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BmoreArt News: Sam Gilliam Lecture Series, Cheyanne Zadia, John Waters Merch

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This week’s news includes: JHU announces Sam Gilliam Lecture Series, Danny Simmons at the Lewis Museum, Dr. Myrtis Bedolla to present at Dakar Bienalle, John Waters merch drops, Fearless Video Productions, ballet at the beach, Rob Lee interviews Katie Pumphrey, the latest on BOPA, Everyman Theatre Gallery features CHEYANNE ZADIA, the latest BROS production haunts Station North, 17th century Dutch painting at the BMA, TU Library + Archives receive grant funding, Jonell Logan appointed Executive Director of Tephra ICA, a new float for the Lantern Parade, and RAL’s season ending shows – with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Jazmine Rutherford and Darion Smith of Janusphere Dance Company. (Kaitlin Newman/The Baltimore Banner)YARN | I read the news today oh boy | The Beatles - A Day In ...

 

Baltimore filmmaker John Waters is working on a new fashion and gift line.

John Waters debuts fashion and gift line; drops canine-themed single; offers details about Christmas tour of spoken-word shows
by Ed Gunts
Published October 22 in Baltimore Fishbowl

Excerpt: The ‘John Waters: Pope of Trash’ exhibit may have ended in Los Angeles, but part of it lives on in the form of a new line of fashion, gifts and other merchandise similar to what visitors could purchase at the Academy Museum of Motion Pictures.

Waters is also dropping a new single with a canine-theme, displaying his visual art in San Francisco, and releasing the details of his coast-to-coast Christmas tour that starts Dec. 1.

The fashion line is a collaboration of Waters, visual artist and musician Seth Bogart and online retail store wackywacko.com. It features a mélange of “filthy’ references to Waters’ highbrow/underground aesthetic and Bogart’s distinctive etchings, including long- and short-sleeve tee shirts; crewnecks, hats, buttons, enamel pins, backpacks, tote bags, bathmats, hand towels and, of course, the popular ‘He’ll Make You Sick!’ barf bags.

 

 

Annie Gawlak and Sam Gilliam in the studio circa late 1980's, photograph by Carol Harrison

Johns Hopkins University and Sim Gilliam Foundation Partner to Launch Lecture Series Honoring the Late Artist’s Legacy
Press Release :: October 21

Today, Johns Hopkins University and the Sam Gilliam Foundation announced the launch of the new Sam Gilliam Lecture Series, to be hosted at the Johns Hopkins University Bloomberg Center in Washington, D.C. The series is being established to honor the artistic legacy and social justice commitments of the late Washington D.C.-based artist, Sam Gilliam. Launching in March 2025 and made possible by the support of the Sam Gilliam Foundation, the series will welcome prominent artists and speakers to the University’s Washington D.C. hub to reflect on the intersections between contemporary art, academia, and public policy, and the role art plays in advancing society. Speakers will be announced at a later date.

The Sam Gilliam Lecture Series will focus on topics aligned with the themes and issues addressed in  Sam Gilliam’s life and work, including racial equity, democracy, and the transformative power of art. Leveraging the mission of the Hopkins Bloomberg Center—to connect knowledge and research with policymaking—the series will provide a platform for contemporary artists and policymakers to engage in meaningful conversations about the role of art in addressing critical social issues.

“We are grateful to Annie Gawlak and the Sam Gilliam Foundation for their support and partnership on this series, which fits perfectly with the Hopkins Bloomberg Center’s mission,” said Cybele Bjorklund, executive director of the Hopkins Bloomberg Center. “The series will create synergies between policy development and the arts, supporting important multidisciplinary conversations on key topics that will complement the Irene and Richard Frary Gallery, permanent art installations, and myriad arts programs hosted at the Center.”

“Our partnership with Johns Hopkins University on this ongoing public program at the Hopkins Bloomberg Center highlights the role that contemporary art can play in advancing social and racial equity and supporting democracy,” stated Annie Gawlak, president of the Sam Gilliam Foundation. “Throughout his life, Sam’s work lay at the intersection of art and advocacy, and he believed ardently in the ability of art to inspire and influence critical change. It is an honor to launch The Sam Gilliam Lecture Series in continuation of the activism Sam enacted throughout his career as an artist and educator.”

Gilliam (1933–2022) was a pioneering African American artist renowned not only for his great innovations in Post-war American art, but also his deep commitments to issues of social justice, racial equity, and democratizing access to art. Having moved to Washington, D.C. in 1962 and living there throughout his prolific artmaking career, Gilliam had a long-standing and deep relationship with the city throughout the Civil Rights Movement and other periods of extreme change in the nation.

The Hopkins Bloomberg Center is home to a permanent, large-scale installation by Gilliam, entitled A Lovely Blue And ! (2022). Among the final works created by the artist in the months before his death, the work encapsulates Gilliam’s belief in the efficacy of abstraction and the value of risk-taking. On public view in the Center’s pre-function space on the ground floor, the monumental 96″ × 240″ painting exemplifies Gilliam’s expanded notion of the canvas as a three-dimensional object, showcasing the signature beveled-edge format he debuted in the 1960s and returned to in his later years.<

The lecture series is announced in tandem with the grand opening of the Irene and Richard Frary Gallery, situated within the Hopkins Bloomberg Center, and presenting rotating exhibitions drawn from the university’s collections and special exhibitions in partnership with leading museums and collections. The gallery opens to the public on October 23, 2024, with the inaugural exhibition Art and Graphic Design of the European Avant-Gardes, which will bring together rare books, prints, photographs, ephemera, and abstract works from across geographic boundaries, linguistic differences, and urban and periphery areas to demonstrate the international exchange of ideas among European avant-garde artists who helped define new visual vocabularies in response to a world transformed by the modern, post-war age.

About the Johns Hopkins Bloomberg Center

Building on Johns Hopkins’ history as the nation’s first research university, the Hopkins Bloomberg Center serves as a nexus for trusted academic experts, global leaders, policymakers, and students to provide multidisciplinary expertise and objectivity to decision-makers while educating future civic leaders. The Hopkins Bloomberg Center brings together the brightest minds in policy, business, academics, and nonprofits to find solutions to global challenges and opportunities for human advancement. State-of-the-art facilities offer dynamic learning experiences and adapt to emerging disciplines.

 

 

Tom Resseguier, Jazmine Rutherford, and Darion Smith of Janusphere Dance Company perform choreography by Smith. (Kaitlin Newman/The Baltimore Banner)

Ballet meets nature: Beach performance combines climate awareness and dance
by Kaitlin Newman
Published October 22 in The Baltimore Banner

Excerpt: Assateague Island is famously home to wild horses, foxes, and snowy egrets — and, for one day in September, ballerinas.

Dancers from The Washington Ballet, the Dance Theatre of Harlem, Ballet Theatre of Maryland, the Janusphere Dance Company, and CONTINUUM Contemporary/Ballet took over the island’s shoreline, drawing hundreds of attendees from as far away as Germany for the inaugural Ballet on the Beach Dance Festival.

Paired with “ecotalks” from representatives of Assateague State Park and the National Aquarium, the free festival sought to instill viewers with an appreciation for the environment awareness of the ongoing effects of climate change.

… this story continues. Read the rest at The Baltimore Banner: Ballet meets nature: Beach performance combines climate awareness and dance

 

 

Reginald F. Lewis Museum Presents: “The Journey to Everything” – A Solo Exhibition by Danny Simmons
Press Release :: October 22

The Reginald F. Lewis Museum of Maryland African American History & Culture, in partnership with Westwood Gallery NYC, is proud to announce the opening of “The Journey to Everything,” a solo exhibition by renowned artist Danny Simmons. This collection of works from 2021 to 2024 will be on display from October 18 to December 15, 2024, in the DeSousa Gallery of the museum (830 E. Pratt Street | Baltimore, MD 21202).

Simmons, a visionary artist and founder of the Neo-African Abstract Expressionism movement, brings together a curated selection of his recent paintings, works on paper, and assemblage pieces, each deeply inspired by African culture and spirituality. In addition to his own works, the exhibition will feature a display of tribal objects from Simmons’ personal collection, allowing visitors to explore the African cultural elements that have fueled his creativity.

The exhibition’s title, “The Journey to Everything,” reflects Simmons’ exploration of cultural history and symbolism. His pieces incorporate African motifs, textiles, and markings, blending modern and traditional elements to tell stories of diaspora, spirituality, and human connection. Notable works include “A Uphill Climb” (2022), a twelve-foot mixed media painting integrating Ghanaian Kente, Malian mud cloth, and vibrant patterns, and “Long Way Home” (2023), where fabric bridges two canvases as a passageway between worlds.

A highlight of the exhibition, “Nappy Headed Witches and Grandma’s Duppy” (2024), explores themes of ancestry and spirituality through African fabrics and figurative abstractions, invoking the presence of spirits and connecting African and Caribbean cultural traditions.

“The Journey to Everything” is curated by James Cavello and coordinated by Reginald F. Lewis Museum staff. This exhibition has been made possible with the generous support of The Roberts Family Fund.

Danny Simmons, also a Tony Award-winning co-founder of Def Poetry Jam, continues to make significant contributions to the art world through his work and philanthropic efforts. His pieces have been exhibited nationally and internationally and are held in major institutions, including the Brooklyn Museum and The Smithsonian.

 

 

US Department of State invites Dr. Myrtis Bedolla to present at the Dakar Biennale
Newsletter :: October 22

Galerie Myrtis is honored to announce that, by invitation of the U.S. Department of State, Dr. Myrtis Bedolla, Director of Galerie Myrtis, will present at the prestigious Dakar Biennale 2024.

Dr. Bedolla will engage in a thought-provoking discussion on The Impact of Contemporary African Art on the American Market in a conversation moderated by Dr. Diana Baird N’Diaye, Curator of The Work of the Wake at the Musee des Civilisations Noires, U.S. Biennale Pavilion.

This insightful program will explore the evolving presence of contemporary African art in American galleries, museums, and auction houses, highlighting its influence on cultural dialogue and market growth. The presentation will also address how African art has transitioned from being historically overlooked to becoming a highly sought-after cultural and financial asset.

Dr. Bedolla will present key factors contributing to this shift, including the rise of African art fairs like 1-54 Contemporary African Art Fair, increased visibility of African artists such as El Anatsui and Wangechi Mutu, and the growing interest from American collectors and institutions. The program will also reflect on the challenges African artists face in navigating the global market and technology’s role in bridging the gap between artists and collectors.

The Impact of Contemporary African Art on the American Market will serve as a comprehensive overview of the opportunities and obstacles in the contemporary African art market while offering practical insights into how artists, collectors, and institutions can further promote African creativity and heritage on the world stage.

The program will take place on Saturday, November 16th at The Musee des Civilisations Noires, U.S. Biennale Pavilion. Time to be announced.

 

 

Julian Hamer, co-founder of Fearless Video, wears many hats — director, producer, entrepreneur. She started her own company after leading Kamala Harris’ 2020 campaign video team. (Kaitlin Newman/The Baltimore Banner)

Baltimore’s Fearless Video showcases the diverse faces and voices in politics
by Bria Overs
Published October 22 in The Baltimore Banner

Excerpt: Baltimore’s Julian Hamer has been telling the story of this year’s election through Fearless Video Productions, the production company she founded with another alum of Vice President Kamala Harris’ previous presidential campaign.

Hamer and Yessica Hernandez-Cruz met while working together on Harris’ 2020 campaign, which was headquartered in Baltimore. The bulk of their work was content creation and digital storytelling.

When Harris decided to end her campaign, the team was hurt. “We definitely took it a little hard, a little personally,” Hernandez-Cruz said. Yet, the end of the campaign was not the end of their story.

… this story continues. Read the rest at The Baltimore Banner: Baltimore’s Fearless Video showcases the diverse faces and voices in politics

 

 

Crowds at the first night of Artscape in 2023. (Craig Hudson for The Baltimore Banner)

Baltimore art world reacts to BOPA break-up: ‘I’ve seen the writing on the wall’
by Taji Burris, John-John Williams IV and Cody Boteler
Published October 18 in The Baltimore Banner

After Baltimore Mayor Brandon Scott announced Wednesday that the city would cut ties with the Baltimore Office of Promotion & The Arts, the news reverberated throughout the local art world.

Turbulence over BOPA’s financial troubles had come to a head in recent weeks, but the announcement still appeared to be a surprise to some.

“This is frustrating and sad in many ways. BOPA did great things,” wrote X user Kimberly Lane.

“This latest iteration of BOPA was not set up for success from the start,” wrote Jess Solomon-DaCosta. “I feel for the staff.”

In a statement released Friday, members of the interim board executive committee wrote that BOPA “remains deeply committed to the artists, cultural institutions, and creative community of Baltimore,” but expressed concern about the speed of the transition, noting that “it is an enormous challenge to transition years of institutional history and infrastructure in just 90 days.” They said the city’s arts ecosystem is at “significant risk” without a clear plan on how services formally provided by BOPA will be maintained.

The board did note they “believe there remains a vital need for an independent arts organization, separate from City Hall, that can champion Baltimore’s creative community. We are well-positioned to play that role.”

The Banner spoke with several community members, artists and stakeholders regarding BOPA’s split from the city to gauge their thoughts on the demise of the partnership — and what comes next.

Robyn Murphy, who serves on BOPA’s board, is the chief executive of JRM Consultancy as well as a television host, reporter and anchor.

“While I fully understand the city’s position and the rationale behind the decision to terminate BOPA’s contract, I remain focused on ensuring that Baltimore’s commitment to arts and culture continues to thrive, and I know that is the mayor’s priority as well,” she said.

“What we all want — the city, BOPA, artists — is to have Baltimore be a place where artists can thrive and culture is celebrated. We all have that goal. Now is the time to facilitate getting that done and I am here for that,” Murphy added.

Ryan Haase, one of the co-owners of The Club Car, a queer cocktail bar and performance venue in Station North, is disappointed by the recent turn of events.

“It’s always easy to pull the plug on the arts. High school politics in the real world. Funding for the arts will always be cut first,” he said. “To lose BOPA as a funded entity will only do harm to our city and the artists who year after year rely on the funding from the nonprofit.”

Haase’s establishment regularly offers opportunities for local artists to showcase their work there, from gallery showings to conceptual nights centered on the arts community.

“We as a city should fix the problems at hand instead of just getting rid of it,” Haase said. “It’s a sad day when someone [the mayor] who has zero understanding of the arts is allowed to make such a large decision.”

Former NFL linebacker Aaron Maybin is an artist, activist and teacher in the city. “I’ve seen the writing on the wall and understood that we were headed in this direction for some time now,” he said.

”Hopefully this will lead to more collaborations between the city, individual artists and our local creative community here that makes Baltimore what it is culturally,” he added.

Maybin was particularly unimpressed with the lack of exposure for local artists at events BOPA has organized.

”There is no reason for us not to be featuring local talent when we have so many creative geniuses that are already here,” he said. ”The opportunities for collaboration are endless if we would just take advantage. It just doesn’t seem like a priority for city leadership or the organizations that put these events on. We need more seats at the table when it comes to planning major city events set around the arts, and this presents us an opportunity to rectify that in the process of how we move forward.”

Adam David Bencomo, an adjunct professor in the visual arts department at University of Maryland, Baltimore County, said arts are always important because “they are consistently becoming the roots of culture” and provide “alternative ways of communication and vision.”

Bencomo has been a patron for every Artscape since 2016. The last three years he’s worked as a volunteer, helping other participating artists or exhibiting his own work.

BOPA has provided “arts in a city with little funding to have an opportunity to not only grow but flourish,” the East Midway resident said. “We see this in events like Artscape. Baltimore has a great arts scene, but like all great things, it needs continuous cultivation and care. With organizations like BOPA and Artscape, Baltimore can continue to evolve.”

Emmanuel Williams, who goes by DDm or Dapper Dan Midas, said it is unfortunate both parties couldn’t come to a solution.

“That being said, there have been a lot of misfires from BOPA,” he added. “In order for Artscape to continue and evolve, changes have to be made. An outside company who specializes in large-scale festivals may be the shot in the arm the city needs to get back on track while BOPA gets its house in order.”

Cara Ober, the editor in chief and publisher of BmoreArt, wrote in an email that “BOPA has been a supportive partner to me personally and to BmoreArt over many years.”

She pointed out the “huge impact” the Sondheim Prize (which is produced by BOPA) and its accompanying museum exhibition has had on artists in the city. But she also noted some of the art organization’s shortcomings and mistakes, such as the decision during the pandemic not to renew the full-time director position at School 33 Art Center.

Ober also acknowledged the “hard-working, smart, and dependable arts administrators” on BOPA’s staff. “It is unfortunate that things are ending up this way, but perhaps there will be a way forward that provides a better structure and functionality, with BOPA acting as an arts council and having other city agencies and organizations facilitating the ‘other’ things they have been asked to do by the city.”

Ideas for how to mete out those responsibilities have already started in the editor’s circles.

“One suggestion I have heard is for Baltimore City Parks and Rec to take over parades and fireworks,” Ober said. “After the most recent Baltimore Book Festival, there was a lot of frustration expressed to me by the primary participants over the sudden lack of funding, a city bailout, and confusion around that. Among those I talked to, Waverly Main Street seems interested and capable of running the Baltimore Book Festival as a city agency/partner with booksellers as primary organizers.”

Jennifer White-Johnson is a Baltimore-based artist and educator who has been a patron of Artscape since 2010.

“I definitely feel like it’ll leave a huge void as to what’s next and who will get support,” White-Johnson said of the break-up with BOPA. “Artists already don’t feel like they have a voice.”

The artist said she has “made so many beautiful connections at these events,” but emphasized that there needs to be more priority given to “how the artists actually want to plan and not how the mayor wants to plan and prioritize our perspectives.”

“If the mayor isn’t willing to support to help create a sustainable outcome,” she said, “then what is that saying to artists?”

“The movements in Baltimore have always been organically self-made.”

This post has been updated to include a statement from BOPA.

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

See also:

BOPA responds to Mayor Brandon Scott’s decision to terminate the city’s contract with the agency
by Baltimore Fishbowl Staff
Published October 18

BOPA v. Baltimore: Everything you need to know about the arts fight
by Emily Opilo
Published October 17 in The Baltimore Banner

 

 

BMAG x The Truth in This Art: Katie Pumphrey on Her Identity as an Artist and Athlete [Podcast]
by Rob Lee
Aired October 22 on The Truth in This Art

Excerpt: The Baltimore team is excited to continue its partnership with The Truth in This Art, a local podcast hosted by Charm City native Rob Lee that has “bridged arts, culture, and community through authentic, insightful, and curious conversations,” for more than 700 episodes (and counting!)

On a monthly basis, Baltimore editors, contributors, and subjects sit down with Lee to give listeners an inside look at the making of the stories they’re reading in the magazine.

This latest interview (Lee’s 800th episode!) with celebrated multidisciplinary artist and marathon swimmer Katie Pumphrey—who set a record as the first person to ever complete a 24-mile, open water swim from Sandy Point State Park to the Baltimore Harbor in June—is a continuation of coverage from our September issue.

Listen in as Pumphrey discusses her historic swim (which included crossing under one of the remaining spans in the wake of the Key Bridge collapse), how the unpredictable and playful sides of her athletic experiences inspire her art, and her love of Baltimore.

(Spoiler alert: the swimming puns in this episode are a splash.)

 

 

CHEYANNE ZADIA

Everyman Theatre Reconceptualizes Its Visual Arts Gallery with West Baltimore Girl: Black in Empty Spaces Half Full
Press Release :: October 21

Everyman Theatre is excited to unveil the reimagined Everyman Theatre Visual Arts Gallery. The Gallery is being moved from the downstairs lower lobby to the Martha and Stan Weiman Mezzanine, named in honor of Martha and Stan Weiman. Stan is a longtime Resident Company Member, and Martha, his spouse, is also a longtime supporter of Everyman. This new location will continue to welcome theatregoers, art enthusiasts, students, and the public to experience art in a fresh way. The mezzanine is an ideal showcase area, frequently hosting small receptions, serving as a comfortable waiting space for patrons, and providing a cozy spot to relax with food and drinks. Now, as part of Everyman’s ongoing education programs and community engagement initiatives, this space can become an integral part of strengthening community ties and giving back through art.

“Our gallery space is an exciting way to continue to engage beyond the stage and offer patrons even more opportunities to connect with the Baltimore arts community,” states Director of Education, Joseph Ritsch. “Throughout the season we will be curating different local artists whose work will be in conversation with the shows on stage.”

By partnering with local artists, Everyman Theatre brings the themes of its plays to life and to create meaningful connections with the community. This collaboration enriches the cultural fabric of the city, showcasing local talent and often addressing important social issues through art. It’s a way to make theatre more accessible and impactful for everyone involved. The first installation in the new space will feature the work of interdisciplinary artist CHEYANNE ZADIA, whose installation “West Baltimore Girl: Black in Empty Spaces Half Full” aligns with many of the same themes as the current play onstage (QUEENS GIRL: BLACK IN THE GREEN MOUNTAINS is running at Everyman Oct. 20 – Nov. 17)

ABOUT THE ARTIST

CHEYANNE ZADIA is an interdisciplinary creator, musician and director from West Baltimore, Maryland. Her works include visual and performance art, poetry, composing, filmmaking, conceptual design, and curatorial practice. The basis of her work speaks to perspective, memorials of black culture, social relativity, spirituality, and the merging of sub-cultures.
Her performances range from large festivals, museums, and sidewalks to singing the National Anthem at the Baltimore Orioles Opening Game. Following the release of her debut album ‘Vacants’ her work has received widespread support as she has been featured in various publications including BmoreArt, City Paper, The Afro, True Laurels, The New York Times, Baltimore Banner and ID Magazine. Zadia was named Best New Artist by Baltimore Magazine (2020), was awarded Johns Hopkins University’s Saul Zaentz Fellowship in 2022, and Ruby’s Artist Grant Fellow in 2023. She is also the director of The Alpha Female Festival, Baltimore’s first all-female ran festival which serves as a celebration of women artists, creators, and professionals.

 

 

Content Warnings: Fake blood, simulated animal sacrifice, strobe lights, optional audience participation, general sensory overload (sounds, smells, lights, etc.)

Baltimore Rock Opera Society Takes a Halloween Plunge Beyond the Veil at the Historic North Avenue Market
Press Release :: October 21

The Baltimore Rock Opera Society (BROS) is the newest group of artists to transform a formerly vacant space in the Historic North Avenue Market, performing its latest original rock opera, Ceremony of the Faceless, during October at 1915 Maryland Avenue, formerly an adult daycare center. The Baltimore Rock Opera Society joins arts venue and coffee shop Mobtown Ballroom & Café; The Club Car Baltimore, a queer cocktail bar; Baltimore Youth Arts, a nonprofit youth arts education organization; Currency Studio, a clothing and lifestyle retailer; and Egatniv Vintage in the commercial center of the Station North Arts District.

In March 2024, the historic building was acquired by the North Avenue Market Development LLC, a joint venture partnership between the non-profits Central Baltimore Future Fund (CBFF) and Central Baltimore Partnership (CBP) with Twenty-Two Lanes Development LLC. With 57,000 square feet plus a 40,000 sq. ft. basement, the expansive building’s renovation is estimated to cost $30 million. While it would have been typical for the building to remain vacant prior to redevelopment, the acquisition team has taken a unique approach to keeping the lights on by activating storefront spaces with interim tenants. These interim tenants have the opportunity to test concepts that could be part of North Avenue Market’s future, while bringing fresh vibrancy to this key corridor of the Arts District.

“This is a very different way of operating – having this be an active asset while a development plan comes together, which could take several years. That is what CBP is committed to,” said Ellen Janes, CBP’s Executive Director.

The Baltimore Rock Opera Society lacks a dedicated performance space and relies on community partners to be able to stage their ambitious productions. “Without a permanent theater, BROS is always on the lookout for spaces we can transform and call home, even if temporarily. We felt that the density and walkability of the Station North Arts District perfectly complemented the shorter format of Ceremony of the Faceless. Patrons can enjoy an early dinner or drinks before experiencing our performance, then head back out to dance their own ritual and to explore all the district has to offer,” said Patrick Staso, Executive Director, BROS.

Ceremony of the Faceless blends dance, pageantry, and music to create a 35-minute scare attraction for the Halloween season. The narrative centers around an ancient, dark ceremony, witnessed by the audience but cryptic in its intentions – designed to evoke curiosity of the deeper, haunting meanings behind the actions of the faceless performers. From the moment audience members enter the building, they, too, become a part of the labyrinth of the grotesque on display.

Ceremony features music by Baltimore extreme metal band Blightbeast with choreography by Marissa Dahl and Blair Hagan. The show was created by John Decampos and directed by Phil Doccolo with production management and design by Mace Mehring. “It’s not just about catchy tunes or spectacle,” said DeCampos, “It’s a haunting, movement-driven, musically rich, performance meant to leave the audience rattled, thrilled, and frightened.”

Baltimore extreme metal band Blightbeast brings its signature style of intricately growling, voluminous sound to the project, laying the foundation for choreographers Marissa Dahl and Blair Hagan to weave each lunge, leap, crawl and slither into, distorting the pulsating human form into truly otherworldly shapes. Together, band lead and concept creator John DeCampos, director Phil Doccolo, and production manager and designer Mace Mehring built a world ghastly enough to hold such brutal artistry. “It’s not just about catchy tunes or spectacle–” says DeCampos, “it’s a haunting, movement-driven, musically rich, performance meant to leave the audience rattled, thrilled, and frightened.”

Ceremony of the Faceless opened on October 11 and will close on Halloween night, with two performances a night at 7:30 PM and 9:30 PM in the North Avenue Market building located at 1915 Maryland St., Baltimore, MD 21218. Tickets start at $25 for General Admission and can be viewed and purchased at all levels at www.jointhefaceless.com. Open to 18+ mature adults only.

 

 

Jan Josephsz van Goyen. View of Rhene. 1656. Baltimore Museum of Art: The Mary Frick Jacobs Collection. BMA 1938.209

BMA Explores the Pivotal Role of Water in 17th-Century Dutch Society
Press Release :: October 22

Across geographies and time, water has played a critical part in shaping landscape, driving economic fortune, and inspiring technological and artistic innovation. This February, the Baltimore Museum of Art (BMA) will open Watershed: Transforming the Landscape in Early Modern Dutch Art, an exhibition that reflects on the importance of water in the development of the new Dutch Republic—present-day Netherlands—leading up to and following its liberation from Spain in the 17th century. Through approximately 40 paintings and works on paper by such acclaimed artists as Frans Hals, Balthasar van der Ast, Rembrandt van Rijn, and Jacob van Ruisdael, among many others, the exhibition highlights the pivotal role of water in the political, social, economic, and ecological evolution of the emergent country. Watershed will be on view at the BMA from February 9-July 27, 2025, and is part of the museum’s ongoing Turn Again to the Earth initiative that explores environmental and sustainability issues.

“While national dialogues about environmentalism are often framed through contemporary experience, Watershed captures the realities of human engagement with the environment that began centuries ago,” said Asma Naeem, the BMA’s Dorothy Wagner Wallis Director. “The beautiful and often romantic views created by Dutch artists reflect economic prosperity and provide insights into the ecological and human ramifications of that success, historically and into the present.”

The region home to the Dutch Republic is largely situated at or below sea level and is defined by sandy coastlines and inland waterways and wetlands. As a result, the Dutch people have long engaged with landscape and the environment. In the 17th century, as they struggled for independence, they likewise undertook the critical work of draining waterlogged land, building dikes and canals, and protecting vulnerable coastlines. These efforts allowed them to control the natural landscape, and consequently, pursue economic ambitions at home as well as across the globe through their maritime power. Artists depicted the changing society around them through a variety of landscapes that feature elements of nature, commerce, and leisure activity. Equally important was the production of portraiture, still lifes, and maps, which were tied to these changes across society. […]

 

 

Student using resources at the Albert S. Cook Library Special Collections & University Archives (Alexander Wright | Towson University)

Albert S. Cook Library Special Collections & University Archives at TU receives almost $400,000 in grants to benefit students, community
Press Release :: October 14

Towson University today announced the Albert S. Cook Library received two grants totaling $399,831 from the Institute of Museum and Library Services’ (IMLS) National Leadership Grants for Libraries program. The funding will support two unique initiatives in Towson University’s Special Collections & University Archives Department: The development of a student-centered outreach model for academic archives and the implementation of a community-centered educational program to address Holocaust disinformation.

“I’m so thankful to the IMLS for choosing Albert S. Cook Library for this investment, which will support not only our unique collections, but also aid in building collections that are more representative of our students’ experiences,” says Suzanna Yaukey, dean of university libraries. “These grants help us demonstrate the impact of primary source materials in the classroom and the community.”

In collaboration with Central Michigan University and Georgia State University, Towson University’s Albert S. Cook Library will use $149,998 to bring students, faculty and practitioners together for a series of virtual forums to discuss student-centered outreach programming in academic archives and ultimately develop a best-practice model. This outreach model will support libraries’ efforts in encouraging students to visit, donate to and engage with campus archives.

“The archives at libraries preserve university history, provide primary sources for researchers, capture community memories and support education initiatives,” says Ashley Todd-Diaz, principal investigator on the grant and assistant university librarian for special collections and university archives at TU. “By co-developing our outreach programs with students, we can increase their sense of belonging within academic archives and empower them to collaborate in accessing, preserving and contributing to history.”

Towson University, in partnership with Brandeis University Library, Yeshiva University, the Jewish Theological Seminary and the University of Denver, will use $249,831 to implement a community-centered educational program, supported by Jewish cultural reconstruction (JCR) books. The JCR books were confiscated by the Nazis during World War II and then distributed to Jewish learning communities when their rightful heirs could not be located after the war. Because of inconsistent cataloging practices, many JCR books remain unidentified and are in danger of remaining hidden or even discarded. The grant will develop, test and share best practices and digital tools for book identification and cataloging; build a shared catalog of JCR books; and partner with museums, schools, universities and other cultural institutions to create Holocaust education programming using these books.

“Once the catalog is developed, these books and periodicals will be used to engage our community on Holocaust education,” says Yaukey, the grant’s principal investigator. “This catalog is gaining even more importance as the last generations of Holocaust survivors pass away. These physical artifacts will help fight disinformation and provide more resources for education because they are tangible pieces of evidence of the Holocaust.”

 

 

Image courtesy of Jonell Logan

Jonell Logan Appointed Executive Director & Curator of Tephra Institute of Contemporary Art
Press Release :: October 22

Following a national hiring search, Tephra Institute of Contemporary Art (Tephra ICA) today announced the appointment of Jonell Jaime Logan as the Institute’s new Executive Director & Curator. Ms. Logan will start on October 28. The appointment comes as the Institute (formerly the Greater Reston Arts Center) is celebrating its 50th Anniversary.

“Tephra ICA’s mission is not only to promote innovative art and thinking, but to advocate for the arts and artists with curiosity and care. I believe in this mission and am honored to be the next Executive Director to support this work,” said Ms. Logan.

Ms. Logan is a curator, arts advocate, and non-profit leader who believes in building visionary, mission-driven organizations that support contemporary art and culture. She has an MFA in Drawing and Painting, Printmaking from Brooklyn College. Originally from New York, Ms. Logan has worked in arts organizations that include The Metropolitan Museum of Art; Whitney Museum of Art; Studio Museum in Harlem; and the Gibbes Museum of Art in Charleston, SC. Ms. Logan served as the Director of Education and Public Programs at the Harvey B. Gantt Center for African-American Arts + Culture in Charlotte, NC and, more recently, she served as the Vice President + Creative Director at the McColl Center in Charlotte. During her tenure at McColl, she led the implementation of the newly adopted strategic plan, revamped the curatorial and Artist-in-Residence program, implemented a new studio rental and exhibition program in support of local artists, and was instrumental in helping to secure $100,000 in new funding from the Warhol Foundation and the National Endowment for the Arts.

Her curatorial portfolio includes Jan-Ru Wan: The Noise We Make (2019), an independently curated exhibition at North Carolina’s Mint Museum 5th Floor Extension; Rumi Maki: Infinite Harmonics of Southern Alchemy (2022), featuring the work of William Cordova; and And We Went (2023), guest curated at the Baton Rouge Gallery of Contemporary Art, an exhibition of the work of twelve American artists inspired by the 1963 attempted swim-in at the segregated City Park pool, an event that became a critical moment in Baton Rouge history. Yard Sale (2022), co-curated with artist Janet Loren Hill for Spring/Break LA, was awarded that venue’s first-ever Golden Palm award for best installation.

Ms. Logan’s commitment to the arts is only paralleled by her belief in the importance of community and investment in servant leadership. She is the immediate past president of the Junior League of Charlotte, has served on the board of the Women’s Impact Fund and OF/BY/FOR All, and is an alumnus of the American Leadership Forum. Through her work, Ms. Logan has learned the power of systems and the importance of intentionally stretching organizations to evolve in ways that are authentic, inclusive, and impactful.

”Jonell is an established and innovative leader, bringing exceptional curatorial, management, and fundraising experience gained at respected institutions in our sector,” said Robert Goudie, Tephra ICA Board Chair. “Add to that her national reach, and even amidst a deep and strong candidate pool she stood out. We took the unusual step of entering into a five-year commitment, reflecting our belief in her and her belief in Tephra ICA. That stability will be especially important as we seek during that time to identify and close on our new home in Reston, an American Alliance of Museums-accredited and larger space that will allow us to expand what we can deliver to the region. We are thrilled to have a leader of such accomplishment and vision bring Tephra ICA into the next decade of our evolution.”

“I am excited to join Tephra ICA at this dynamic point in its history,” added Ms. Logan. “We are committed to the legacy of supporting local and national/international artists in concrete ways while looking to the future. I can’t wait for what’s next.”

Tephra ICA is a non-profit, non-collecting institution committed to promoting innovative contemporary art and thinking. Leading with curiosity and care, the organization is a catalyst, generator, and advocate for visual and interdisciplinary arts. Tephra ICA’s gallery is free and open to the public.

 

 

The Great Halloween Lantern Parade and Festival is a beloved Patterson Park tradition. Credit: Stanley Jaworski

New float helps celebrate 25th anniversary of the Great Halloween Lantern Parade
by Jenna Mattern
Published October 23 in Baltimore Fishbowl

Excerpt: The Great Halloween Lantern Parade, a cherished tradition held yearly in Patterson Park, is celebrating its 25th anniversary in part with a new 15-foot-tall float.

Maggie the Monstersaurus is a giant paper and reed construction that commemorates Margaret Footner, a co-founder of Creative Alliance, the non-profit organization that hosts the beloved event.

“We’re all here together and we’re all just celebrating each other,” said Rachel Rush, educational director at Creative Alliance and director of the parade. “Each other’s culture, each other’s interests, each other’s artistic talent. To see such a mixture all together, seeing people just cheer each other on, it’s really lovely.”

See also:

The Great Halloween Lantern Parade Marches Into its 25th Year
by Olivia Borgula
Published October 15 in Baltimore Magazine

 

 

“Brighton Beach Rocks” by Barry Koplowitz, oil.

Three New Shows Close Out RAL’s 2024 Exhibition Schedule
Press Release :: October 21

The final exhibitions of 2024 are arriving at The Rehoboth Art League. From November 8 to December 8, “Piece by Piece: Collage. A Juried Members’ Showcase,” “Coastal Forms and Light: Works by Barry Koplowitz,” and “A Journey in Landscapes – An Abstracted View: Works by Kate Meyer Fitzpatrick” will round out another year of shows at RAL.

On the evening of November 8th from 5-7 pm, the Art League will be hosting an opening reception for these new exhibits, inviting anyone interested to visit the Corkran, Tubbs, and Ventures galleries to see the displayed work.

Hanging in the Corkran Gallery will be “Piece by Piece,” a showcase of college artwork produced by some of the league’s member artists. Collage has remained a zenith of expression throughout art history and is defined as a technique of art creation by which art results from an assemblage of different forms, thus creating something entirely new. Collage offers artists unparalleled opportunities to create concepts, designs, and a sense of texture that simply isn’t possible through other mediums. Visual elements are thoughtfully combined, producing a new image that conveys a message or idea. The pieces featured in the show were juried by collage artist Jennifer Hudson.

Barry Koplowitz’s grand beach paintings will take over the Tubbs Gallery during his solo show, “Coastal Forms and Light.” A lifelong beach lover, Koplowitz has been painting scenes of the ocean since he began working as an artist. The body of work in this exhibition brings together decades of painting and teaching, all leading back to his first inspiration. While his work does sometimes include figurative components, the interaction between the rocks, sand, ocean, and sky serves as the primary subject of each painting. Most of the work featured in this display is of the Sussex County coastline.

Kate Meyer Fitzpatrick returns to RAL for another solo exhibition following her successful 2022 show. Fitzpatrick’s new display, “A Journey in Landscapes,” features a collection of paintings that depict a remembered moment and a glimpse of a feeling evoked by being in the landscape. She uses abstract shapes, shadows, and objects to transform her observations into unique forms and vibrant colors. Her images are exercises in experimentation, which prepare her for the moment of chance on canvas. Fitzpatrick wants the viewer to take their own journey within the work and to feel something they can’t quite put their finger on. This exhibition features both oil and watercolor paintings from Fitzpatrick.

The exhibitions are free and open to everyone during the regular gallery hours of Monday through Saturday, 10 am to 4 pm and Sunday, noon to 4 pm.

The Rehoboth Art League is supported, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Division promotes Delaware arts events on www.DelawareScene.com.

The Rehoboth Art League is a membership-based non-profit arts organization dedicated to teaching, preserving and inspiring the arts in the region. For additional information about the Art League, its classes, memberships, events and exhibitions, please visit the website at RehobothArtLeague.org or call 302.227.8408. Find us on Facebook and Instagram @RehobothArtLeague.

 

 

Header Image: Jazmine Rutherford and Darion Smith of Janusphere Dance Company. (Kaitlin Newman/The Baltimore Banner)

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