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.
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The Baltimore Museum of Art
10 Art Museum Drive : Baltimore 21218
The BMA celebrates the 2016 Baker Artist Awards with a multi-disciplinary exhibition showcasing examples of works by winners of the prestigious prizes. This year’s exhibition in the May Galleries features the work of visual artist Joyce J. Scott, winner of the $50,000 Mary Sawyers Imboden Prize and literary artist Jen Grow, winner of the $20,000 Mary Sawyers Baker Prize winner. Also featured are the winners of three $5,000 prizes: performing artist Naoko Maeshiba, filmmaker Matt Porterfield and visual artist Bill Schmidt.
Winners of the Baker Artist Awards are selected from over 700 artists who create portfolio’s of their work on the Baker Artist portfolio website. Participation in the portfolio site and awards is open to artists of all disciplines who live and work in Baltimore City and its five surrounding counties.
The Baker Artist portfolios and associated awards were created to support artists and promote Greater Baltimore as a strong creative community.
A public reception will be held on Wednesday, September 7th, from 6PM – 9PM. This special event will also feature performances, readings, and films in the BMA Auditorium.
Howard Community College : Columbia 20144
“Parts and Labor” an exhibition of paintings by Bradley Fesmire, explores a tradition of people working with their hands. Fesmire’s constructed paintings highlight craft, surface texture, and color. The exhibition extends as a precedent of how non- traditional materials and tools can be used in painting, while providing the viewer with sense of place, history and sentimentality. Please Join us at the Horwitz Center for visual and performing arts at Howard Community College September 8 th 2016 from 5-7pm for the Reception. The exhibition will open and free to the public August 25 th – October 9 th 2016.
“Elements” an exhibition of paintings and drawings by Alice Valenti, serve as a vehicle into a world of quiet contemplation, imagination and remoteness, where memory is present or hauntingly absent. The scale and limited color pallet of Valenti’s works creates an intimate space that bolsters craftsmanship and demands inspection. Please Join us at the Horwitz Center for visual and performing arts at Howard Community College September 8 th 2016 from 5-7pm for the Reception. The exhibition will open and free to the public August 25 th – October 9 th 2016.
The Brewer’s Art
1106 North Charles Street : Baltimore 21201
It’s time to party AND support your favorite DIY rock opera society the easiest way possible: BY DRINKING DELICIOUS BEER!!
Once again the Baltimore Rock Opera Society descends upon the lower level of Brewer’s Art for BROS NIGHT! A portion of each delicious craft brew you drink will help benefit our upcoming fall show: BRIDES OF TORTUGA! We want to hang out with YOU and talk about all the crazy stuff we’re making for this show – exploding cannons, giant boats, and CERTAINLY NOT PIRATES. It’s gonna be a great time so tell your friends and come hang out!
UMBC Fine Arts Building
UMBC : Halethorpe 21227
Paul Rucker is a visual artist, composer, and musician who combines media, often integrating live performance, sound, original compositions, and visual art. His work is the product of a rich interactive process, through which he investigates community impacts, human rights issues, historical research, and basic human emotions surrounding a subject.
Rucker has received numerous grants, awards, and residencies for visual art and music. In 2012, he received an award for Visual Art from the Creative Capital Foundation, a 10-week residency at Headlands Center for the Arts in California, the Conductive Garboil Grant, a Grant for Artists Projects from Artist Trust, and an Artist Project Grant and Gallery Show from 4Culture. Seattle-area organizations that he has received project funding from in the past include the Seattle Mayor’s Office of Arts & Cultural Affairs, Washington State Arts Commission, King County Site Specific, 4Culture, Artist Trust, and Photo Center NW. He has also received funding from the South Carolina Arts Commission.
This event is free and open to the public.
“F*** You, Pay Me!” for Empathic Creatives – Professional Development
Thursday, September 8th: 6-9 pm
800 St. Paul Street: Baltimore 21201
Do you have trouble asking to get paid for your artwork? Does talking about money stress you out? Do you struggle with setting prices and sticking to them? Are you so busy worrying about your client’s financial situation that you neglect your own?
Musician, therapist, and coach Lauren Aycock Anderson wants to help you know your worth, state it, and stick to it. She’ll share her knowledge and experiences as a small business owner, artist, and helper on the intellectual, emotional, and cultural pieces involved in getting paid for art. You’ll leave with a specific strategy to help you start getting paid for your creative work.
Stick around after to share your thoughts over a glass of vino or a brewsky paired with a sandwich made right.
Opening Reception: September 8, 7:30 p.m.
Center of the Arts Gallery, Towson University
On View September 9 – October 15
Reference/Material, curated by Alex Ebstein ’15 MFA, is a survey exhibition of contemporary artists utilizing a variety of media, whose works highlight the continued influence of modernism in today’s art world.
Gallery Hours: Tuesday – Saturday 11 a.m. – 8 p.m.
Center for the Arts Gallery, 3040 Center for the Arts, Towson University
Towson, MD : 21252
Onslaught of Obsolescence: David Ubias
Opening reception: Friday, September 9, 6-9pm
Institute of Contemporary Art Baltimore at Spacecamp
16 West North Ave, Baltimore, MD 21201
September 9 – October 2, 2016
Open Saturdays and Sundays, 12-4pm
Institute of Contemporary Art Baltimore presents David Ubias’ Onslaught of Obsolescence at Spacecamp in Baltimore, MD. David is serious about making silly paintings and the show will be his first comprehensive installation of this continuing series. David utilizes the constraints of modest materials such as paper pulp, hot glue, and wood as a shrug towards the frenzy of new media. The results are intensely textured and colored paintings that present an iconography that slips between the contemporary and the archaic, the acerbic and the earnest. Body language, personal anecdotes, advertising and current events serve as a catalyst for studio activity. Onslaught of Obsolescence is an ongoing project that explores enduring (common) technologies that teeter on the threshold of relevance while also questioning the feasibility of maintaining a constant state of curated comfort.
David Ubias, davidubias.com
David Ubias currently resides in Baltimore, MD. He received a BA in Studio Arts from the University of St. Thomas/Glassel School of Art and an MFA from Maryland Institute College of Art. His work has been featured in the Texas Biennial, Art Miami, Vox Populi, Zona Maco, Texas Contemporary, and UrbanOutfitters. He is also the recipient of the 2009 Henry Walters Traveling Fellowship. His bucket list includes hugging a sloth and trekking to Everest base camp.
Spacecamp creates temporary autonomous zones for the habitation of social and cultural activations. Spacecamp is an open source, curated community space for artistic projects in Baltimore. Spacecamp is governed by a group of 5 people who set the schedule and coordinate with potential collaborators who are interested in using the space. Spacecamp does not program the space for it’s own projects, but partners with organizations that will produce great shows with artists or groups of artists.
Onslaught of Obsolescence is made possible in part by a grant from the Robert W. Deutsch Foundation.
School 33 Art Center
1427 Light Street : Baltimore 21230
In “Relative Territory,” American intermedia artist Carrie Fucile and Brazilian sculptor Lidia Malynowskyj explore issues of territorial definition through natural materials. Fucile utilizes sound and motion to consider the subject of war and shelter. Malynowskyj questions the concept of “landscape” through clay, plaster, and light. This presentation of their work is a counterpart to the Summer 2016 exhibition, “Territórios Relativos,” held at Casa Contemporânea in São Paulo, Brazil. As such, it forms a bridge between two countries and reveals how all of us are a product of the world’s ever-shifting borders.
“Annoying Poem” is a visual/sound experiment documenting a simple, pointless act repeated over and over. The viewer is surrounded by projections of combined instances of wood being repeatedly thrown at a corner in the artist’s studio. The images of flying detritus and cacophonous ricochet sounds are viscerally alarming while simultaneously verging on becoming calming white noise. The viewer is standing inside a memory of a calamitous event that was actually a simple, boring, monotonous event. Loud clattering sounds. Why are you doing this?
Most of us grew up with color televisions, computer monitors, and mobile phones whose screens emanate a myriad of colors seemingly not replicable in the natural world. Using them daily, how much do these devices influence us? Utilizing distinctive methods, the artists of “GOOD AND PLENTY” may be attempting to recreate the luminosity and hue from these glowing beacons. Matt Hollis constructs new worlds using manufactured materials, drawing viewers close by employing the clean vivid color of familiar objects and textures disguised through accumulation. Stephanie Williams’ installation features unnaturally bright colors in thread and fabric, at first obscuring the depiction of forcemeat and human body parts. Darcie Book uses dried acrylic house paint to create swirled, candy-like three-dimensional environments. Estee Fox and Amy Hughes Braden both work in heavily saturated colors, either with acrylic paint or ink on canvas or paper, beckoning viewers to stand close and discover every slash of color and its meaning.
Public Displays of Privacy – Opening Reception
Friday, September 9th : 7-9pm
DC Arts Center
2438 18th Street NW : Washington DC 20009
Curated by Martina Dodd
DC Arts Center presents Public Displays of Privacy, an exhibition featuring four local women artists who explore the complexities of identity, memory and subjectivity in relation to Black Womanhood.
Performance + second veiwing on September 29 at 6:30 pm: Special performance of Communal Restriction by Khajidah Wilson and Lionel Frazier White. Bond together by a mask constructed by Wilson, the two struggle for independence as they visually transform from collective unit to individual entities, forcing their viewers to reexamine the narratives of self and community.
With a particular focus on hair, the body acts as a site of agency for Nakeya Brown, as her photographs draw attention to the ways beauty standards can reflect politics, cultural memories and racial identities. Khadijah Wilson’s installation physically binds her subjects together using deconstructed material and applies pressure to their communal existence, causing them to literally tug at their freedom. Their strained necks mimic the double burden of race and gender experienced by Black women, while their limited mobility hints at a loss of individual agency.
Using images of family members as her source of inspiration, Adrienne Gaither investigates the social constructs and constraints of familial ties by “merging traditional techniques of painting and digital manipulation.” Danielle Smith’s soft brush strokes portray intimate moments of joy, pain and vulnerability as she distinguishes between reality and perception. This group exhibition blurs the lines set in place to demarcate what is kept private and what is for public consumption and examines how personal and collective experiences shape our existence.
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
AKIMBO Dance & Movement Art Festival
Saturday, September 10: 1-6 pm
Station North Arts District (check the website for map)
Presented by Deep Vision Dance Company, the 5th annual AKIMBO Festival offers another layer of unusual expectations: all performances are site specific, created for non-theater settings in Baltimore’s Station NorthArts & Entertainment District. The festival, which offers a rigorous proposal and professional development process, encourages “interdisciplinary projects, proposals that take artistic risks, and ideas that focus on a strong artistic vision/voice from the company or artist.”
AKIMBO 2016 is the 5th annual festival of site-specific dance and movement art in Baltimore’s arts district. AKIMBO this year features 15+ regional professional dance companies and movement artists from traditional to experimental, plus music, spoken word, art installation, puppets, multi-media, performance art, and more. That’s OVER 150 individual artists and performers presenting original work all in one day!
Artists present work at art galleries, restaurants, bridges, parks, murals, and businesses. At their own pace, audience members explore the neighborhoods rich architecture while viewing and participating in live art, unique site-specific performances, and installations.
Over fifty volunteers in bright yellow shirts fill the neighborhood, assisting people in moving from place to place.
Live Arts Festival
Saturday, September 10th : 2-9pm
30 Enterprise Street : Glen Rock PA
The Fourth Annual Live Arts Festival will be held on September 10th, 2016 at Ruins Park in Glen Rock Pa. This year’s Live Arts Festival features local bands and artists gathering together to create a cultural experience that’s fun for the whole family. The event will be held from 2pm to 9pm and is free to the public however donations at the door are encouraged.
The Live Arts Festival began four years ago as a way to bring life back to an abandoned space. Byron Banghart of Trailer Whale Productions and Terry Steyer of the Glen Rock Mill Inn saw an opportunity to revitalize the shell of the historic warehouse from what it was, a magnet for drug use with racial slurs painted on the walls, to a space used for community gatherings and artistic expression. Banghart, founder of the Live Arts Festival, believes in the power art and music can have in a community. The first Live Arts Festival immediately transformed Ruins Park into what is today, an extremely active, multi-purposed outdoor venue which brings people together to celebrate community and culture.
This yearʼs Live Arts Festival will showcase some of the areaʼs finest musicians and artists, including graffiti and mural artists Mas Paz, Adam Stab, Todd Grey and Missy Jones. Musical performances by the Philadelphia based band Darla, and Dr. Slothclaw from York, Pa. will headline the event. We are also excited to welcome Weathervane from York, Pa, Skribe from Baltimore and the Charlie Eron Trio from Hanover Pa. There will be a kids corner for aspiring artists and attendees are encouraged to join the experience by picking up a paint brush and expressing themselves.
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
Full Circle Photo Gallery
33 East 21st Street : Baltimore 21218
Come celebrate the opening of Jeff Goldman’s solo exhibit, “When the Quiet Comes.” Goldman photographs rusted objects, headstones, abstractions, flowers, and landscapes. The images convey death, decay, life, quiet, ghosts and rebirth. Losing his father, at a very young age affected his life and art. Starting to photograph was a way for Goldman to work through the grieving process and to grow into an adult.
Show runs September 3 – October 8, 2016
218 West Saratoga Street : Baltimore 21201
Terrault is pleased to present Teacher a new series of acrylic cast paintings by Dominic Terlizzi. In Teacher, Terlizzi uses a symbolic palate and textural lexicon to discuss youth and unknowing. Spectrums of color offer a lush backdrop to divergent narratives and coded meanings. By the shows’ namesake Teacher there is a Socratic posture upheld in which the work asks more questions than can be answered. These are scenes that do not exist, from stories never written, about things misunderstood.
The textures are made with a mold method developed around grains and ubiquitous sundries. Terlizzi uses grains as a way of accessing unknown history. It is a recipe, currency, and sustenance. The process necessitates a jack-of-all-trades approach, utilizing baking, scavenging, mold making, and color mixing. Placing these textures into mosaics is a democratizing action, allowing content to conjure and comingle.
Relationships between wildlife, human figures, and mythology are created through collisions of language. Side scrolling and role-playing keep viewing playful. Characters abut gradients and presidential gazes guard bucolic landscapes. Questions arise around which narrative is being constructed, and to what ends.
OPENING RECEPTION Sat. Sept. 10 | 7–10p
Jordan Faye Contemporary
September 10 – October 15
About Incubator: Often the hardest part of getting a new business off the ground is sourcing all the components needed to create something able to compete with current producers. Inevitably, using what you can find becomes the most practical way to make it happen. Incubator is a series of work in which Attenborough-Naftel look into the aesthetics of ad-hoc construction of both the spaces that facilitate small start-ups and the goods that are commonly produced there.
Attenborough Naftel’s DIY aesthetic supports and celebrates a desire to gather and play. Their work appropriates visual cues from common social events/experiences; encouraging the audience to transcend it’s role as viewer to become an active participant.
About Attenborough-Naftel: Attenborough Naftel (A/N) is an ongoing collaboration between Chris Attenborough (Baltimore) and Sean Naftel (New York). Having met in graduate school at the Burren College of Art in rural Ireland, Attenborough-Naftel began making situation-based installations in 2008. A/N has shown work at De Buck Gallery (New York), Monster Truck Gallery (Dublin), SEVEN Art Fair (Miami), Emerge Art Fair (Washington DC), Contemporary Museum (Baltimore) and VOLTA Art Fair (New York). They were the featured artists from Queens for the television show ArtTrek NYC (2011). In 2012 they began collaborating with Union Craft Brewing in Baltimore. The collaboration developed into a limit edition beer, Pregame Session Ale, for their artwork Tailgate Man Cave. Their installation Yard Sale (2014) at De Buck Gallery was featured in the New York Times and on New York Public Radio (WNYC).
Like most of Attenborough–Naftel Openings there will be plenty to eat and drink and smile at. This event would not be complete either without live music. For this special occassion, Jordan Faye Contemporary will host Thrive Live Music with saxophonist, Tyrone Page Jr.
Coinciding with Incubator’s Opening Reception is a mini-solo exhibition in our front gallery of work by Lori Larusso, entitled Bourbon Cocktails.
Encoach: Georgia Dickie and Keith J. Varadi
Saturday, September 10: 7-10 pm
498 N Paca St, Baltimore, MD 21201, USA
Springsteen is thrilled to present Encoach, a two-person exhibition featuring Georgia Dickie and Keith J. Varadi. Please join us for the opening reception, Saturday, September 10, from 7-10pm. Exhibition will be on view through October 8.
Georgia Dickie (b. 1989, Toronto, Canada) graduated with a BFA from the Ontario College of Art and Design University in 2011. Her work addresses the complexities of contemporary object-based practice and is characterized by a deep interest in found materials and their inherent limitations. Recent and forthcoming exhibitions include Springsteen, Baltimore; Et Al, San Francisco; Halsey Mckay, East Hampton; Cuevas Tilleard, The Journal, New York; Greene Exhibitions, Los Angeles, USA; V1 Gallery, Copenhagen, Denmark; Xippas, Paris, France; Croy Nielsen, Berlin, Germany; COOPER COLE, The Power Plant, the Museum of Contemporary Canadian Art, Toronto; Oakville Galleries, Oakville, Canada. In February 2015, she was the Canada Council for the Arts artist in residence at Acme Studios in London, UK. Dickie currently lives and works in Toronto, Canada.
Keith J. Varadi (b. 1985, Pittsburgh, PA) is an artist, writer, poet, performer, and curator, who has mounted solo exhibitions at Night Gallery (Los Angeles), Cooper Cole (Toronto), and Et al. (San Francisco) this past spring. His writing has appeared in Art in America, Carla, Kaleidoscope, LEAP, and Spike Art Quarterly, among other publications. Additionally, he has recently released a book of poetry and photography (Maga Books) and a limited edition 7″ record (Night Gallery).
Architectural Body: Se Jong Cho
Saturday, September 10: 7-10 pm
Open Space is thrilled to present Architectural Body, a solo exhibition of new works by Se Jong Cho. Please join us for the opening reception on Saturday, September 10, from 7-10pm. The gallery will be open on Saturdays from 1-5 pm until October 8.
Now it is time that gods emerge from things by which we dwell…
–Rainer Maria Rilke
These paintings are about figuring out how architecture came to organize around humans or how humans came to organize around architecture. The title comes from Madeline Gin and Arakawa’s book that explores and contemplates the architectural solutions to the dilemma of mortality.
The dilemma of mortality comes from the assumption that consciousness is personal, that when our bodies expire, we cease to be conscious; we cease to exist: the ultimate existential crisis. This assumption rises from the self-awareness that doesn’t seem to extend beyond our individual physical bodies. Apparently, Wittgenstein thought so too, concluding from his investigation of mind through an experiment of “beetle in a box.” He conjectured that one cannot feel another person’s pain, but can only infer from their own. However, if you ask a person with an alien hand syndrome, when their hand is prodded with a stick, whose pain they feel, this person would respond that it is somebody else’s pain, distinctly not their own. So, if consciousness is truly personal, how can anyone feel somebody else’s pain that is not inferred from their own?
These paintings explore our relationship with architecture as a way to expose the non-personal, collective consciousness concealed by our mortal habitation. The audience is physically external to these architectural artifacts while the body parts are integrated in them. Thus, the audience can make clinical observations of feelings of restrain and dependence, anxiousness and relaxation, and desperation and liberation. Consequently, we can begin to imagine what it feels as a body alien to our own that could foster a greater comprehension of our collective consciousness. – Se Jong Cho, 2016
Glenview Mansion Art Gallery
603 West Edmonston Drive : Rockville 20852
The September Show at Glenview Mansion Art Gallery just might prove to be the social event of the season as artist Sanzi Kermes exhibits a show designed, and tailor crafted to fancy the former reigning ladies of Glenview Mansion while engaging with today’s contemporary art world.
Sanzi is an interdisciplinary artist working in a mix of media including paper, wood, and fabric. A Scrabble aficionado, Sanzi documents the games she has played, then creates works that highlight the pattern and text formulated during each game. Sanzi’s love of language, letters, numbers, and visual arts is omnipresent throughout her work incorporating screen prints, letterpress printing, and senryu. Senryu is a Japanese form of short poetry akin to haiku, which Sanzi features throughout her work.
For the Glenview Mansion Art Gallery exhibition, Sanzi re-images costumes recently acquired from Center Stage in Baltimore, Maryland, with screen prints of rich and vibrant text and graphics. Each element within the final presentation has been carefully edited and selected based on the history of the house, from the airy light- filled sleeping porch to the adjacent gallery occupied by the ladies who reigned over Glenview Mansion, from 1838 until 1950. “From my initial walk-through of the salons and gallery space at Glenview Mansion Art Gallery, my subsequent designs interpret an evolution of the socialites who inhabited Glenview Mansion via wardrobe pieces which create a cultivated statement about yesteryear vis-a-vis a contemporary unveiling.”
1760 Bank Street : Baltimore 21231
Michael Chandler: NEW & RESOLVED
September 11 – October 23, 2016
Sunday, September 11 | 2:00 – 5:00 pm
The artist will speak briefly at 3:30 pm.