BmoreArt

This week’s news includes: Trawick Prize finalists announced, Christian Siriano dresses those who want to impress, Amish Quilt exhibition at SAAM, The Store Ltd to close after Betty Cooke’s passing, Mount Vernon Place Conservancy receives restoration grant, European Avant-Garde exhibition at JHU Bloomberg Center, 19th Century French Art exhibition at The Walters, The Peale’s 210th anniversary recap, new creative networking series at Museum of Industry, Stem & Vine’s roots, and cloudy days for The Baltimore Sun — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Unidentified maker, Lancaster County, Pennsylvania, “Sunshine and Shadow / Trip Around the World” (c. 1930), cotton and wool, 87 7/8 x 88 7/8 inches (~223.2 x 223.74 cm) via Hyperallergic

The Trawick Prize Announces 2024 Finalists
by East City Art Editorial Team
Published August 19 in East City Art

Excerpt: Eight regional artists have been selected as finalists for The Trawick Prize: Bethesda Contemporary Art Awards, a juried competition and exhibition produced by the Bethesda Arts & Entertainment District. More than 400 artists from Maryland, Virginia and Washington, DC submitted work to the 22^nd annual competition.

2024 Trawick Prize Finalists

• Rosemary Feit Covey, Alexandria, VA
• David Enrique Guarnizo, Richmond, VA
• Pedro Ledesma III, Alexandria, VA
• Rebecca Oh, Richmond, VA
• Scott Pennington, Baltimore, MD
• Tony Shore, Baltimore, MD
• James Terrell, Washington, DC
• Paloma Vianey, Washington, DC

The award winners will be announced at a private reception on Wednesday, September 4, 2024. The Best in Show, first place winner will be awarded $10,000; second place will be honored with $2,000; third place will be awarded $1,000 and a Young Artist, a finalist who is younger than 30, could win $1,000.

The exhibit will be on display September 5 – 29, 2024 at Gallery B, located at 7700 Wisconsin Avenue, Suite E. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm. A public opening reception will be held on Friday, September 13, from 6-8pm.

The Kaleidoscopic World of Amish Women’s Quilts
by Julie Schneider
Published August 14 in Hyperallergic

Excerpt: The vivid quilts displayed in Pattern and Paradox: The Quilts of Amish Women at the Smithsonian American Art Museum (SAAM) are anything but plain. Though Amish communities are widely known for modest attire and a humble way of life isolated from the hustle of the contemporary world, the exhibition’s quilts reflect a kaleidoscopic mix of patterns and techniques. Accompanying wall texts delve into the apparent contradictions that are central to these eye-catching works, which exist at the intersections of tradition and innovation, conformity and individual creative expression, and the humble and the spectacular.

Pattern and Paradox comprises 50 quilts — drawn from a collection of 130 that art collectors Faith and Stephen Brown recently gifted to the museum — sewn in Amish settlements in Pennsylvania, Ohio, Indiana, and Illinois between the 1880s and the 1940s. This swath of time notably coincides with the rise of quilting in Amish communities. Though Amish people have lived in North America since the mid-18th century, the women didn’t widely adopt quilting until the end of the following century, after the general quilting craze of the mid-19th century had faded. As Janneken Smucker, quilt historian and fifth-generation Mennonite quilt-maker of Amish Mennonite heritage, writes in the exhibition catalog, “Once other Americans considered quilts old-fashioned, perhaps the craft became more appealing to the trend-reluctant Amish.”

When it comes to fashion, Democrats turn to Maryland native Christian Siriano
by John-John Williams IV
Published August 20 in The Baltimore Banner

Don’t be surprised if a Maryland native who works outside of politics takes a marquee role this week at the Democratic National Convention in Chicago, helping the party’s leading ladies look their best.

Christian Siriano has the golden touch when it comes to dressing women in the political sphere — whether first ladies or the potential next leader of the free world. His designs have been worn by political notables during significant moments.

Democratic presidential nominee Kamala Harris, who will close the convention with her speech Thursday night, rocked a custom Siriano business wear ensemble — a Bordeaux-colored fitted blazer and a matching pair of straight-leg pants — at the 2023 State of the Union Address. At that time he wrote on Instagram: “Iconic moment for team Siriano, Vice President of the United States Kamala Harris in custom Siriano tonight at the #stateoftheunion. Wow we are so honored thank you.”

When Harris was endorsed in July by President Joe Biden to be his successor, Siriano took to social media and gushed about the current vice president. “What an honor to create suits for you @kamalaharris and I can’t wait to do it again!” he wrote with a heart emoji and the hashtag #kamalaharris.

Siriano, an Annapolis native and first ever Marylander to win “Project Runway,” might be the Democratic party’s favorite designer.

First lady Jill Biden wore a lilac sleeved wrap-dress by Siriano to the 2020 Democratic National Convention. In June, Biden returned to Siriano for a patriotic navy blue silk crepe crop sleeve dress imprinted with “VOTE” in bold white lettering at a rally in North Carolina.

When former first lady Michelle Obama delivered her famous “when they go low, we go high” speech at the DNC in 2016, she wore a Siriano creation — a cobalt-colored cap sleeve dress with full skirt. She’s scheduled to speak sometime this week.

Oprah Winfrey, who was an early supporter of former President Barack Obama and Maryland Gov. Wes Moore, has worn Siriano’s designs for the cover of “O” magazine, at movie premieres and other red-carpet events.

Maryland’s first lady Dawn Flythe Moore turned to Siriano to create a strapless pink ball gown with a “little bit of a train to it,” for the inaugural “People’s Ball” the night her husband was sworn in as Maryland’s first Black governor. That frock was fashioned after a gown Flythe Moore said she saw on Siriano’s Instagram account. The Moores — rising stars within the Democratic Party — are expected to remain on the national radar for years to come.

“Personally, I love how fashion has become a part of this conversation. It shows the power of style and highlights the way it creates our identity to the world,” said Lana Rae, one of the stylists who helped the Moore family achieve sartorial success during the governor’s campaign and inauguration. “Right now, there’s no bigger platform than politics.”

Siriano, a Baltimore School for the Arts alumnus, isn’t shy about making his opinions known. He has repeatedly infused his fashion shows with political and social nods, having previously supported LGBTQ rights, a national gun violence prevention organization, Planned Parenthood, and actress Cynthia Nixon’s unsuccessful bid to be New York’s governor.

He has also gone as far as saying at his Fall show in 2017 he couldn’t see himself dressing first lady Melania Trump, even though he dressed Michelle Obama on several occasions.

“I don’t think I could support anything associated with the [Trump] White House and its policies,” he said.

Also known for embracing diversity on the runway by showcasing models of various races and sizes, Siriano seems a natural fit for the future of the Democratic Party— which is leaning into inclusivity, according to Zoey Washington, a Baltimore-based lifestyle journalist.

“Wearing Christian Siriano means more than just looking amazing — which you most certainly will — it means you align with a message of inclusion that reflects the true nature of this country,” said Washington, a former fashion editor for publications such as Vogue, Elle, People Style Watch and Essence.

From a style standpoint, Siriano’s designs are an ideal choice for women who want “high impact” fashion that doesn’t overshadow the person wearing it, Washington said.

“Christian has the unique ability to put his stamp on a look, whether it’s a pantsuit or a red carpet gown, without sacrificing the personality of the wearer,” she said. “If Kamala does become our next president, she will have to wade unprecedented waters of navigating her natural femininity and beauty without losing sight of her commanding presence. No one knows that those two characteristics aren’t mutually exclusive more than Christian.”

Rae said she would be shocked if we don’t see Siriano’s designs in the mix in Chicago and beyond.

“His silhouettes and styles are elegant, sophisticated and timeless, yet they still feel youthful and a little bit of fun. They check off many boxes that make his work so appealing to the usually stuffy political world,” she said.

Siriano has mastered the art of not revealing which celebrities are wearing his clothes until they step into the spotlight and has held true to form heading into the DNC. His Instagram account has no hints as to what celebrity creations he is working on. He couldn’t be reached for comment for this story.

With Siriano’s track record successfully dressing powerful Democrats paired with the fact that he is an American designer with a more approachable price point than a Gucci, Chanel or Valentino, celebrity stylist Pascale Lemaire wonders which notable first secured his services.

Lemaire, who is based in Silver Spring, learned the hard way in 2016 when she reached out to the designer for an ensemble when then-Baltimore Mayor Stephanie Rawlings-Blake took the gavel in Philadelphia for the Democratic National Convention.

“He has a long-lasting relationship with Michelle Obama,” said Lemaire, who styled then-second lady Biden for a 2014 cover shoot and spread for Capitol File magazine. “When I reached out to his team, they declined, saying that they wanted to but were already committed. It turned out he was dressing Michelle Obama. The big question will be has Michelle already locked him in?”

If Siriano gets the chance to dress Harris at the DNC, Lemaire hopes that she opts for a more fun color like cerulean blue, the greenish-blue shade made famous in “The Devil Wears Prada.”

“I think she could pull off a bit of color and still be taken seriously,” she said.

This story was republished with permission from The Baltimore Banner. Visit www.thebaltimorebanner.com for more.

Mount Vernon Place Conservancy Announces Receiving Prestigious $750,000 Save America’s Treasures Grant to Restore Mount Vernon Place
Press Release :: August 21

The Mount Vernon Place Conservancy (“Conservancy”) is thrilled to announce its recipience of the National Park Service’s “Save America’s Treasures” grant to fund the Conservancy’s next major restoration project: The Revitalization of the North and South Squares. This prestigious, highly competitive award is made under the National Park Service’s Historical Preservation Fund.

This restoration and revitalization, in partnership with the City of Baltimore, will restore the squares on the Charles Street corridor, a main artery of the city and a National Scenic Byway. It is Phase 2 of a three-part Master Plan (see below).

The FY2023 funding cycle awarded 59 projects totaling $25.7 million in grants for preservation projects of national significance. The Conservancy’s project is the only award in the State of Maryland this year. This additional Federal investment in the Conservancy’s project builds on the tremendous support already committed by the City, State, and Federal government, as well as private individuals and foundations.

The Conservancy’s fully-funded request, totaling $750,000—the highest possible award amount—
will contribute to the first major investment in over 100 years in the parks of Mount Vernon Place.

With the Save America’s Treasures award, the Conservancy has now raised $9.5 million towards a $13.5 million fundraising goal. Conservancy Executive Director, Lance Humphries, Ph.D. states of the award: “Mount Vernon Place is the centerpiece of a National Historic Landmark District and the geographic and historic heart of the city of Baltimore. We are tremendously honored to have received this highly sought after award which recognizes Mount Vernon Place’s importance to our nation.”

The Squares’ current configuration makes modern use difficult, inaccessible, and at times,
dangerous. The restoration plan restores character-defining historic elements like the marble and granite, while upgrading the infrastructure for 21st-century use. Once restored, the North and South Squares will be transformed into a pedestrian friendly, accessible park that is more ecologically sustainable and durable for an increased volume of visitors, capable of enduring the next century.

The Conservancy thanks the National Park Service for this distinguished award and for adding the revitalization of Mount Vernon Place to its roster of nationally-important projects. Read more about the Save America’s Treasures grant here and about the Conservancy’s vision for the future here.

Mount Vernon Place Restoration Master Plan

Phase 1: Washington Monument

The first phase of the plan was the award-winning 2014-15 restoration of the Washington
Monument—a $7 million project which garnered an unprecedented 14 awards from local, state, and national organizations in the design, preservation, and building trades. The work not only restored this nationally-important symbol of American National Independence, but also re-opened it to the public for visitation and climbing, thus welcoming thousands of visitors per year from across Baltimore, the nation, and the world.

Phase 2: Restoration of the North and South Squares

Major improvements will include adding features to make the parks widely accessible to those
using wheelchairs or other mobility aids, repairing hardscape and deteriorating stone, widening sidewalks and adding strategic lighting for pedestrian safety, implementing new irrigation and stormwater management systems to reduce water use, updating electrical infrastructure to meet programming needs, and installing engineered soils and new plantings to ensure the viability of the Squares’ ecology, resulting in more lush and vibrant gardens.

Phase 3: Restoration of the East and West Squares

The third and final phase will focus on the East and West Squares, which are surrounded by major cultural institutions such as the Peabody Conservatory, the Walters Art Museum, and others. The work will accomplish similar goals as those in Phase 2.

About the Mount Vernon Place Conservancy

The Mount Vernon Place Conservancy is a non-profit organization with the mission to restore,
maintain, and manage Baltimore’s Washington Monument and the surrounding squares of Mount
Vernon Place through a public-private partnership with the City of Baltimore. The Conservancy
operates the Washington Monument, providing access and information about the site to visitors
year-round. It presents free cultural programming in the park squares, including a summer concert and film series, arts and fitness classes, and large-scale festivals like the City’s annual Flower Mart and holiday Monument Lighting. As part of its partnership agreement with the City, the Conservancy provides additional maintenance for the gardens, lawns, and fountains, works with various city departments to address other park needs, and reviews permits for park use.

Artist Betty Cooke’s retail store, The Store Ltd, will close permanently
by Ed Gunts
Published August 15 in Baltimore Fishbowl

Excerpt: The Store Ltd will wind down operations and eventually close permanently following the death of founder Betty Cooke on Tuesday.

The landlord for Cooke’s store in The Village of Cross Keys posted an Instagram message indicating that the staff is preparing to close the store. The message did not give a firm closing date.

“It is with deepest sadness that we share with you that the legendary Betty Cooke passed peacefully yesterday, at the age of 100,” the message from crosskeysbaltimore said in part.

See also:

Betty Cooke, Baltimore’s beloved jewelry maker, dies at 100
by Bria Overs
Published August 15 in The Baltimore Banner

Exhibition of Rare Avant-Garde European Art to Inaugurate New D.C. Gallery at Hopkins
Bloomberg Center
Press Release :: August 15

The Johns Hopkins University Bloomberg Center will open the new Irene and Richard Frary Gallery in October with an exhibition of rare avant-garde works by artists throughout the European continent, including in Russia, Ukraine, and the Baltics, created during the social and cultural upheavals in Central and Eastern Europe between 1910 and 1941.

The free public exhibition—Art and Graphic Design of the European Avant-Gardes—will open Oct. 23 with rare books, prints, photographs, and ephemera from artists who defined some of the most influential artistic movements of the 20th century, including Futurism, Dadaism, Suprematism, Constructivism, and Surrealism.

The Frary Gallery’s inaugural exhibition at 555 Pennsylvania Avenue will feature 75 works from artists including El Lissitzky, Kazimir Malevich, Liubov Popova, Aleksandr Rodchenko, Lajos Kassák, Karel Teige, and Victor Brauner – many of which have never been on view in North America.

“We are deeply grateful to Irene and Richard Frary for their support of the Hopkins Bloomberg Center and their significant contribution to our mission to connect the worlds of research, and the arts,” said Cybele Bjorklund, executive director of the Hopkins Bloomberg Center. “Through its opening exhibition, programming, and future presentations, the Irene and Richard Frary Gallery will bring a fresh infusion of artistic expression and cultural dialogue to Pennsylvania Avenue. We invite our neighbors throughout the Washington community to discover the diverse array of free public events and concerts at the Hopkins Bloomberg Center.”

Art and Graphic Design of the European Avant-Gardes

Organized chronologically by artistic movement, the exhibition pairs abstract works across geographic boundaries, linguistic differences, and urban and periphery areas to demonstrate the interconnectedness of European avant-garde artists and the ways in which they engaged in an international exchange of ideas to develop new visual vocabularies in response to a world transformed by the modern post-war age.

The exhibition draws from the rarely seen private collection of art and literature assembled by Irene and Richard Frary and includes many recent gifts from the collection to the Johns Hopkins Sheridan Libraries. Highlights include photography and photomontage from avant-garde artists impacted by preceding art movements, as well as works from lesser-known avant-garde publishing cultures in Armenia, Georgia, Latvia, Lithuania, Romania, and the former Yugoslavia, including a large group of extremely rare avant-garde and modernist books in Yiddish and Hebrew.

“The juxtaposition of art from across the continent allows viewers to uncover commonalities between each of the five ‘isms,’ painting a more complex picture of artistic movements previously defined by nationality and enabling a better understanding of a time marked by major political, social, and cultural transformations,” said exhibition curator Philipp Penka. “The Frarys’ remarkable collection offers a glimpse at one of the defining periods in European modernism. It makes visible a complex international network spanning from Paris and Berlin to the Baltics, the Caucasus, Czechoslovakia, Poland, Romania, the Soviet Union, and modern-day Ukraine, and reveals the avant-garde’s shared concern with uncovering the contradictions of an obsolete societal order, and to give shape to a more just and truthful society.”

The 1,000-square-foot gallery, designed by Rockwell Group, will present rotating exhibitions drawn from the university’s collections and special exhibitions in partnership with leading museums and collections. The gallery and inaugural exhibition design were overseen by Dan Kershaw, senior exhibition designer at the Metropolitan Museum of Art.

Inaugural exhibition highlights include:

• Liubov Popova’s 6 graviur L. Popovoi (1917), a suite of multi-color linocut prints.

• One of only five copies of UNOVIS (1920), an anthology published by artists in Vitebsk, Belarus, that includes several works on paper by El Lissitzky and Kazimir Malevich;

• Hungarian artist Lajos Kassák’s Bildarchitektur [Picture Architecture] (1925), a 1927 india ink drawing (Composition), and a very early woodcut (1921);

• One of three known copies of Aleksandr Rodchenko’s “Composition 73,” a color lithograph printed by the Weimar Bauhaus workshops for Adolf Behne, Der Sieg der Farbe (Berlin, 1924);

• An untitled Suprematist artist book by Ivan Puni (1920);

• Dutch artist Lou Loeber’s cardboard box object with multi-color geometrical gouache design in the manner of De Stijl (1920s);

• And three original photo collages by Crimean-born graphic artist, designer, and actor Petr Galadzhev.

“This inaugural exhibition of major works from the Frary Collections provides an unprecedented opportunity to explore a major artistic period in a new and innovative way,” said Homewood Professor of the Humanities at Johns Hopkins University Daniel H. Weiss, president emeritus of the Metropolitan Museum of Art in New York. “Through its thoughtful and ambitious program, the Irene and Richard Frary Gallery attests to the vitality and importance of the arts at the Bloomberg Center and at Johns Hopkins.”

“Irene and I are delighted to be a part of the first of many thought-provoking presentations at the Irene and Richard Frary Gallery that will inspire new conversations, ideas, and research through art,” said Richard Frary, a Class of 1969 Johns Hopkins alumnus, donor, and volunteer leader for over 40 years. “It is our hope that this exhibition, which cumulates a diversity of artistic and ideological perspectives, will advance the Hopkins Bloomberg Center’s mission to foster discovery, democracy, and global dialogue.”

For more information about the Hopkins Bloomberg Center and a full list of upcoming events, visit https://washingtondc.jhu.edu/bloomberg-center/, and for more information about the Irene and Richard Frary Gallery, visit https://washingtondc.jhu.edu/arts-culture/irene-and-richard-frary-gallery/.

New exhibit at Walters will explore 19th-century French art from start to finish
by Aliza Worthington
Published August 19 in Baltimore Fishbowl

Excerpt: The Walters Art Museum will open a new exhibition entitled “Art and Process: Drawings, Paintings, and Sculptures from the 19^th-Century Collection” on Oct. 24, 2024. The exhibition will run through March 9, 2025.

The collection explores the creative process by showing the preliminary sketches and finished works of the museum’s permanent collection of 19^th-century French art. “Drawings and sketches record choices made by an artist, however, preparatory studies often don’t survive, and those that do are rarely exhibited due to their light sensitivity,” reads the Walters’ press release.

What does survive will be on display and give viewers a window into the artist’s mind and process through 30 works on paper (pastel, graphite, charcoal, and watercolor), 23 oil paintings, and works in bronze, porcelain, and terracotta. Some of the more recognizable names from the 19^th-century that will be shown include Antoine-Louis Barye (French, 1795–1875), Jean-François Millet (French, 1814–1875), Camille Pissarro (French, 1831–1903), and Alfred Sisley (French and British, 1839–1899).

The Peale Celebrated 210th Birthday and Second Anniversary of Reopening, Unveiling of “Igniting Integration” Exhibition and Featuring Performances and Tours
Press Release :: August 17

Today, The Peale, which reopened its doors two years ago after a five-year, $5.5 million renovation, celebrated its 210th birthday with a FREE community celebration. The day-long, festivity-packed event commemorating this milestone featured various exhibitions, entertainment, crafts, tours, and, of course, cake! – providing a diverse and inclusive experience for all ages and interests.
This free, public celebratory event and open house was held from 10:00 AM to 5:00 PM at the first museum built in the Americas, at 225 Holliday Street, Baltimore,  MD.

“Today, as we celebrate The Peale’s 210th birthday and the second anniversary of our reopening, we honor a legacy deeply intertwined with Baltimore’s rich and diverse history,” said Nancy Proctor, founding director and chief strategy officer of The Peale. “The preview of ‘Igniting Integration!’ is a powerful reminder of the resilience and determination of those who fought to make our city more just and inclusive. The Peale is a testament to their courage and a beacon for future generations to explore and celebrate the full spectrum of Baltimore’s stories.”

In collaboration with the African American Firefighters Historical Society (AAFFHS), The Peale offered a preview of Igniting Integration!, an exhibition highlighting the little-known history of Baltimore’s African American firefighters and their challenges in serving the city’s communities. Opening September 14, this exhibition will feature a collection of artifacts, photographs, and personal stories that chronicle the journey of these brave individuals.

AAFFHS Founder George Collins was on hand to explain that while advocacy to integrate the Baltimore City Fire Department started in 1920, it was not until 1942 that 15 volunteer firefighters broke the department’s color barrier. Among these 15 pioneers was Arthur “Smokestack” Hardy,  world-renowned as the “Father of African American Firefighter History.”

This exhibition also features stories of how the Baltimore chapters of the National Urban League and the National Association for the Advancement of Colored People (NAACP), along with Baltimore’s faith-based community and other civic organizations, fought to integrate the Baltimore City Fire Department.

Additionally, the celebration featured two exclusive crankie performances of Moses Williams, Cutter of Profiles. This performance tells the story of the life of Moses Williams, who was born enslaved to Charles Willson Peale but later became an accomplished silhouette artist and entrepreneur. Presented by the String Theory Theater, a crankie is a unique form of visual storytelling involving a box containing two spools with handles cranked to move an illustrated scroll. As the scroll winds, it creates a stream of moving images, providing a captivating and immersive experience.

Founded in 1814 by artist and gaslight entrepreneur Rembrandt Peale, the Peale has been the site of several groundbreaking firsts over the past two centuries, including Baltimore’s first City Hall, the first Black public high school, and the birthplace of the Baltimore Gas & Electric Company (BGE). Before reopening in 2022, it last served as the Baltimore Municipal Museum in 1997.

Today, The Peale is Baltimore’s Community Museum, a platform where the city’s creators can present their exhibitions and programs in all media, both in the historic museum building and online. To help preserve the full diversity of Baltimore’s voices and communities, The Peale stewards and shares thousands of digitally recorded stories of the city, ensuring that every voice is heard and every community is represented.

Monthly Networking Series for Professionals and Creatives Launches at Baltimore Museum of Industry
Press Release :: August 20

On August 28 the Baltimore Museum of Industry will launch Industry Social Club, a monthly after-hours program for local professionals, creatives, and influencers in various industries to cultivate connections that drive success. Each month, a blend of interactive exploration, engaging discussions, and workshops designed around a particular topic or industry will be coupled with a cash bar and complimentary snacks. Topics examine contemporary trends, both locally and nationally. This program series will explore industries as diverse as fashion/textiles, hospitality, healthcare, and LGBTQIA+ in the workforce, and embraces a diverse spectrum of talents and backgrounds.

Industry Social Club kicks off on Wednesday, August 28 at 5:30PM with a look at the local Tech and Innovation industry, featuring Kory Bailey from Upsurge, Anthony Watters, Interim Director, Social Innovation Lab (JHU) and Taylor Carter, Director of Programs, Dent Education.  Alanah Nichole Davis is the panel moderator. In late 2023, Baltimore was named one of 31 “tech hubs” across the country by the U.S. Department of Commerce, meant to encourage tech innovation and drive job growth in designated areas.

Future dates and topics:

Sept 18:  Inclusivity in Education
Oct 23:   Fashion/Textile/Craft
Nov 20:  Hospitality & Tourism

Admission is free with online registration.

Industry Social Club programs take place at the Baltimore Museum of Industry, 1415 Key Highway, Baltimore.  Onsite parking is available free of charge.

The Industry Social Club series is presented by PNC Bank.

Stem & Vine Helps Patrons Connect to the Cultural Roots of Their Plants and Spirits
by Janelle Erlichman Diamond
Published August 15 in Baltimore Magazine

Excerpt: Quincy Goldsmith has lived and worked just about everywhere, thanks to a father who was in the military and, later, because of his own work as an engineer designing steel and aluminum for the Japanese auto industry. And the first thing he always noticed when he flew into any new country—especially when he had his first meal—was the plant life.

“You’re eating different types of plant vegetation and drinking spirits,” says Goldsmith 54. “Many times it’s based on what’s grown in those areas.”

When he retired in November 2018, Goldsmith realized he could combine all the things he loved—plants, cocktails, art, community, and his curiosity about the world—into one business, and Stem & Vine opened its brick-and-mortar in December 2023. He sees a real link between his career as an engineer and what he’s doing now.

Baltimore Sun staffers decry “non-union, sub-standard” Sinclair content in the paper under its new owners
by Fern Shen
Published August 14 in Baltimore Brew

Excerpt: For readers of The Baltimore Sun, the changes made to the paper since its purchase eight months ago by Sinclair Broadcast Group Executive Chairman David Smith have been startling.

Brief, thinly reported pieces on culture war topics and national politics have proliferated on the pages of the print edition and on the website.

Bylined items say “Fox45 News,” Sinclair’s TV station in the city, and “The Sinclair National Desk,” which churns out copy for the national broadcast conglomerate from offices in Arlington, Virginia.

Others just say “Sinclair.”

See also:

Baltimore Sun staff push back against quotas as they seek new union contract
by Walinda West
Published August 14 in Baltimore Fishbowl