finalist, and she was awarded a Pollock-Krasner Foundation Grant, a Joan Mitchell Foundation Grant, a Smack Mellon Studio Fellowship, and Artist Residency Grants with the Vermont Studio Center, the Detroit Symphony Orchestra, the Anderson Ranch Arts Center and the La Napoule Art Foundation. Her work is featured in Learning to Love You More by Harrell Fletcher and Miranda July, and is in the Robert L. Pfannebecker Collection, the Notre Dame of Maryland University Collection, and many personal collections in the US and Germany. Skye received her MFA in 2009 from Cranbrook Academy of Art.
<><><><><><><><><><>Painter / Printmaker : New Works by Jack Livingston and Mary Swann – Artists Reception
Saturday, October 1st : 5-8pm
3316 Keswick Avenue : Baltimore 21211
Jack Livingston brings us new gouache paintings and dynamic monotypes, and Mary Swann exhibits her landscape paintings along with her charming intaglio prints, some with chine collé.
It’s a fascinating study of the artists independently exploring the medium of printmaking, and creating prints distinctive from the paintings for which they are most known.
The Creative Alliance
3134 Eastern Avenue : Baltimore 21224
“It’s about race: both the way we view ourselves, and the way others view us as racialized beings” – Juan Ortiz
From August 27th to October 2nd, Creative Alliance and the Neighborhood Voices committee members present Race Recounted, an exhibition uncovering the personal stories and complexities of individual identity as expressed community members who have participated in the program and in exhibition-related workshops. Since its inception in 2013, the Neighborhood Voices program, its founders, institutional partners (Creative Alliance and Banner Neighborhoods), and its resident-led committee have made a concerted effort to address social tensions through conversations about race that foster public spaces for dialogue and equity. Race Recounted is a celebration of our stories, our artwork, our collectivity, and our mission to confront many Americans’ automatic response to racial inequality: to remain silent.
Race Recounted asks visitors to participate in the creation of artwork that tells the story of their own racialized identity through audio/visual portraits in a recordable greeting card (materials are provided). Participants must choose from a selection of 6 prefabricated exteriors that announce their race as defined by the US Census: White, Black, Latino, Asian/Pacific Islander, Native American, and Other. A workshop table in the center of the gallery guides them through the process of decorating the inside of the card and making a recording that re-plays when the card is opened. These stories and personalized images complicate the categorical generalizations made by the census classifications, and provide deeply moving insight into the complexities of identity that differentiate and define us all.
Performances by internationally renowned spoken word artists and storytellers from the Neighborhood Voices workshops act as loci for activity during the exhibition. Confirmed participants include: The Cornell West Theory, a group from Washington, DC who are inspired by social justice struggles, Hip Hop, and the center of world politics. Cornell West Theory’s music is rooted in hip hop, but smashes into a firebrand sound containing elements of punk, go-go, blues, jazz, and industrial noisescapes (Aug 27); and Noelle Ghoussaini, who will direct and coach neighborhood residents and committee members on personal storytelling through theatrical performance. She will also share her own story about her Lebanese-American identity (Aug 27). Additional program dates include a roundtable discussion led by Juan Ortiz in conjunction with Creative Alliance’s Activist Speaker Series (Oct 2); a performance-oriented Neighborhood Voices workshop, and open calls for schools, community groups, and the general public to participate in either the greeting card project or storytelling on the gallery’s stage.
New Door Creative
1601 St. Paul Street : Baltimore 21202
Celebrated Washington, D.C.- based artist Aziza Claudia Gibson-Hunter explores the myriad faces of gentrification in a landmark exhibition at Station North Arts and Entertainment District gallery, New Door Creative. The month long presentation includes a Gallery Talk on Sunday, October 2nd, 2016.
The exhibition is entitled Occupational Hazards, and will feature twelve mixed media works created in 2014-2015. In these works, construction materials are interlaced with layered patterns and text. Varied in scale, the works singularly and collectively present a narrative for the evolving urban dynamic of gentrification. The artist initiated the series to establish a point of discussion, and to advance the dialogue beyond the scope of conjecture. Combining printmaking and assemblage with painting, Gibson-Hunter courageously takes on this extremely complex subject, launching the questions: “What is it?” “How does it look?” “What is the social and economic impact?”
A graduate of Temple University and Howard University (MFA, Printmaking), Gibson-Hunter studied at the renowned Bob Blackburn’s Printmaking Studio in New York City; and later received a fellowship from the Bronx Museum of Art. She is the recipient of numerous honors and awards that includes the Artist Fellowship Program Grant- D.C. Commission of the Arts and Humanities. Her work is included in the Washington, D.C. Art Bank, the John A. Wilson Building Permanent Art Collection (Washington, D.C), the Embassy of Liberia (Monrovia, Liberia), and other notable collections.
126 North Madeira Street : Baltimore 21231
Some artists are weekend warriors. Others, like the ones represented in this exhibition, have a relentless need to continually make. Day after day they report to their studio, where they put in the work and hours to crank it, paint it, or sculpt it out. The work is diverse, but in all cases their motivation is the same: Git ‘er done.
About the Artists
Artist and musician Landis Expandis left MICA after his junior year to pursue a career in music. His Rock/Soul band, All Mighty Senators made a national name for itself, so he spent several years touring with the group. 25 years later, his band still plays from time to time and Expandis has gone back to school to finish a degree in graphic design and illustration. He believes that art, like music, consists of color, texture and composition.
Mattye Hamilton is a painter and printmaker living in Baltimore. She received her BFA in painting from MICA in 1994. She uses luscious, unexpected combinations of color, pattern, and line, infusing her work with equal measures of nature and style.
Minás Konsolas develops his canvases by adding and eliminating multiple layers of paint. He creates his textured images by scraping and smearing. This process allows him to paint and draw at the same time. Konsolas was born in Greece and has lived in Baltimore since 1976, where he graduated from MICA. He is the former owner of Minás Gallery, a cultural gathering spot for 22 years. He now paints full-time from his studio in Charles Village.
Baltimore-born Arin Mitchell has been a practicing artist for over 20 years. She studied painting at MICA and was introduced to sculpting at Coppin State University.
She considers herself a figurative painter. Through the use of color and the flow of lines, she hopes to create a still but moving rhythm in her work that is also found in life. This rhythm can be musical or emotional. Mitchell works extensively on un-stretched canvas, lending a loose and flowing feel to her work.
Cody Pryseski is a Baltimore-based artist specializing in portrait and figurative oil paintings. He graduated from MICA in 1996 with a degree in painting and drawing. He takes a humanist approach to painting, believing in the value of classical, traditional training and techniques. His attention to detail and quality compels him to continually re-work his canvases, until he achieves the right mood. The goal is to capture the personality, even the psychology, of his subject. Pryseski uses the impasto technique, thickly layering his figures with oil paint. This brings additional texture to the work, allowing for the artist to manipulate the play of light and rendering the figure more expressive.