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BmoreArt’s Picks: February 15-21

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Spatial Ambiguity: An Interview with Carol Miller Frost

This Week:  Lou Stovall at the Kreeger Museum, Maryland Institute Black Archives presents Tom Miller Week, BMA Violet Hour with Lauren Frances Adams, Mequitta Ahuja, LaToya M. Hobbs, and Cindy Cheng, Sweaty Eyeballs opening reception at Silver Gallery, Maryland Arts Day, Peter Bruun interviews Schroeder Cherry & Richard Cleaver, Dave Eassa’s opening reception at Cody Gallery, Ontology: Communal Expressions of Being opens at Galerie Myrtis, A Word After A Word opens at Baltimore Jewelry Center — PLUS the Harriet Tubman 2022 Women’s History Month Women of Courage Video Contest and other featured Calls for Entry.

 

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 events@bmoreart.com!

 

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We’ll send you our top stories of the week, selected event listings, and our favorite calls for entry—right to your inbox every Tuesday.

 

 

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Lou Stovall: On Inventions and Color
Ongoing through April 30
@ The Kreeger Museum

The Kreeger Museum presents Lou Stovall: On Inventions and Color, opening February 1, 2022. Lou Stovall is a master printmaker who has transformed the field of printmaking in Washington, DC since the 1960s. In 1968, Stovall established Workshop, Inc., a screenprinting studio that aimed to connect with political movements, reach new audiences, and create opportunities for artists to expand their work into prints, such as Gene Davis, David Driskell, Sam Gilliam, Loïs Mailou Jones, Jacob Lawrence, Gwendolyn Knight, and Paul Reed, among many others. Curated by Danielle O’Steen, the exhibition includes works from across Stovall’s career as well as screenprints by artists coming through the Workshop, giving insight into the Stovall’s innovative approach to printmaking and his decades-long study of color.

“We are honored to present this significant exhibition by master printmaker Lou Stovall and proud to continue The Kreeger Museum’s long tradition of presenting and supporting Washington artists,” says Director, Helen Chason. “The works in this exhibition contextualize and highlight Stovall’s invaluable and countless contributions to the arts community and city and we are thrilled to share them with our audiences.”

Lou Stovall: On Inventions and Color focuses on Stovall’s approach to and expansion of screenprinting as a medium. The show opens with a selection of Stovall’s works over four decades, including: large, brightly-colored compositions; intimate, finely rendered screenprints; intricate studies and drawings; and experimental monoprints. The second part of the exhibition brings together prints by artists who have collaborated with Stovall over the years: Gene Davis, David Driskell, Louis Delsarte, Sam Gilliam, Loïs Mailou Jones, Minnie Klavans, Jacob Lawrence, Samella Lewis, Gwendolyn Knight, Paul Reed, and Di Bagley Stovall. The exhibition will explore the history of Stovall’s Workshop and the impact of his printing methods, through the confluence of works produced at his studio.

“Lou has had such an incredible impact on the arts in Washington, in creating this vibrant, artistic hub around his Workshop,” says curator Danielle O’Steen. “This exhibition traces that history, while also sharing some of the printmaker’s secrets, showing how he developed screenprints that were graceful, nuanced, and even painterly with fearless uses of color.”

As a companion exhibition, Of the Land: Lou Stovall and the Poetry of Seasons will offer a focused look at the master printmaker’s 1974 series Of the Land, a collection of interconnected poems, drawings, and prints inspired by the natural world. Guest curated by Will Stovall, the artist’s son and a painter, this show will coincide with a new volume on the series, published by Georgetown University Press.

 

 

Tom Miller Week
Ongoing through February 19
presented by Maryland Institute Black Archives (MIBA)

This year, the Maryland Institute Black Archives (MIBA) and participating partners are paying homage to the unique, Afro-Deco style of Thomas Patton Miller (1945–2000) with a week-long hybrid celebration taking place from February 14th through 19th, 2022.

This week kicks off with an Instagram campaign mapping institutions and galleries that collect Tom Miller’s artwork. MIBA’s recently acquired works, Summer in Baltimore and Maryland Crab Feast, are on display at the Motor House Gallery until March 27th.

Join us on Thursday, February 17th at Motor House, for a live painting tribute from 6pm to 8pm, led by artist Ernest Shaw and his mural painting class. The tribute will be hosted by Deyane Moses (MICA Curatorial Practice ‘21) in Motor House’s Black Box Theater. The community is invited to participate in a collaborative artwork that will be preserved in the Archive. All guests will receive a FREE commemorative button while supplies last.The event is FREE and open to the public. Motor House is at 50% capacity and requires guests to wear a mask at all times unless ACTIVELY eating and drinking regardless of vaccination status.

On Saturday, February 19th, the Maryland Center for History and Culture will host a FREE guided tour of Discover Maryland’s permanent collection where two of Tom Miller’s pieces are currently displayed. Space is limited. You must register beforehand.

 

 

BMA Violet Hour: Lasting Legacies
Wednesday, February 16 • 6-7pm
presented by the BMA

What makes a lasting legacy? Join the artists from the current exhibition All Due Respect—Lauren Frances Adams, Mequitta Ahuja, LaToya M. Hobbs, and Cindy Chen—as they reflect on their work and how materials and artist resources have influenced their careers. The conversation will be moderated by Dr. Leslie King-Hammond, art historian, curator, and Professor Emerita and Founding Director of the Center of Race and Culture at the Maryland Institute College of Art.

Watch live on Facebook and YouTube.

Panelists:

Lauren Frances Adams is a painter who lives and works in Baltimore. She grew up in Snow Hill, North Carolina on a pig farm. Her work engages political and social histories through iconic images and domestic ornament. Her work has been exhibited across the United States at museums, university galleries, and artist-run spaces. She attended the Skowhegan School of Painting and Sculpture and has held residencies at the Cité Internationale des Arts in Paris and the Sacatar Foundation in Brazil. She is the recipient of a Joan Mitchell Foundation MFA Award, and a 2016 Pollock-Krasner Foundation Award. Americans for the Arts recognized projects she co-produced in 2011 and 2017 as “outstanding public art.” Lauren was a founding member of Ortega y Gasset Projects, a project space in New York. Lauren teaches at the Maryland Institute College of Art.

Mequitta Ahuja: “Whip-smart and languorous” is how the July 24, 2017 issue of The New Yorker described a large-scale painting by Mequitta Ahuja then on view at the Asia Society Museum in New York. Ahuja is the recipient of a 2018 Guggenheim Fellowship. Mequitta has focused her career efforts on museum exhibitions and acquisitions. The year 2022 began with one of Mequitta’s large-scale self-portraits being acquired by Whitney Museum of American Art in New York. Her work has been exhibited at The Smithsonian National Portrait Gallery, MCA Chicago, The Phillips Collection in D.C. and The Brooklyn Museum, among others. Mequitta’s work has appeared in Modern Painters and The New York Times. In 2010, Mequitta was featured in ArtNews as “An Artist to Watch.” On June 1st, 2007, Holland Cotter of The New York Times, sighting Mequitta’s New York debut exhibition stated, “Referring to the artist’s African-American and East Indian background, the pictures turn marginality into a regal condition.”

LaToya M. Hobbs is an artist, wife, and mother of two currently living and working in Baltimore, MD. She received her BA in Painting from the University of Arkansas at Little Rock and MFA in Printmaking from Purdue University. LaToya’s work deals with figurative imagery that addresses the ideas of beauty, cultural identity, and womanhood as they relate to women of the African Diaspora. She creates a fluid and symbiotic relationship between her printmaking and painting practice, producing works that are marked by texture, color, and bold patterns. She has exhibited nationally and internationally and her work is housed in private and public collections, such as the Petrucci Family Foundation Collection of African American Art, the National Art Gallery of Namibia, and The Metropolitan Museum of Art.  Other accomplishments include a 2019 Artist Travel Grant from the Municipal Art Society of Baltimore and the 2020 Janet and Walter Sondheim Prize.

Cindy Cheng has been a resident at the Vermont Studio Center, the Anderson Ranch Artist Residency, and will participate in the Joan Mitchell Center Residency in 2022. She is a recipient of a 2018 Joan Mitchell Foundation Painters & Sculptors Grant, and in 2017 she won the Sondheim Artscape Award. She was a finalist for the Trawick Prize in 2016, 2017, and 2021. She has participated in solo and group shows at the Walters Art Museum (Baltimore, MD), School 33 Art Center (Baltimore, MD), Fjord Gallery (Philadelphia, PA, in collaboration with Cheeny Celebrado-Royer), Ditch Projects (Eugene, OR), St Charles Projects (Baltimore, MD), and at ‘Sindikit Project (in collaboration with Cheeny-Celebrado Royer) (Baltimore, MD). Cindy received her BA from Mount Holyoke College, a Post-Baccalaureate Certificate from MICA in 2008, and earned an MFA from MICA’s Mount Royal School of Art in 2011. Cindy is currently teaching at MICA in the Drawing Department. She enjoys puzzles and badminton.

Moderator: Dr. Leslie King-Hammond
Leslie King-Hammond is an art historian, curator, artist, and cultural and community innovator. She is Professor Emerita, former Graduate Dean and founding Director of the Center of Race and Culture at the Maryland Institute College of Art. King-Hammond sits on the board of the Reginald F. Lewis Museum of Maryland African American History and Culture, Collections and Acquisitions Committee of the Walters Art Museum, and the Baltimore Arts Realty Corporation, an initiative committed to developing and supporting arts hubs and incubator labs in Baltimore City. King-Hammond’s artistry has been exhibited at the New York Historical Society, Benjamin Banneker-Douglass Museum, Museum of Biblical Art, The Smithsonian-Arts and Industries Building, Galerie Myrtis, Apex Gallery, Montserrat College of Art Gallery, MICA-Meyerhoff Gallery, and the James E. Lewis Museum. Her mixed media-bricolage installations and fiber works explore the anonymity of women’s handwork and the intersection of African Diasporic spiritual beliefs.

 

 

Sweaty Eyeballs – Behind The Screens | Opening Reception
Wednesday, February 16 • 6-8:30pm
@ Silber Gallery

SWEATY EYEBALLS ANIMATION – BEHIND THE SCREENS
February 11–March 27, 2022

Opening Reception Wednesday, February 16, 2022
6-8:30pm in Silber Gallery
KN95 Masks Required

Featuring:
Adam Davies with Leili Tavallaei & Nick McKernan
Albert Birney
Cassie Shao
Christopher Rutledge
Corrie Francis Parks
Eric Dyer
Erinn Hagerty & Adam Savje
Evan Tedlock
Gina Kamentsky
Ismael Sanz-Pena
Jim Doran
John C. Kelley
Karen Yasinsky
Lynn Tomlinson
Ru Kuwahata & Max Porter
Stephanie Williams
Tynesha Foreman
Zoe Friedman

Curated by Phil Davis with Alex Ebstein

Goucher College is pleased to present Sweaty Eyeballs Animation – Behind the Screens in Silber Gallery, on view from February 11 through March 27, 2022. Behind the Screens presents animation highlights from the Sweaty Eyeballs Animation Festival, exhibited alongside additional artworks and process ephemera that provide a window into each of the artists’ unique approach to the medium. The animations range from documentary and narrative to the visually abstract. They span digital and analog, with examples of stop motion, rotoscoping, hand-painted, hand-drawn, clay, collage, puppetry, and zoetrope animation.

Founded by Phil Davis in 2012 as a series of one-night-only events, Sweaty Eyeballs has been a consistent platform for and champion of animation in the Mid-Atlantic region. In 2019, Sweaty Eyeballs became a full-scale animation festival, hosted at the Parkway Theater.

In this gallery exhibition, artists who’ve participated in various iterations of Sweaty Eyeballs spill beyond the monitors to reveal their frame sequences and material experimentations. Others present drawings, collages, sculpture, filmstrips, and their preparatory notes. Behind the Screens celebrates the extensive work that makes up and supports animation in a survey of style and format.

Phil Davis is an animator, avid musician, cartoon watcher, and professor of animation and film at Towson University. His animations and music videos have been featured in festivals internationally. He is currently working on an animated documentary short about the town of Millinocket, ME, and incidents surrounding a fatal paper mill accident.

 

 

Maryland Arts Day
Thursday, February 17
sponsored by Maryland Citizens for the Arts

Maryland Arts Day is the largest annual gathering of arts professionals in Maryland. With more than 500 participants, representing every county in the state and Baltimore City, this statewide arts advocacy event connects artists, educators, administrators, volunteers and trustees with lawmakers from every legislative district in Maryland. Maryland Arts Day needs your participation to show strong support for the arts in Maryland and its impact on the economic and cultural vitality of the state.

At Maryland Arts Day, you spend the day networking with colleagues from around the state, all while learning about the arts advocacy process. After a networking breakfast, participants will gather for the morning session which includes greetings from lawmakers, presentation of the Sue Hess Legacy Arts Advocate of the Year Award (which honors BmoreArt’s founding Editor-in-Chief Cara Ober!), a keynote speech, and a state budget overview. After all of this great information, we will prep you with talking points and best practices for meetings with your legislators.

The next portion of the day will be meetings in your virtual county delegation rooms with your legislators. Guided by county arts council directors representing your district, you will have an opportunity to tell legislators about the importance of the arts in Maryland and specific arts impacts in your community.

What are three things that I can expect to get from Maryland Arts Day if I attend?

  1. Networking, networking, networking! Network with your fellow arts advocates and legislators from across the state.
  2. Learn lots of facts about the impact of the arts in our state and about this year’s state budget for the arts.
  3. Strategize and plan with experienced arts advocates about making a strong case in support of funding for the arts in Maryland.

 

 

Becoming: Schroeder Cherry & Richard Cleaver
Thursday, February 17 • 7pm
hosted by Peter Bruun

Becoming as a series explores how artists come to make the art they make.

Created over time and in sequence, with one thing following another, works of art are rarely one-offs. Reflection, correction and refinement are essential to an artist’s process: there is always precedent, always a reason for art being as it is. Art always comes from somewhere, and then goes somewhere next.

Our physical bodies play a role in the art we make. When ocular migraines affected Richard Cleaver’s perception of color, his palette changed; when Schroeder Cherry broke his hip, he found himself drawing a new way. Join Peter Bruun in conversation with Richard and Schroeder as we explore these formative episodes from their lives, looking at what happened to them and their art, and the long-lasting impact from these experiences.

Schroeder Cherry is a Maryland-based painter and puppeteer whose art for decades has captured everyday scenes of African diaspora life. He has performed puppetry in museums, cultural centers, libraries and schools across the United States, and his art is in numerous collections. As a museum professional, he has worked in seven U.S. museums, including the Studio Museum in Harlem, The Art Institute of Chicago, and The Baltimore Museum of Art. In 2021, he was appointed Curator of the James E Lewis Museum of Art at Baltimore’s Morgan State University.

Richard Cleaver has been working in sculpture for 50 years, basing his art on narratives drawn from personal and historical events overlapped with subconscious images. He has exhibited his art nationally, including having solo exhibitions at The Baltimore Museum of Art, Delaware Art Museum, and the Bernice Steinbaum Gallery (New York and Miami). Cleaver has received numerous awards, including from the National Endowment for the Arts, Maryland State Arts Council, and Baker Artist Award.

 

 

A Word After A Word | Opening Reception
Friday, Feb. 18 • 5-8pm | Ongoing through March 26
@ Baltimore Jewelry Center

The Baltimore Jewelry Center will host A Word After A Word, an exhibition examining the power of words and language. Featuring a blended roster of twenty national and international jewelers, metalsmiths, and artists, the work presented in the exhibition considers how words are the foundation for essential communication but can also be manipulated to convey complex ideas, information, and emotion. Each artist uses text and language in their work in some way; to visually and literally communicate their ideas, as a method of mark-making, or as an inspiration point. A Word After A Word will be on view in the BJC’s gallery in Baltimore’s Station North Arts & Entertainment District (10 E. North Ave.) from February 11th through March 26th 2022 with an opening reception on Friday, February 18th from 5 to 8pm. The event is free and open to the public.

Founded in June 2014, the Baltimore Jewelry Center is the successor organization to the MICA Jewelry Center, which had served the metalsmithing and art jewelry community in the Baltimore area for twenty-two years. Today, the nonprofit is providing a rigorous academic program and robust studio access program for metal and jewelry artists.
A Word After A Word was developed and curated by former BJC Exhibitions Director April Wood. She has a fascination with text and the written word. She was enthralled by Egyptian hieroglyphics and calligraphy as a child, enjoyed hand drawing fonts when studying typography and graphic design, and has found inspiration for her work in the pages of books, including the works of Margaret Atwood.

The exhibition’s title is derived from a quote by Atwood, speaking in the context of writing – “A word after a word after a word is power.” Wood sees the body as a landscape and meeting ground, inviting intimate conversations between the viewer and wearer. She is very interested in jewelry that stimulates and instigates conversation.

 

 

People and Places You Don’t Know How To Know | Opening Reception
Friday, February 18 • 6-8pm
@ Cody Gallery

Cody Gallery at Marymount University is pleased to present the exhibition People and Places You Don’t Know How To Know, debuting new work by Baltimore-based artist Dave Eassa. On view from January 26, 2022, through April 14, 2022. People and Places You Don’t Know How To Know is supported by a 2021 Rubys Artist Grant, which is a program of the Robert W. Deutsch Foundation.

For his exhibition at Cody Gallery, Eassa presents an immersive installation featuring 4 large scale paintings and several mixed media sculptures emerging from a sand covered floor, navigable by elevated walkway. The overall effect is that of a Levantine desert, including expansive blue skies, a 10 foot tall archway and symbols of his ancestral cultures.

This body of work was created through a confluence of personal and world events that sent Eassa down a path of exploration, beginning in Baltimore and ending in the Middle East, specifically Jordan and Lebanon. Eassa’s ancestors immigrated to the United States through Ellis Island from Syria, Palestine and Lebanon, eventually establishing families up and down the East Coast. However, the anti-Arab sentiment that proliferated in the United States in the early 2000s discouraged many diasporic families from outward expressions of their heritage. As a result, the transfer of rich oral histories and cultural celebrations often languished from one generation to the next. For Eassa, the magnitude of that loss is an ongoing journey, realizing now as an adult charting his own life story that as a child he didn’t get to know what was written in his Sito’s (grandmother’s) hands.

A long-time advocate for the healing power of art in communities, Eassa launched an organization that brings art to incarcerated men and women, serves as a global ambassador against youth violence, and fosters community relationships through skateboarding and the Museum world. Following the shooting death of his childhood best friend in 2019, Eassa grappled with feelings of loss, grief, and a longing to examine his most intimate relationships with increased care and curiosity. This trauma catalyzed his excavation of family history and desire to connect with the land and culture of his ancestors. As the pandemic seemed to wane in the summer of 2021, Eassa took the opportunity to leave for 5 week residency at 7 Hills Al-Raseef 153 in Amman, Jordan whose mission is “supporting the development of inclusive public spaces for youth through skateboarding ideology.” There, Eassa hosted art workshops for 7Hills youth members, led a community designed mural in downtown Amman, and traveled to Beirut  to join an international coalition of volunteers to help build Lebanon’s first public skatepark and connect with the Arab people. Immersed in his culture, shepherded by the community of skateboarders and artists he met, he felt both like he’d come home and that he was distinctly American in a foreign country, a sentiment with which many of those from any diaspora often identify.

“My work explores all the parts of being human,” says Eassa. “The good, the bad, and the ugly, the things that are sometimes too big to say out loud, sometimes are too quiet to make a noise, and everything in between.”

All of Eassa’s nuclear family members are depicted in his paintings including his paternal grandparents, Sito and Gido, each at a moment that stands firm in his memory. Each of these scenes of familial intimacy exists in a backdrop rife with symbols of the Levantine world and each with a bar of flowers across the bottom edge; Jasmine, Poppies, Red Roses and Tulips. In this exhibition, Eassa creates a new history for his family, where they get to exist in the Arab world they left behind so many years ago.

About the Artist

Dave Eassa is a visual artist and cultural worker living and working in Baltimore, MD. His paintings and sculpture allow the viewer space for personal reflection and encourage a broader look outward at the shared human experience. He has exhibited nationally in solo and group exhibitions at institutions and galleries including The Shed Space in Baltimore, MD and SPACE Gallery Portland, ME, Little Berlin, Philadelphia, PA, Good Mother Gallery, Oakland, CA, Signal, Brooklyn, NY, LVL3 Chicago, IL, Marianne Boesky Gallery, New York, NY, and Reh Kunst, Berlin, Germany among others. His work has been published in New American Paintings and The Pinch Journal. He has been awarded grants from the Maryland State Arts Council and was Rubys Artist Grantee, Robert W. Deutsch Foundation in 2021. His public sculpture is on view in Johnson City, Tennessee, as well as the Coldstream Homestead Montebello Sculpture Park and the Harwood Community Garden, both in Baltimore, MD. He has been an artist in residence at Space Gallery in Portland, ME and ACRE in Steuben, WI and most recently was an artist in residence at 7Hills in Amman, Jordan during the summer of 2021.

He was an Open Society Institute Baltimore Community Fellow from 2015 through 2017 where he founded Free Space, a program which brings the arts to the Maryland Prison system, teaching art to men and women’s correctional facilities. He has received grants from the Baltimore Office of Promotion and the Arts, the Contemporary, the Gutierrez Memorial Fund, and the Maryland State Arts Council to support Free Space. He serves on the Board of Advisors for Baltimore Youth Arts, and the Programs Committee for the Baltimore Museum of Industry. He currently is the Director of Public Engagement at the Baltimore Museum of Art working on a range of initiatives that challenge and question what it means to be a museum in present day Baltimore. Through this he established the BMA Lexington Market, a branch of the Baltimore Museum of Art in Lexington Market, the nation’s oldest continuously operating public market. In 2018, he was selected as one of 50 Young Cultural Innovators from across the globe for the YCI Fellowship at the Salzburg Global Seminar in Salzburg, Austria. Over the last year, he has been serving as a Salzburg Global Fellow as part of the recently launched Global Innovations on Youth Violence, Safety, and Justice cross-national collaboration.

 

 

Ontology: Communal Expressions of Being
Saturday, February 19 | Ongoing through April 30
@ Galerie Myrtis

Featured artists include: Lavett Ballard, Wesley Clark, Alfred Conteh, Susan Goldman, Michael Gross, M. Scott Johnson, Megan Lewis, Delita Martin, Arvie Smith, Nelson Stevens, and Felandus Thames.

Galerie Myrtis is honored to host Ontology: Communal Expressions of Being. This group exhibition explores concepts of existence and being, drawing inspiration from the metaphysical theory of ontology, the study of the nature of things, and their reality, identity, and relatedness.

In this exhibit, visual narratives conceived in conceptual work, paintings, prints, photography, and sculpture draw parallels between shared occurrences and belief systems derived from the artists’ personal experiences and convictions. Here the theory of ontology will be tested and either accepted or rejected as truth, as we question, do our human experiences inextricably link us? Discourse on the notion of communal expressions will challenge relatedness. And social constructionism leads the debate on what defines being, reality, and identity.

 

 

 

Calls for Entry // Opportunities

 

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Pottery Production Manager // Pottery Sales & Class Coordinator
Employment Opportunities with Providence Center

The Pottery Production Manager performs the responsibilities involved in creating and implementing production systems while handling multiple jobs/contracts simultaneously. Directing all aspects of production, marketing, and sales for the Pottery Program. Responsible for maintenance and improvement of pottery products.

//

Providence Center is seeking a professional and outgoing individual to work as a Sales and Class Coordinator for its Pottery Studio in Arnold, MD. This position is a customer service-oriented position. The Sales and Class Coordinator will work closely with customers, students, studio members, and production staff daily. Working closely with and under the direction of the Pottery Production Manager, the Sales and Class Coordinator will be responsible for coordinating community arts classes, handling all customer and student communications, maintaining a small retail space and community classroom, creating pottery painting to go kits, and handling retail sales and outside retail sales events. The position will occasionally require evening and weekend hours.

Sustainable Arts Foundation | Grant Opportunity
deadline February 25

Awards
This year, we will make awards of $5,000 each to twenty artists and writers with children. Additionally, we will name twenty finalists.

Our awards offer unrestricted cash, which recipients can use as they see fit.

Our selection process is focused almost entirely on the strength of the submitted portfolio.

Eligibility
To be eligible, the applicant must have at least one child under the age of 18. Parents of older children with a disability or special needs may also be eligible.

Who Should Apply
Artists and writers with at least one child under the age of 18 and a strong portfolio are welcome to apply.

We are inspired by anyone making creative work while raising a family. Given the intense demand for these awards (we typically receive 2,000-3,000 applications), and the fact that the awards are based on demonstrated excellence in your discipline, we don’t recommend that artists or writers just beginning their creative careers apply to this program.

While we don’t require that applicants have published or exhibited their work, the rigor and critique involved in that process can certainly benefit the portfolio. Portfolios of writing or artwork created in a more personal vein for sharing with friends and family are not suitable.

We invite you to view our list of previous awardees and follow the links to their work to get a feel for their level of craft.

 

 

Indoor Mural Project at Johns Hopkins | Request for Proposals
deadline February 25

Johns Hopkins and Mural Masters, Inc is seeking colorful and innovative artists to create a vibrant mural motif for the staff of the Johns Hopkins Hospital Towline located in Baltimore, MD. This is an ongoing effort to create an inviting and inspiring environment for our multicultural staff from varied backgrounds

Budget Description
The total project budget available for artwork is $8,500.00. Commission budgets are to be inclusive of all Artist fees, materials, artwork fabrication, installation costs, insurance, transportation, and any other costs associated with creating the artwork

Project Description
We are searching for innovative artists and/or artist teams in the Maryland/DC Metro area familiar with Johns Hopkins Hospital and the surrounding communities. Preference will be given to Baltimore City based artists. We invite you to submit qualifications for the available site. The proposed site is an interior wall approximately 8’h x 48’w located on the sub-level towline area of Johns Hopkins Hospital. The lower 14 inches of the will have an install tow rail by JHH. The wall will be prepped and primed by JHH. The wall will be the first two segments of the wall starting from the corner. Each segment is approximately 24 feet long.

Artwork Goals
The final approved design should reflect the mission and values of Johns Hopkins Hospital, our commitment to medical support service, equity, and inclusivity as well as the use of the building and surrounding environment. The artwork should add a sense of vitality and meaning to the staff the use the towline area. All proposed artwork must be durable, site appropriate, and easy to maintain. JHH will provide on site storage for supplies and equipment.

 

 

The Art of Racing | Call for Entry
deadline March 2
sponsored by The Preakness + MICA

Established more than four decades ago, the partnership between the Preakness Stakes and the Maryland Institute College of Art (MICA) continues with The Art of Racing, a community-wide call for entries of original, two-dimensional visual art that depicts the unique elements of thoroughbred racing and the Preakness Stakes. The winning artist will receive a $4,000 stipend and their artwork will be reproduced and available for sale during Preakness 147 with proceeds benefitting Park Heights Renaissance.

The Preakness and MICA have an illustrious history dating back to the 1970s, when then-MICA professor Raoul Middleman led his classes in painting murals of Pimlico Race Course. The seven murals Middleman created with his students, which live in perpetuity behind the course’s grandstand, provide an intimate look at a tradition defined by history and character.

The Art of Racing encourages Maryland artists to submit their own awe-inspiring portrayals of thoroughbred racing, the Preakness and/or Pimlico Race Course. Using the submission portal below, professional and amateur artists may submit their renderings and earn a chance at receiving a $4,000 stipend and two VIP passes to Preakness 147 on Saturday, May 21, 2022.

Beginning Monday, January 10, 2022, and continuing through Wednesday, March 2, 2022, submissions will be accepted. After which, submissions will be available for public viewing. The top 10 vote-getters will be entered into a final round that will be judged by esteemed members of the Baltimore community.

 

 

The Harriet Tubman 2022 Women’s History Month Women of Courage Video Contest
deadline March 4
sponsored by Banneker-Douglass Museum

In celebration of the bicentennial birth date of Harriet Tubman, we are pleased to announce our inaugural Harriet Tubman 2022 Women’s History Month Women of Courage Video Contest. In order to honor the life of Maryland’s native daughter, we invite ALL Marylander’s who have been inspired by the legacy of Harriet Tubman to submit videos that embrace one or all of the three following Tubman topics:

“Women Providing Healing, Promoting Hope” (Women’s History Month Theme)

“Dear Ms. Tubman…”

“I was the conductor of the Underground Railroad for eight years, and I can say what most conductors can’t say—I never ran my train off the track and I never lost a passenger.” –Harriet Tubman

This contest is open to young people AND adults. More information on the contest, rules and entry requirements, please click here.

All contest entries can be submitted here, no later than March 4th at 11:59 PM. Please make sure you are logged into Google prior to submitting your entry.

Should you have any questions, please do not hesitate to contact Commissioner Cheryl McLeod at: coolhatmcleod@hotmail.com. We look forward to hearing from you.

 

 

header image: @vivianmariephoto David Eassa @ Cody Gallery

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