This week: Joyce J. Scott and Oletha DeVane in conversation at Church of the Redeemer, Neil Meyerhoff at C. Grimaldis Gallery, MICA’s EDS presents “historically hysterical” with War on Women at The Peale, MICA’s Annual Fashion Show “Catalyst,” Badlands: 2019 IMDA MFA Thesis Exhibition at UMBC, Rainbow of Chaos at St. Charles Projects, and A Passing Scene curated by Minzi Li at Area 405.
BmoreArt’s Picks presents the best weekly art openings, events, and performances happening in Baltimore and surrounding areas. For a more comprehensive perspective, check theBmoreArt Calendar page, which includes ongoing exhibits and performances, and is updated on a daily basis.
Our third panel features Doreen Bolger, former director of The Baltimore Museum of Art and a serious collector of Baltimore-based art, with Taha Heydari, an Iranian-born painter and MICA graduate living in Baltimore. Topics to be discussed include ethical relationships between artists, collectors, and galleries; strategies for exhibiting across the country and internationally; collecting at Baltimore-based art auctions and municipal galleries; and the great importance of showing up.
BmoreArt Magazine Party: Issue 07 Body
Thursday, May 23: 7:30 – 9:30 at The Parkway Theatre
Tickets $25-30 / More information here
Join us to celebrate Issue 07: Body, an exploration of Baltimore and DC-based artists who represent the body, who nourish it in their work, who use it as art medium and concept, and offer new patterns of thought around the politics, benefits, ethics, and limitations of having a body in 2019.
This event will be hosted at The Parkway Theatre and is an opportunity to celebrate in one of Baltimore’s architectural gems and to do it in style. Dress code is old school Hollywood glam. Have we mentioned they have best popcorn in Baltimore? Your ticket includes an adult beverage, popcorn, photo booth, and the first opportunity to take home our latest issue.
Church of the Redeemer
5603 North Charles Street : 21210
Artists Joyce J. Scott and Oletha DeVane in conversation with Christopher Bedford, director of the Baltimore Museum of Art; in partnership with Union Baptist Church and the Rev. Al Hathaway. Nationally acclaimed Baltimore-based artists talk about their work and the city that calls them. Join members of Union Baptist Church for supper at 6:00 p.m.
A simple supper ($10 per person) is available at 6:00 p.m. in the parish hall. Please sign-up by April 8 to attend the supper. No sign up is needed for the speaker at 7:00 p.m.
C. Grimaldis Gallery presents a solo exhibition of Baltimore-based photographer Neil Meyerhoff. These photographs document Meyerhoff’s recent voyages to Japan and Cuba between 2016 and 2019. An avid traveller, he has developed an eye for capturing spontaneous moments that reveal a shared humanity across cultures. These works offer a rare glimpse into everyday life from around the world in vivid color.
Since the late 1960s, Neil Meyerhoff has been keeping a keen eye out for striking images of people and places. His work has been published in The Photo Review, Camera Arts, and Panorama. His work is in the collections of the Baltimore Museum of Art, The New York Historical Society, San Diego Museum of Photographic Arts and the Corcoran Gallery of Art. He was awarded the Alfred and Trafford Klots Residency in Rochefort-en-Terre in Britanny, France in 2003.
The Peale Center
225 North Holliday Street : 21202
April 11-April 28, presented by MICA
Maryland Institute College of Art’s (MICA) Exhibition Development Seminar (EDS) presents historically hysterical, a show featuring artists who reject the coercive hierarchy of gender roles in order to smash the patriarchy. Created by a class of twelve women curators, the exhibition uses installation, performance, photography, and mixed media fiber works—all created by contemporary women artists—to transform three floors of Baltimore’s historic Peale Center.
The show opens with a public reception on Thursday, April 11 from 6:00pm to 9:00pm, including a performance by Baltimore feminist hardcore punk band War on Women.
historically hysterical features women artists from diverse backgrounds who reference some of the materials and methods of seminal feminist art from the 1970s but draw their content from the present moment.
This link between past and present mirrors current political realities: As a record-breaking 102 women joined the U.S. House of Representatives in the wake of #MeToo and the Brett Kavanaugh hearings, some journalists dubbed 2018 the “Year of the Woman”—a title previously used to describe 1992, the year Anita Hill testified against Clarence Thomas during his Supreme Court confirmation battle. The struggle for the acknowledgment of women’s experiences, contributions, and imaginative labor in a male-dominated system seems to echo across decades, forever unresolved.
MICA Brown Center, Falvey Hall
1301 West Mt. Royal Street : 21217
The Maryland Institute College of Art (MICA) presents Catalyst, the 26th Annual Benefit Fashion Show, a runway-style showcase of student-designed fashion that will take place at 9 p.m. Friday, April 12 and at 8 p.m. Saturday, April 13 in Falvey Hall in MICA’s Brown Center, 1301 W. Mount Royal Ave.
After a quarter of a century, the MICA Annual Benefit Fashion Show has entered a new era: fashion in the age of innovation. The show highlights designers who are evolving beyond self-serving behavior to active consciousness, who are forward thinking and record this change through their garments and designs. Throughout history, fashion has marked societal, political, economic and technological development — even the Annual Benefit Fashion Show was established to create and celebrate growth in the diversity within MICA.
This year, each of the collections will mark its own history. Through a minimum of eight to twelve full looks, designers have created an innovative collection that speaks to class, activism, sustainability, politics, technology, diversity or other current themes that will be an impetus for change.
Organized by director Lauren Jackson ’20 (BFA Printmaking), “Catalyst” features 15 individual fashion lines created by 18 designers.
Tickets are available in person at the MICA Store or online at https://mica.ly/2W3nIg4. On Friday, tickets are $7 for students, $12 for staff and $20 for general admission. On Sunday, tickets are $15 for students and $20 for general admission.
On Saturday, there will be a pop-up show made up of work of artisans. The items sold will include work that appears in the show, artisan jewelry, handmade fashion bags, fashion photography prints and more.
Participating designers include Amir Khadar, Anthony Chukwu, Chance Mason, Cristy Rodriguez, Daisy Braun, Dasha Burobina, Hannah Ahn, Yuchae Lee, Hannah Moog, Kristen Tapia, Joy Li, Max Cortes, Patricia Chevez, Pei Jung Ho, Reuben Francois, Saloni Shah, Gianna Chun and Sam Zanowski.
Center for Art, Design and Visual Culture
UMBC : 21250
Tuesday, April 9 – Saturday, April 26
Center for Art, Design and Visual Culture
Saturday, April 13, 12-3pm: Nicole Ringel & Leah Michaels; Lion Brothers Studio
Sunday, April 14, 2-5pm: Leah Michaels; Full Circle Photo
Thursday, April 18, 2pm: RTKL Lecture with Chinen Aimi Bouillon
The Center for Art, Design and Visual Culture presents the annual MFA Thesis Exhibition, featuring works by the five graduate students will who receive MFAs in Intermedia and Digital Arts in 2019. The work selected represents the culmination of each student’s unique experience in UMBC’s dynamic and demanding MFA program.
Chinen Aimi Bouillon works as a detective investigating matrilineal and patrilineal histories. She is an artist born in Okinawa, Japan, former Ryukyu Kingdom, to a native mother and a United States Marine father. Through framing territories of contradiction she analyzes the duality of everyday gender, power and war. Her art is the process of discovery and findings of matrilineal histories colonized by patriarchal narratives. The gallery displays images of Okinawa taken on a 35mm black and white film with photograms of signs and symbols transliterating the Ryukyu oral language and a table top with geographic outline of Okinawa island. The installation plays with the assumed hierarchy of knowledge.
Dilay Kocogullari’s installation – 300 ovary-shaped crocheted pouches, filled with living grass and hanging from the ceiling – is a memorial to the increasing number of women murdered in her home country, Turkey. On the walls appear videos of 70 Turkish participants who helped crochet the pouches in a collaborative act of resistance to femicide.
In Leah Michaels’ thesis video installation, she appears as surfer and priestess, performing last-rite rituals for the ocean, accompanying “her” – the sea – as “she” is dying. As viewers move through and around the installation, they create metaphoric currents, bear witness to the rituals, and join in mourning the ocean’s impending passing.
Bryan O’Neill is an intermedia artist utilizing sculpture, photography, and performance to create work which explores intersections of mankind and Nature. Focusing on American ideas of wilderness, survivalism, manliness, and absurdity he explores the ecological thought and the performance of masculinity in the culture of the outdoorsman. His process focuses heavily upon repetition to create installations which reveal hours of meditative effort through salvaged wood, camp rope, and resin.
Nicole Ringel‘s “Remnants, Remainders, Ghosts, and Continuities” is two translations of observed details, researched history, and traced paths gathered over the past year in the Hollins Market: a site-specific walking experience in Hollins Market, Baltimore, and an installation that employs undulating text, images, and movement to explore the relationship between body and landscape.
St. Charles Projects
2701 North Charles Street : 21201
“We live in a rainbow of chaos.”- Paul Cezanne
St. Charles is pleased to present Rainbow of Chaos, a collection of paintings exploring landscape and abstraction through the collision of micro and macro worlds. In conversation with his friend Joachim Gasquet, Cezanne talks about the process of painting a landscape, “…first I have to discover the geographic strata. Imagine that the history of the world dates from the day when two atoms met, when two whirlwinds, two chemicals joined together. I can see rising these rainbows, these cosmic prisms, this dawn of ourselves above nothingness.” The painters in Rainbow of Chaos brush up against chaos through encounters with the sublime and passes through history. They explode the cellular, hack into geology, and question context.
Jennifer Coates riffs on modernist masters in a vision quest dream sequence. She channels otherworldly forces to create pagan, alien meeting grounds where time and body dislocate. The ground pools with rainbow drips, forming puddles of gesture. Shonah Trescott manipulates landscapes pictured on vintage Union Oil Company postcards with acidic, gestural weather. Each one a token of corporate mythology and nostalgic for the freshness of plein air painting. Patterns resemble microscopic microbial geometry in Peter Makela’s paintings. Petroglyphs emerge out of tone and color generated from primary palettes. Jeffery Kent’s exploration of Henrietta Lacks’s miraculous cell growth generates luminous and mysterious surfaces, offering joyous colors amid muddy territory. Jeremy Stenger brings organic shapes into compositional alignment through moody but neutral color schemes. His work appears like an ex-ray of the forest floor.
Curated by Minzi Li, A Passing Scene features works by artists who examine the experiences of parting, and the ritualistic act of memorializing what is no longer present. These photographs, installations, films and archives act as a monument to the inevitability of ephemerality, to the lingering presence of all that has disappeared. Each artist in the show draws inspiration from family stories and offers a slice of their own cultural heritage; together, their artworks recreate diverse scenes of immigration, dislocation, atomic warfare, and the Holocaust. The works especially highlight how different geopolitical contexts have shaped these artists’ lives-and how history has left its trail on each of them.
A Passing Scene does not merely offer opportunities for visual spectatorship but, under the power and intimacy of both the artists’ and viewers’ experiences, it invites one to talk about these precarious experiences in a public space. The theater-like design of AREA 405 enhances the artist-led tours and other programs offered during the exhibition, allowing participants to immerse themselves in reconstructions and deconstructions of events and sites that have ceased to exist.
A Passing Scene opens at AREA 405 on April 14th with a public reception and “Behind-the-Scenes” tours from 5:00p.m. – 8:00p.m., and remains on view through May 31st. The final “Trails Left Behind” event and closing reception will take place on May 31th from 5:00p.m.-8:00p.m..
About the Curator
Originally from China, Minzi Li is currently an emerging curator and MFA candidate in Curatorial Practice at Maryland Institute College of Art. She has co-curated Legame, a workshop exhibition at the Venice Biennale, as well as the Baltimore-located group shows Land Trust, Everything Must Go and Dark Passenger. As the president of GradEx, she has organized and co-curated the off-campus group shows Mirror and Expression, and several student solo exhibitions. Having graduated with a CIDA-accredited degree in Interior Design, she uses her current research to focus on the rhythm, circulation, and lighting environment of exhibitions.
About MICA’s Curatorial Practice Program
MICA’s MFA in Curatorial Practice prepares students to determine how curators will shape the cultural life of our global society. Students work in a variety of experimental contexts and formats, proposing alternative models of exhibition-making, institution-building, and social justice through art. Designed to forge connections among artists, institutions, and communities, the program fosters contemporary art and culture in collaboration with diverse audiences, and links local issues to international discourse.
About the Venue
Located in a 170 year-old artist-owned warehouse within Baltimore’s Station North Arts and Entertainment District, AREA 405 is committed to showcasing and strengthening the vitality of the arts community throughout Baltimore and beyond.