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BmoreArt’s Picks: February 20-26

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This Week: Alexander Tochilovsky lectures at MICA, Tomashi Jackson at UMBC, Opera Baltimore at the Peabody Library, David Brown opening reception at Goya, Rebecca Marimutu and a group show opening reception at Goucher’s Rosenberg and Silber Galleries, Lavett Ballard, Amber Robles-Gordon, and Evita Tezeno opening reception at Museum of Contemporary Art Arlington, Devin Allen opening reception and artist talk at Julio Fine Arts, Just Among Us opening reception at Waller Gallery, David C. Driskell & Friends opening reception at the Driskell Center, REVISIT/ REIMAGINE opening reception at Banneker-Douglass, and Make Studio’s “Adolescent” Anniversary — PLUS employment at The Peale and more featured opportunities.

 

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 [email protected]!

 

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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.

 

 

< Events >

dance, dancing, fun, party, entertainment, snoop dogg, black boy joy, black history month, black history, blackbirdsblackboyjoy, snoop dog, black boy, party gif, holidae inn – GIF
 

Decolonizing Ukrainian Design
Thursday, February 22 :: 5:15-6:30pm
@ MICA Brown Center

Public lecture with Alexander Tochilovsky, Director, Herb Lubalin Study Center of Design and Typography, The Cooper Union (New York, NY)

What does “decolonizing” mean in the context of graphic design and typography? How do you untangle historical narratives and find relevant context around canonical pieces of design? How does this relate to the Russo-Ukrainian war? This lecture will explore these complex questions and discuss the ongoing effort to correct Russian and Soviet colonialism in Ukrainian graphic design and typography. It will also shed light on the vibrant and rich history of design in Ukraine, past and present.

The “Decolonizing Ukrainian Design” lecture coincides with the exhibit “Слава Україні! Slava Ukraini! Glory to Ukraine! Posters from the Odesa City Letters Project,” on display in the MICA Brown Center (3rd floor gallery) from February 19-March 15, 2024, to raise awareness about the war in Ukraine and to mark the second anniversary of the Russian invasion on February 24th. The exhibit includes 24 bold and beautiful posters created by the Odesa City Letters project, a museum devoted to lettering legacy in Odesa, Ukraine, and including powerful, moving, and witty statements about Ukrainian courage and culture in the face of Russian aggression.

PUBLIC LECTURE:
5:15-6:30pm
MICA Brown Center, Room 320

– “Connecting Baltimore and Ukraine,” Karina Mandell, Baltimore-Odesa Sister City Committee

– “Decolonizing Ukrainian Design,” with Alexander Tochilovsky, The Cooper Union

PUBLIC EXHIBIT OPENING:
The gallery with the “Слава Україні! Slava Ukraini! Glory to Ukraine!” poster exhibit will be open to the public from 4:30-7:00pm, including Ukrainian food and music.

The lecture and gallery opening is free and open to the public.

 

 

Art Research Residency: Tomashi Jackson
Tuesday, February 20 :: 5:30-6:30pm
@ UMBC Center for Art, Design and Visual Culture

Join Tomashi Jackson (artist in residence at the Center for Art, Design and Visual Culture) for a public discussion about her present research. Jackson will be in conversation with Nicole King, associate professor of American Studies and director of the Orser Center for the Study of Place, Community, and Culture at UMBC.

Tomashi Jackson is an expanded field painter whose multimedia work investigates the links between history, materiality, and current events. In her residency at CADVC, which began in 2022, she has been developing a body of research focused on the history of and advocacy for alternative art spaces. This work builds on Jackson’s existing research that she calls the “Pedagogy Study Hall” project. The project is ongoing.

The Center for Art, Design, and Visual Culture hosts an exploratory research residency that allows artists and interdisciplinary collaborators to take advantage of scholarly resources and to build partnerships at UMBC and in the Baltimore region. Artists In Residence (AIRs) are invited to pursue open-ended outcomes, and their engagements may develop into workshops, artworks, or other future projects. Among the artists the CADVC welcomes this season is Tomashi Jackson.

For additional information, please visit the CADVC’s page on Artist Research Residencies.

Admission is free, but space is limited. Please rsvp here to reserve a space.

 

 

In the Stacks: Opera Baltimore
Wednesday, February 21 :: 6:30pm
@ George Peabody Library

Betrayal! Lust! Fate! This performance featuring Opera Baltimore will explore themes of romance and heartbreak. Arias from Tchaikovsky’s opera Eugene Onegin will be paired with a one-night only display of pulpy treasures from the Sheridan Libraries collection of vintage romance comic books. Come enjoy an evening of sensational melodrama in the enchanting George Peabody Library!

Featuring:
Emily Margevich, soprano
Daniel Scofield, baritone
Joshua Hong, piano

This event is free and advance registration is strongly encouraged.

Doors open at 6 PM.
* Seats for registered attendees will be held until 6:20, then will be released for open seating.
* A standby line will begin at 5 PM at let additional peopple into the concert if seats are available after 6:20 PM
* We encourage patrons without advance registration to join the standby line. Most standby patrons are able to be accommodated.

 

 

David Brown | Opening Reception
Thursday, February 22 :: 5-7pm
@ Goya Contemporary Gallery

Goya Contemporary Gallery is pleased to announce the exhibition DAVID BROWN on view from February 2, 2024, through March 26, 2024, with a reception held on February 22 from 5:00 to 7:00pm.

David Brown’s (b. 1971, Frederick, MD) artistic practice revolves around the accumulation and recurrent use of his signature “eye” motif, which is comprised of two elliptical lines punctuated by a dot inside the center. This repeated motif, executed in modular grid arrangements, reference the broader systems within which individuals operate, not with the aim of achieving perfection, but rather pointing to the negligible fluctuations that occur and humanize the forms. A graduate of the University of Maryland’s Fine Arts program, Brown’s artworks often vary in scale, amassing thousands of meticulously applied marks on individual panels that accumulate and fill space, pushing the expressive potential of serial abstraction to suggest psychological states.

Brown’s work is anything but mass-produced. In contrast, his hand-crafted repeated marks have an organic and visceral feel. Whereas minimalism often uses repetition and serial organization to eschew expression in favor of structural organization, Brown embraces repetition to insinuate transformation and evolution. This may be appreciated through the small changes that occur as his materials break down, or as his hand physically tires and shifts the way he applies marks on the surface of his matrices. According to David, his work “differs from traditional Minimalism by creating a more personal, organic, and spontaneous- yet still orderly– image.” Viewing his art as “functional” Brown states that “…during the invention of each work, I gain the opportunity for personal reflection, contemplation, and meditation.”

The artist often uses variants of pattern to create an undulating sensation of rhythm. Composed of thousands of recurring, sequential marks, Brown emphasizes both the hand quality individualism and the unity of purpose shared by each discrete element which functions communally to formulate the whole. Where Brown applies each mark individually, responding to the one that came before, the collection of mark making creates an integrated appearance, fitting together to speak of oneness. The surfaces, as a result, visually vibrate and come alive with activity. At a distance the work expresses harmony yet taken one at a time as an object of ceremonial contemplation, the work contains more multiplicity than it would initially appear.

Instead of focusing on broader existential questions about the interconnection of humanity, Brown’s large installations serves as a meditative activity, a formal artistic tool, and an expression of labor. He considers the process of making these mandala-like objects an act of breathing and feels “most in the moment” during their making. Yet Brown’s expression of freedom is not complete without the viewer. He is noted as saying that “the viewer’s participation in the process completes the work” because we are not breathing earth’s air in solitary.

In this particular body of work, Brown uncharacteristically places his focus on a central subject: the skeletal structure of the human form. At once architectural and organic, durable yet tenuous, structured yet shapely, rigid yet porous, Brown delves into the complex contradictions of our bodily armatures. Suddenly, his “eye” motif feels more cellular in nature, and we are both bolstered by the power of our bodily forms, and yet humbled by their vulnerabilities. In a most personal way, Brown’s interest in these subjects’ stem from his beloved wife’s melee dealing with Grand Mal seizures so intense that her convulsions have resulted in broken vertebrae on multiple occasions. Unpacking this experience, Brown’s work examines the micro and macro realities of these effects on the body, if not their mental and emotional consequences. Finding comfort in the meditative, reflective property of the process of their construction, Brown internalizes the realities of our interiors, finding order out of chaos, and beauty out of trauma.

Living and working in Baltimore City, David Brown has exhibited in New York, Baltimore, Washington DC, Florida, Texas, California, Virginia, and Illinois. His work is included within myriad private and public collections throughout the United States, including notable designations such as BWI Airport, Microsoft’s Art Collection, and various boutique hotels.

 

 

Portraits (Contact), #103 Rebecca Marimutu

Rebecca Marimutu: Portraits (Contact) // Conversations | Opening Receptions
Thursday, February 22 :: 5-8pm
@ Goucher College Rosenberg + Silber Galleries

Rebecca Marimutu: Portraits (Contact)

Goucher College is pleased to present Rebecca Marimutu: Portraits (Contact), the artist’s first solo exhibition in Baltimore, of photographs and collages from her 2022-23 series.

Marimutu explores the notions of self, identity, and portraiture through combinations of digital and analog photography, which she intercepts manually through drawing, painting, collage, and sculptural and photographic processes.

After Marimutu first worked in analog photography, utilizing more traditional forms and concepts as an undergraduate student at SUNY Albany, during the pandemic she began exploring digital photography, creating images of cropped parts of her body and face and recollaging them. More than a catalog of the pieces, in an era in which selfies are ubiquitous, they slow down and offer an exegetical encounter with what constitutes a portrayal of not just her particular face, but of a more universal question, of the relationship to one’s face, and to identities in general.

Conversations

Featuring works by: Mirna Bamieh, Bang Geul Han, Adam Golfer, Helena Metaferia, Elizabeth Tannie Lewin, Kyoung eun Kang, Gabo Cambonitzer, Lux Eterna, Gabriela Vainsencher, Ellie Lebovits, Katy McCarthy, Mujero, Katz Tapper, Sunita Prasad, Rachel Mozman Solano.

 

 

Amber Robles-Gordon, Soy luz, amor, y frecuencia (I am light, love, and frequency), 2023, Mixed media on canvas, 80 x 60 in.

Solace and Sisterhood | Opening Reception + Artist Talk
Thursday, February 22 :: 5-8pm | Ongoing through May 26
@ Museum of Contemporary Art Arlington

Featured artists: Lavett Ballard, Amber Robles-Gordon, and Evita Tezeno
Curated by Dr. Lauren Davidson

Is solace anywhere more comforting than in the arms of a sister? ― Alice Walker

Sisterhood connects through blood relations and friendship, develops through love and struggle and supports women in challenging times as well as celebration. However, for Black women, it goes beyond this. Sisterhood through the lens of the Black female experience is a deep and multifaceted relationship that challenges stereotypes and seeks to right wrongs. With the constant scrutiny of their choices and physical selves, and social opposition to their abilities and accomplishments, sisterhood for Black women becomes a necessity, a social enterprise, and a framework for survival.

Solace and Sisterhood brings together the work of three artists of African descent who are friends and “sisters”: Lavett Ballard, Amber Robles-Gordon, and Evita Tezeno. Through their artwork, viewers are given an intimate look into their experiences and their sisterhood, which has developed over several years. By digging deeply into historical and contemporary perspectives on African American life, exploring traditions in the African diasporic community, or remixing commonly known objects, these artists span media and aesthetics. They tackle topics of self-identity, Black female beauty, and spiritual discovery. They resist single affiliations and simple answers to difficult questions. All the while, they maintain deep bonds that now transcend friendship. They are now sisters.

ABOUT THE ARTISTS

LAVETT BALLARD
b. 1970, East Orange, NJ
Lives and works in Willingboro, NJ

Lavett Ballard’s work is in public and private collections, including the US Embassy in Kambala, Uganda, the Jule Collins Smith Museum of Fine Art at Auburn University, Stockton University Art Collection and the collections of ABC Studios, CBS Studios, and NBC/Universal Studios. Ballard created two commissioned covers for TimeMagazine: one in March 2020 for the 100th anniversary of Women’s Suffrage and a second in February 2023 to accompany Pulitzer Prize winner Isabel Wilkerson’s essay about her book CASTE: Origins of our Discontent.

Lavett Ballard holds a BA in Studio Art and Art History from Rutgers University and an MFA from the University of the Arts, Philadelphia and is an adjunct professor at Rowan College of South Jersey. Ballard is represented by Galerie Myrtis in Baltimore.

AMBER ROBLES-GORDON
b. 1977, San Juan, Puerto Rico
Lives and works in Washington, DC

Amber Robles-Gordon is an Afro-Latina interdisciplinary visual artist whose creations are visual representations of her hybridism: a fusion of her gender, ethnicity, cultural, and social experiences. Her assemblages, large sculptures, installations, and public artwork, emphasize the essentialness of spirituality and temporality within life.

Robles-Gordon’s work has been exhibited in solo exhibitions at the American University Museum (Washington, DC), Morton Fine Art (Washington, DC), Derek Eller Gallery (New York, NY), and the August Wilson African American Cultural Center (Pittsburgh, PA), among other venues, and in group exhibitions across the United States and internationally. She was a resident at the American Academy in Rome in 2019 and a semi-finalist for the Janet & Walter Sondheim Prize in 2022. She holds an MFA from Howard University and a BS from Trinity College.

EVITA TEZENO
b. 1960, Port Arthur, TX
Lives and works in Dallas, TX

Evita Tezeno’s collage paintings employ richly patterned hand-painted papers and found objects. They depict a cast of characters in harmonious scenes inspired by her family and friends, childhood memories in South Texas, personal dreams, and moments from her adult life and influenced by the great 20th century modernists Romare Bearden, Elizabeth Catlett, and William H. Johnson.

Tezeno’s work is included in the permanent collections of the Pérez Art Museum (Miami, FL), the Dallas Museum of Art, African American Museum of Dallas, Figge Art Museum (Davenport, IA) Embassy of the Republic of Madagascar; and Pizzuti Collection (Columbus, OH) among many others. She is the recipient of a 2023 Guggenheim Foundation Fellowship from the John Simon Guggenheim Memorial Foundation and, in 2012, the Elizabeth Catlett Award for the New Power Generation. She is represented by Luis de Jesus Los Angeles.

ABOUT THE CURATOR
Dr. Lauren Davidson is an independent art curator and founder of Museum Nectar Art Consultancy. Museum Nectar is a curatorial and art advisory service working primarily in the field of contemporary African American art with a focus on emerging and mid-career artists. Davidson uses this platform to investigate issues and initiate conversations about the Diasporic Black experience.

Past exhibitions include the critically reviewed The Ties That Bindand Zero Dollar Bill: The Prints of Imar Lyman at International Art and Artists (IA&A) at Hillyer in Washington, D.C and Bria Edwards: More Time in A Day at Eaton D.C

 

 

A Piece of Me Died with You, Solo Exhibition by Devin Allen | Opening Reception + Artist Talk
Thursday, February 22 :: 6:30pm | Ongoing through March 27
@ Julio Fine Arts Gallery

The Julio Fine Arts Gallery Presents:

A Piece of Me Died with You, Solo Exhibition by Devin Allen

Exhibition Dates: February 22, 2024 – March 27, 2024
Artist Talk and Opening reception: February 22, 2024
(Artist Talk 6:30PM in McManus; Reception to follow in the Gallery)

The Julio Fine Arts Gallery at Loyola University Maryland is proud to welcome Baltimore native, and internationally renowned artist and activist Devin Allen to Loyola’s campus! A Piece of Me Died with Youis a deeply personal exploration of loss, grief, and coping that also shines a light on the pervasive issue of gun violence in Baltimore and its effects and aftermaths within the communities that suffer most. Devin Allen, a self-taught artist, gained notoriety after his photograph of the Baltimore Uprising was published on the cover of TIME in May 2015. His photograph from a Black Trans Lives Matter Protest once again graced the cover of TIME in June 2020. He is the author of two books, A Beautiful Ghetto (2017), and No Justice, No Peace: From the Civil Rights Movement to Black Lives Matter (2022). A Piece of Me Died with You, will mark the first time that Allen has exhibited painting alongside photography, don’t miss this pivotal moment in Allen’s career!

This exhibition and its corresponding programming is co-sponsored by: The Visual & Performing Arts Department, Messina, the LCAS Dean’s Office, the Office of Equity & Inclusion, the Office of Peace & Justice, Education for Life, and the Center for Humanites, Loyola University Maryland. The gallery is supported by a grant from the Maryland State Arts Council.

 

 

Just Among Us – A Group Show | Opening Reception
Friday, February 23 :: 6pm
@ Waller Gallery

Step into a world where the boundaries of intimacy, friendship, family, and togetherness are defined in the captivating exhibition, “Just Among Us.” Ponder the private moments we seldom share. Within the gallery’s walls, a paradox unfolds — an intricate dance between public and private, known and unknown, familiarity and naïveté. The exhibition includes diverse forms and mediums, presenting intimacy in ways both expected and surprising.

From the tender strokes of a painting that captures the unspoken bond between friends to the poignant stillness of a photograph freezing a fleeting family moment, “Just Among Us” celebrates the multifaceted nature of human connections. It beckons you to explore the intricacies of relationships through the lens of talented artists who masterfully navigate the delicate balance of revealing and concealing.

As you traverse the exhibition space, you’ll encounter sculptures that breathe life into the abstract notion of togetherness, installations that beckon you to reconsider the boundaries of personal space, and multimedia presentations that challenge preconceived notions of shared experiences. The exhibition includes the work of artists: Desmond Beach, Chino Carlo, Schroeder Cherry, Chuks, Merle A. Davison, Dana A Greaves, kolpeace, Sasha-Loriene McClain, Anthony R. McCray, Angelique Scott, and VILLAGER.

“Just Among Us” is more than an art exhibition; it’s a contemplative journey into the heart of human connection. Join us as we peel back the layers of what we choose to disclose and what remains unsaid, inviting you to reflect on the nuances of intimacy that bind us all.

 

 

David C. Driskell, Mask Series II, 2019. The Driskell Center, University of Maryland. Gift of Raven Fine Art Editions.

David C. Driskell & Friends: Creativity, Collaboration, and Friendship | Opening Reception
Friday, February 23 :: 6-8pm | Ongoing through May 22
@ The David C. Driskell Center

The creative legacy of David C. Driskell (1931–2020), a renowned artist, educator, curator, scholar and historian, takes center stage in the compelling exhibition David C. Driskell & Friends: Creativity, Collaboration, and Friendship, which opens at The Driskell Center Gallery on February 26 and runs until May 24. Featuring more than 70 artworks by 35 prominent African American artists and original archival materials, Driskell & Friends brings to life Driskell’s profound commitment to interpersonal connections as a driving force in the visual arts.

Driskell’s creative practice was deeply rooted in the collaborative, with friendships serving as conduits for support, influence, and inspiration. As both a personal and professional collaborator, Driskell championed and canonized the work of fellow African American artists, including Romare Bearden, Elizabeth Catlett, Aaron Douglas, Loïs Mailou Jones, Jacob Lawrence, Alma Thomas, Kara Walker, and many more featured in this exhibition. Breaking away from traditional notions of the solitary artist, the exhibition sheds light on the pivotal role such collaborations played in Driskell’s journey, from coordinating in printmaking workshops to engaging in formal and informal dialogues with fellow artists. It is a testament to the enduring power of collaboration and the profound impact of David C. Driskell on the world of art.

Driskell & Friends will be the first exhibition in The Driskell Center’s newly renovated campus gallery, and will be the only iteration of the show to date that features original archival materials from The David C. Driskell Papers. Assistant Director of Exhibitions & Programs, Dr. Abby R. Eron notes, “We are excited to welcome these works of art back to campus, supplemented by our one-of-a-kind archival materials. This exhibition showcases the significance of Driskell’s professional and personal networks, which included some of the most eminent artists of the 20th century. Visitors across campus and beyond will be able to intimately experience The Driskell Center’s unique collection and, more importantly, to learn a history of Black art from a personal point of view.”

Originally conceived and organized by Dr. Sheila Bergman (University of California, Riverside), Curlee Raven Holton (The Driskell Center), and Heather Sincavage (Wilkes University), the exhibition’s presentation at the University of Maryland was co-curated by The Driskell Center’s Assistant Director of Exhibitions & Programs, Dr. Abby R. Eron, and Director, Dr. Jordana Moore Saggese. The collaborative effort behind this showcase mirrors the ethos it seeks to celebrate—emphasizing the interconnectedness that defined Driskell’s artistic journey.

All works featured in the exhibition are from the permanent collection of The David C. Driskell Center at the University of Maryland. Driskell & Friends has been previously presented at Wilkes University Sordoni Art Gallery (November 1, 2022 to February 25, 2023) and the California Museum of Photography at the University of California, Riverside (September 2, 2023 to December 21, 2023). Following its presentation at the University of Maryland, the exhibition will travel to the Arthur Ross Gallery at the University of Pennsylvania (June 15, 2024 to September 15, 2024).

Driskell & Friends is accompanied by a fully illustrated catalog available for purchase exclusively at The Driskell Center—a captivating keepsake for art enthusiasts and those seeking to explore the rich tapestry of African American creativity.

 

 

Revisit/Reimagine Exhibit | Opening Reception
Saturday, February 24 :: 12-4pm | Ongoing through January 2025
@ Banneker-Douglass Museum

REVISIT/REIMAGINE: The Civil Rights Era in Maryland and Parallels of Today is a multidisciplinary exhibition remembering the legacies of civil rights leaders and their effect on Black Marylanders and the United States in totality, featuring photos from the AFRO American Newspapers archive alongside contemporary artworks from Black artists living and working in Maryland.

Exhibiting Artists: Quinci Baker, Sanah Brown Bowers, Schroeder Cherry, Shaunté Gates, Kyle Hackett, Jeffrey Kent, Lex Marie, Murjoni Merriweather, Jason Patterson, Ernest Shaw, Victoria Walton, Lionel Fraizer White, and Redeat Wondemu.

At 3pm, don’t miss the insightful talk between the exhibition curator, Thomas James (Visual Arts Curator & Facilitator), the exhibition visionary, Chanel C. Johnson (Executive Director of BDM), and archival contributor, Savannah Wood (Executive Director of Afro Charities).

A playlist of 60s & 70s tunes by Maryland artists created by Kevin Coombe will set the tone of the event. A curated list of books that illustrate and examine exhibit themes will be available to attendees from Baltimore Read Aloud.

Refreshments will be provided.

 

 

Make Studio’s “Adolescent” Anniversary
Saturday, February 24 :: 3-6pm
@ Make Studio

Do you remember what it was like to be 14? We sure do! It was often fun, creative, silly, and adventurous, and a time for rapid growth. But, also… was it, perhaps, a bit, uh…awkward?

Please join us as we celebrate our 14th organizational birthday, and let’s all be awkward together in the best possible ways.

From 3-6 PM, stop by to see our annual member artists’ exhibition, featuring recent favorite and exceptional selections, and to join the artists for cake and a toast.

Starting at 4:30, we’ll be treated with a special capsule edition of Mortified!! Mortified (tagline: “Share the shame”) helps adults share their most embarrassing childhood artifacts (journals, letters, poems, lyrics, plays, home movies, art) in order to reveal stories about their lives. Brave storytellers will share preciously awkward, art-related admissions for us.

RSVPs aren’t required; however, we’d appreciate if you register HERE, so we have a better head count going into this special day.

Our 14th anniversary exhibition will be on view through March 22nd during our usual weekly hours and by appointment. The digital exhibition will be viewable on our website.

Let us know if we can expect you, and watch for updates, here
Masks when not eating and drinking are encouraged but not required. Please let us know if you have any specific accommodations requests.

 

 

< Calls for Entry >

answering the phone gifs | WiffleGif

 

Share Your Heritage Festival Open Call
posted by Friends of Herring Run Park

 

 

Transforming the Prototype: 2 | Call for Entry
deadline for requesting waxes February 22
posted by Baltimore Jewelry Center

Baltimore Jewelry Center, Montgomery College, and Towson University invite students, alumni, emerging and established artists to apply for the second edition of the group exhibition, Transforming the Prototype. Participants are asked to reimagine a selection of traditional waxes by radically altering provided vintage wax patterns. Participants will receive a collection of waxes (rings, pendants, parts and pieces) which they will transform through additive or subtractive processes. The objective is to radically reimagine the prototype wax pattern into a bespoke object(s) or jewelry. Participants can integrate new components using wax and have the new jewelry/object cast; have the waxes cast as is and alter it with soldering, sawing, adding stones, etc. or a combination of these processes.

Participants are responsible for casting. They can do this through taking a casting course at one of the participating institutions or using an outside casting house, like Hoover & Strong (North Chesterfield, VA), Liberty Jewelry Manufacturing Company (Timonium, MD), International Manufacturing Company (Philadelphia, PA), Carrera Casting (New York, NY). Those with casting experience can cast at the BJC: Studio rental is $13/hour; for investing time it’s $26/hour. No charge for burnout.

Instructions:

To participate, interested artists should complete this form by February 22nd and pay a $10 fee (to cover the cost of the wax and shipping). Payment can be sent directly to the BJC through paypal ([email protected]). Participants will receive a bundle of wax models/pieces. Once participants receive their waxes, they proceed with their chosen processes. When the piece is finished, participants may submit it with an application fee of $25 to be considered for an exhibition that will be hosted by the Baltimore Jewelry Center from May 31-July 16, 2024. The deadline for the exhibition application is 11:59 pm on May 1st, 2024.

This year, the Transforming the Prototype exhibition will feature cash prizes for artist works selected by juror Mary Hallam Pearse.

3rd place prize: $75
2nd place prize: $125
1st place prize: $250

If you have any questions please email [email protected] (please note that a sample of the wax collection is featured at the end of this form; it does not represent exactly the content or quantity that each artist will receive)

 

 

Accomplished Arts Apprentices (AAA) Program Manager
deadline February 24
posted by The Peale

Accomplished Arts Apprentices (AAA) Program Manager: The Peale is seeking a creative problem-solver with experience in arts administration, education or workforce development to serve as the AAA Program Manager.  This individual will be responsible for the
overall coordination of the AAA
Program
and its support system for the Apprentices.

The AAA program aims to increase equity and inclusion in the arts, creative and preservation trades with specific focus on people from marginalized communities in Baltimore. Apprentices are typically aged 19-24 and receive hands-on training in exhibition installation, art handling, historic preservation, and related trades, as well as greater involvement in and appreciation for the arts and culture lifelong.  

Work Schedule and Salary: Avg. 30 hours per week from mid-March 2024 – end December 2024 with a 6-week break in the summer. Work is primarily onsite and at partner sites, Tuesdays-Fridays, 9:30am-5:30pm with occasional meetings outside of those days and hours. Some work off-site will be necessary to secure resources for the program, plan and lead field trips, and complete administrative tasks. Salary: $30,000.

 

 

Hamilton Arts Festival Short Film Series
deadline February 29

Calling all filmmakers to share stories that resonate with diverse communities. The Paterson Performing Arts Development Council (PPADC) is accepting entries as part of the lineup in the 2024 Hamilton Arts Festival (HAF). Filmmakers are invited to submit shorts—narratives or documentaries. Films should have a special emphasis on social issues, social justice, or cultural experiences that reflect and resonate with marginalized communities. PPADC is excited to bring independent filmmakers and their films into the spotlight.

HAF events and activities will take place from June 13 – 22, 2023, enabling both arising and accomplished artists to present work that deepens their practice as well as entertains, enlightens, and engages Paterson’s diverse communities.

At the Paterson Performing Arts Development Council (PPADC), a 501C3 nonprofit organization, our mission is to bring together multicultural communities through performing arts and cultural events, to create pathways for aspiring and accomplished artists, and to promote the native land of the Leni Lenape people called the City of Paterson, NJ as a regional hub for the creative arts.

 

 

The Variations Project | Call for Submissions
deadline March 1
posted by Rapid Lemon Productions

The Variations Project is Baltimore’s original ten-minute play festival. Each year since 2005, the event has created a diverse collection of world premiere plays based on an audience-chosen theme amid an inclusive and participatory process.

Guidelines

A. Your submission should be a newly written piece for the purpose of this project and not something you dust off and repurpose to fit the theme. The writing is the most important part of the process!

B. No more than two submissions per author.

C. We want playwrights to join us in the process of creating and developing their work, so please be from the DelMarVa area so you can participate in person.

D. A ten-minute play runs about 1500 words and our production will be performed by an ensemble cast of about 6-8 actors so please be open to nontraditional casting and avoid writing something requiring many actors.

E. As with casting, be open-minded about production design. Remember, all of the plays we select to produce will share a stage. We’ll have obvious limitations in scenery and other design elements which will give us wonderfully theatrical opportunities to attack problems unconventionally and non-literally.

F. Submissions should be emailed to [email protected] in .doc (Word) format no later than 11:59 p.m. on the deadline date.

 

 

​​

51st Arbutus Arts Festival | Call for Craft Vendors
deadline March 1

Date: Sunday, May 19, 2024
Time: 10am-5pm
Location: East Drive, Arbutus, MD, 21227
Entrance Fee:
– Before Jan 31, 2024 – $135
– After Feb 1, 2024 – $160
Space Size: 16 feet wide x 10 feet deep
Email: [email protected]
Phone: 443-833-4548
www.arbutusartsfestival.com

 

 

Folklife Apprenticeship
deadline March 1
posted by Maryland State Arts Council

Folklife Apprenticeships support traditional arts education by funding a master artist and apprentice artist to work together for one year.

During the grant period, the master artist passes down their knowledge to the apprentice artist.

In August 2022, Maryland Traditions staff hosted an information session on how to apply for the Folklife Apprenticeship, including application strategies. Click here to view the recording.

Folklife Apprenticeships support living cultural traditions and are distinct from registered apprenticeships offered through the Maryland Apprenticeship Training Program (MATP), which supports workforce development. Click here for more information on MATP.

 

 

Ibura Art & Research Residency 2024
deadline March 1
posted by Blue Light Junction

Blue Light Junction (BLJ) opens a third round of applications for The Ibura Art and Research Residency in Central Baltimore.

After successful residencies in 2022, Blue Light Junction is seeking four people for 2024 Spring and Fall residencies. The Ibura Art & Research Residency (IARR) provides a studio, financial support and thought partners for researchers to explore their work and practice through the lens of people, plants, and place. The first 2024 residency cycle is from March 29 – June 28.

The Spring IARR call is currently open, the deadline to apply is March 1st. Apply Here

BLJ is hosting a webinar info session on February 15th at Noon EST to answer your questions about the residency and application process.

To register email the BLJ Administrative Coordinator, Megan Koeppel mkoeppel.bluelightjunction@gmail

 

 

Lauraville Fair 2024 – Artisan Vendor Application
deadline March 1

Event Timing: Saturday, September 28th, 2024, 11am – 5pm
Location: Heinz Park, 4100 Harford Road

Vendor Fee:
– Early Bird: $50 (until 3/1/24)
– Regular Pricing: $70
+ $10 for a Social Media Spotlight

 

 

Keyholder Residency Opportunity
deadline March 1
posted by Lower East Side Printshop
Lower East Side Printshop, NY, offers emerging artists FREE studio residencies to develop new work and foster their artistic careers. The application deadline is March 1, 2024 for residencies that begin on April 1, 2024. Printmaking facilities are available for intaglio, relief, monotype, waterbased screenprinting, digital processes, and other techniques that employ the tools at hand.

Keyholders work independently in the Printshop’s shared Artists’ Studio and have access to a vibrant community of peers for six months. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended.

Participation is limited and competitive. Applications are evaluated by a panel of seasoned artists, curators, and art professionals based on the quality of submitted artwork. Emerging artists without a studio are highly encouraged to apply.

Keyholder Residency includes:
• 24/7, six-month access to a shared studio with printmaking facilities
• $1,000 stipend
• Free career development workshops and salons
• Group exhibition opportunities
• Consultation hours with Printshop’s staff

Eligibility:
• Only US residents may apply (Social Security number required).
• Students enrolled in any degree program at the time of the residency are not eligible.
• Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists in early stages in their careers.

Requirements:
1. Up to 8 images of recent work (JPEG format)
2. Image list: your name, work title, year, medium, and dimensions (PDF Format)
3. Artistic resume (PDF Format)
4. Application form on our website

 

 

Artist Residency Program
deadline March 1
posted by Houston Center for Contemporary Craft

Media accepted: Wood, Glass, Metal, Fiber, and Clay

Applicants must be able to fulfill a program requirement of working in their studios for two days per week during HCCC public hours:  Tuesday – Saturday, 10:00 AM – 5:00 PM.  All resident artists are required to open their studios to public interaction on Saturdays and one other day of the week (TBD), as well as during exhibition openings and specific educational programs on the evenings and weekends. Applicants should consider the public facing nature of the residencies and the fact that a major goal of the program is to provide visitors with an opportunity to explore contemporary craft through engaging with working artists.

Benefits of the residency include 24/7 access to studio space, cultural and professional development opportunities, a monthly stipend that includes a small housing/materials allowance, and the opportunity to give an artist talk.

Juried selection is based on quality of creative work, ability to interact with the public, career direction, and program diversity.  Accepted artists will be notified via e-mail in late May.

  • Five-to-10 residencies awarded
  • Residencies available in three-, six-, nine-, and 12-month time periods
  • Residency cycle begins in September and ends in August
  • Residency start dates and length determined by program review panel
  • $1000 monthly stipend that includes a housing/materials allowance
  • 24/7 access to 200-square-foot studio equipped with sinks, telephones, and wireless Internet access
  • Ceramic artists have access to two electric kilns located in an outdoor kiln shed.
  • Wide variety of resources and opportunities, including teaching opportunities through HCCC and collaborative works with fellow residents
  • Ongoing professional development and enrichment opportunities with local museums, art professionals, and collectors
  • During the residency, artists have the opportunity to participate in a joint artist talk and display work outside their studios in collaboration with the Windgate Foundation Curatorial Fellow.
  • Upon completion of the residency, artists have the opportunity to show work in the annual In Residence exhibition at HCCC.
  • Additional opportunities, such as discussions with curators and gallery owners, exposure at HCCC events, and interactions with visiting art professionals

 

 

The Art of Racing | Call for Entry
deadline March 11
posted by Maryland Jockey Club and the Maryland Institute College of Art (MICA)

The Art of Racing 2024 officially opens its submission portal to artists nationwide on Monday, January 8th, with the deadline for all submissions set for Monday, March 11th. Artists of all skill level are invited to submit their depictions of Pimlico Race Course, the Preakness, or thoroughbred racing in the portal below for a chance to win two (2) VIP invitations to Preakness 149 on Saturday, May 18, 2024, together with a $4,000 prize and the opportunity to have their winning artwork replicated on branded merchandise available for sale, with proceeds benefitting Park Heights Renaissance.

Submissions of work created by artificial intelligence (AI, Midjourney, etc.) will not be accepted for consideration.

 

 

header image: Rachelle Mozman Solano, still, All These Things I Carry With Me, 2020, single-channel video, 24 minutes.

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