BmoreArt

This week’s news includes: Lou Joseph named Director of City Arts Council, Andaleeb Badiee Banta leaving the BMA for NGA, Baltimore Museum of Industry exhibition highlights the Key Bridge, NGA announces acquisitions from Native American artists, new dates for Artscape, American Craft Council show returns to Baltimore, New Acquisitions at the Walters Art Museum including two Rembrandt etchings and a Maryland-made vase, MOCA Arlington announces 2025 SOLOS awardees, Maryland Egyptian art collector and the FBI, John Waters’ list of Best Movies of 2024, Glenstone Museum reopening, Romancing the Novel at McDaniel College, FAC grant awards, and Preakness 150 — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Cambium Lost Arts. Image courtesy of American Craft Council

BOPA to retain designation as Baltimore’s Arts Council, names Lou Joseph to be director
by Ed Gunts
Published December 5 in Baltimore Fishbowl

Excerpt: The Baltimore Office of Promotion and the Arts (BOPA) will retain its designation as Baltimore City’s Arts Council for Fiscal 2026 and has named agency veteran Lou Joseph to be the Arts Council’s new director.

The decision comes after Baltimore’s Board of Estimates last month voted to terminate the city’s contract with the independent agency to serve as the city’s arts council, film office and events producer effective Jan. 20, raising questions about who would fill those roles. Following that vote, BOPA’s board named chair Robyn Murphy to be its interim CEO following the departure of Rachel Graham.

Senior members of Mayor Brandon Scott’s administration have been working with BOPA’s leadership and board to strengthen its relationship with the city and its arts community. The Arts Council administers grants and funds other activities that support artists and benefit Baltimore’s arts community.

National Gallery of Art Appoints Andaleeb Badiee Banta as Andrew W. Mellon Senior Curator of Prints and Drawings
Press Release :: December 11

The National Gallery of Art announced today that Andaleeb Badiee Banta will join the museum as Andrew W. Mellon Senior Curator of Prints and Drawings and will assume the role on January 12, 2025.

Banta will lead the department of prints and drawings, which is responsible for the care, study, display, and expansion of the National Gallery’s collection of some 120,000 works on paper. Making up the majority of the National Gallery’s overall holdings, this world-class collection includes prints, drawings, artists’ books, and ephemera from Europe, the United States, and other parts of the world. It spans the medieval, Renaissance, and baroque periods as well as through the 18th to the 21st centuries and includes sizable holdings of postwar American works on paper. The collection also contains significant holdings of works on paper by such artists as Albrecht Dürer, Rembrandt van Rijn, Giovanni Battista Piranesi, William Blake, Mary Cassatt, Edvard Munch, Mark Rothko, Robert Rauschenberg, Winslow Homer, and Georgia O’Keeffe.

In leading the prints and drawings division, Banta will play a vital part in implementing strategies to build and expand the collection. She will also shepherd thought-provoking exhibitions and relevant collection displays that reflect and attract the nation as well as deepen our appreciation of the key role of prints and drawings in artistic expression and art history.

Banta joins the National Gallery from the Baltimore Museum of Art (BMA), where she is senior curator and head of the department of prints, drawings, and photographs, a position she has held since 2018. She returns to the National Gallery after having previously served as assistant curator of drawings and prints at the museum from 2010 to 2013.

“I am thrilled to welcome Andaleeb back to the National Gallery of Art. Through her acquisitions, exhibitions, and audience-centered work—which spans her expertise in early modern European art and has grown through her curatorial practice to include modern and contemporary art—Andaleeb has demonstrated her strong scholarship, boundless creativity, and commitment to expanding audiences and the boundaries of art history,” said E. Carmen Ramos, chief curatorial and conservation officer at the National Gallery of Art. “Her commitment to collaboration will inspire our talented curators and staff to broaden the stories we tell and the ways in which we tell them, helping to bring our collections to life for contemporary audiences. I know she will be the partner and leader the National Gallery needs as we move forward as an institution.”

“I’m honored to join the accomplished staff of the National Gallery, whose collection of works on paper is one of the finest in this country and offers unparalleled opportunities to connect audiences with art from all periods through compelling and diverse narratives,” said Banta. “I am particularly interested in exploring ways to foreground public engagement with the collection and illustrate its central role in the history of artistic creativity. I look forward to working alongside the National Gallery’s stellar team and helping to foster the public’s understanding and exploration of this extraordinary collection.”

A specialist in Renaissance and baroque art of Europe, Banta brings to the National Gallery an expertise in old master works on paper. She has curated exhibitions of prints and drawings covering periods from the Renaissance to the present day. Banta’s curatorial focus is on crafting narratives that cross chronological periods and highlight underrepresented artists. In her most recent role at the BMA, she curated the critically acclaimed exhibition Making Her Mark: A History of Women Artists in Europe, 1400–1800. The exhibition’s catalog received the Society for the Study of Early Modern Women and Gender Collaborative Project award, among other accolades.

Prior to the BMA, she was curator of European and American art at the Allen Memorial Art Museum at Oberlin College. She has also held curatorial and research positions at the Morgan Library and Museum and the Metropolitan Museum of Art. Banta has published and presented extensively on numerous European artists of the 16th and 17th centuries. In 2017 she co-authored the exhibition catalog Lines of Inquiry: Learning from Rembrandt’s Etchings, which received the Alfred H. Barr Jr. Award from the College Art Association. Her research has been supported by fellowships and grants from the Metropolitan Museum of Art, the Fulbright Foundation, the Gladys Krieble Delmas Foundation, the Samuel H. Kress Foundation, and the American Academy in Rome.

Banta holds a PhD and MA in the history of art from New York University’s Institute of Fine Arts and a BA in the history of art from Vassar College.

A Baltimore Museum of Industry project is saving the city’s Key Bridge stories
by Abigail Gruskin
Published December 6 in The Baltimore Banner

Excerpt: Over the past few months, Maria Gabriela Aldana has met with longshoremen, widows, first responders, social workers, government workers and business owners about the collapse of Baltimore’s Francis Scott Key Bridge after it was hit by the Dali container ship in March.

Now, she’s shining a light on their stories.

The Baltimore Museum of Industry brought Aldana on as a consultant in the summer to lead an oral history and video component of a broader project about the real-world effects of the tragedy.

“There’s a sense of trauma that everyone describes,” said Aldana, who is a community artist, organizer, and the co-founding director of Art of Solidarity, a network of creatives. At the BMI, she’s working to keep their firsthand accounts alive.

… this story continues. Read the rest at The Baltimore Banner: A Baltimore Museum of Industry project is saving the city’s Key Bridge stories

The Walters Art Museum Announces Diverse Array of Acquisitions: Works include two Rembrandt etchings, a Baltimore-made vase, and several additions to its Asian art collection
Press Release :: December 12

The Walters Art Museum announced today that it has made several acquisitions that build upon its extensive permanent collection with purpose and depth. The historic works range from 1635 to the 1920s and come from diverse geographic origins: Baltimore, Japan, Mexico, the Netherlands, and India. The acquisitions include a Severn Ware vase, a Showa-era folding screen, an Edo-period Ko-Kutani porcelain bowl, two manuscripts created by “widow printers,” two Rembrandt etchings, and two betel nut cutters. Each acquisition reaffirms the Walters’ commitment to providing its visitors with free access to global art and culture, reflecting its role as a cultural community anchor in Baltimore.

“Art is an essential vehicle for developing one’s worldview and, knowing this, the museum’s curators, educators, and docents utilize our far-reaching collection as a powerful tool for education, storytelling, and connection every day,” said Gina Borromeo, Interim Co-Director. “We become more empathetic members of our communities when we deepen our understanding of and engagement with cultures that are unfamiliar to us. These acquisitions, each made with intention, present new perspectives that ultimately strengthen our connections to our neighbors.”

Works on Paper: As one of the great European Masters, Rembrandt van Rijn is renowned for etchings that are nearly as important within the history of printmaking as his paintings are in the history of that medium. Old Man with a Beard (mid 1630s) shows an older man with a beard seated and sleeping, wearing a mantle (similar to a cape or cloak), a fur hat, and a fringed scarf. The depiction of an older person dozing was common in Rembrandt’s early etchings and, given his fascination with human nature, it’s possible the artist was looking for wisdom in his subjects’ weathered faces. In Self Portrait of Rembrandt with Saskia (1636), Rembrandt has depicted himself in a slouched hat with a jaunty feather sitting at a table and looking out at the viewer while his wife, Saskia, sits slightly further back. These etchings join the Walters’ two other works on paper by Rembrandt, including one likely self portrait from 1634, as well as The Lute Player (1629) by Jan Lievens (Dutch, 1607–1674), a painting for which Rembrandt likely modeled.

Severn Ware Vase by D. F. Haynes and Co. (ca. 1885-86) is an 11-inch tall vase possibly designed by James Callowhill (English-American, 1838–1917). This rare example of Severn Ware, which is named for Maryland’s Severn River, was produced by Baltimore-based manufacturer D. F. Haynes and Co. (1882–ca. 1914) and gets its hue from a mixture of clays sourced in the state. The company produced several colors of stoneware, each marketed under a name that emphasized their Maryland origins, including Arundel, Avalon, Calvertine, and Severn Ware. The raised decoration with a Japanese-inspired motif is representative of Aesthetic Movement pieces popular among American consumers in the 1880s and was likely done by female workers who trained at the Maryland Institute School of Design (known today as the Maryland Institute College of Art, or MICA).

National Gallery of Art Acquires Works by Contemporary Native American Artists That Offer Vital Viewpoints on Indigenous History and Culture
Press Release :: December 10

The National Gallery of Art has acquired paintings, sculptures, a video, and several photographs by contemporary Native American artists Jeffrey Gibson, Sky Hopinka, Cannupa Hanska Luger, Dakota Mace, Eric-Paul Riege, Cara Romero, Kay WalkingStick, and Will Wilson, reinforcing its ongoing commitment to acquire major works that expand perspectives of the history of art, especially in the United States. Offering a critical perspective in contemporary artistic discourse and presenting a reflection on the history of the native lands and cultures of Indigenous artists, these acquisitions complement works already in the collection by G. Peter Jemison (Seneca Nation of Indians, Heron Clan), George Morrison (Ojibwe [Grand Portage]), Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Tribes), Marie Watt (Seneca Nation of Indians), and Emmi Whitehorse (Diné), among others, and build on the dialogues forged in the exhibition The Land Carries Our Ancestors: Contemporary Art by Native Americans, presented by the National Gallery from September 22, 2023, through January 15, 2024.

“Representing artists across generations who work in a variety of media and express distinct perspectives and individual and regional identities, these works advance the National Gallery’s vision to be of the nation and for all the people. They illuminate the symbiotic relationship between Native American culture and the natural environment, reflecting the shared reverence and stewardship for the land. We are grateful to be entrusted with their care, and for the opportunity to share these remarkable works with our audiences,” said Molly Donovan, curator of contemporary art and acting head of the department of modern and contemporary art at the National Gallery.

Works by Dakota Mace, Sky Hopinka, and Kay WalkingStick will be featured in exhibitions in 2026. […]

The date for Artscape is moving — again — in 2025
by Abby Zimmardi
Published December 9 in The Baltimore Banner

Artscape, the city’s annual, free outdoor arts festival, will take place in May next year, many months ahead of its typical summer dates, Mayor Brandon Scott said Monday.

The decision was made to move the festival from late summer to the start of the season in May because of poor weather on past event weekends, Scott said.

“We’ve heard you loud and clear about how hot and rainy and stormy it is at Artscape, so we are announcing today that we will be moving Artscape to Memorial Day weekend to kick off the summer festivals,” he said.

The date of the 2025 festival is May 24-25, and Scott said he hopes the new weekend will get the event ahead of possible weather disruptions.

Next year’s festival will also just be two days, he said, without the Friday evening performances that have kicked off the festival in past years.

This year’s Artscape in August was dangerously hot and stormy, which caused officials to cancel the Chaka Khan concert the first night, as well as performances for the second night. In 2023, Artscape took place in late September — several months later than its traditional July dates — and faced problems, both leading up to and during the festival.

Scott’s announcement about the 2025 festival lineup came one month after the Board of Estimates unanimously voted to end the city’s contract with the Baltimore Office of Promotion & The Arts, the financially embattled nonprofit that hosted Artscape.

In October, Scott announced the city planned to cut ties with BOPA “after deep and careful consideration following several years of turmoil within the organization.”

The quasi-governmental nonprofit received most of its $4.7 million budget from the city, and Scott previously acknowledged that ending the city’s relationship with the group would be “an intricate process” that would require close coordination.

Scott said the city will put on the festival in partnership with BOPA and current BOPA board member Tonya Miller Hall. He said he can’t announce festival specifics yet, such as musical acts, but festivalgoers should expect to still see stages at the festival as they have in past years.

“Artscape will once again shine as a platform for showcasing the very best in artistic expression, celebrating the talent of our city and the state,” Scott said.

The mayor also announced the dates several other popular summer festivals:

* AFRAM will take place June 21-22, 2025.

* Baltimore Caribbean Festival will take place July 12-13, 2025.

* Charm City Live will take place on Sept. 20, 2025.

Scott said AFRAM — his favorite festival — will have local and national talent and is always a “spectacular showcase of the rich cultural tapestry that makes our Charm City so unique.”

The Baltimore Caribbean Festival will have a parade that will draw thousands of spectators from Baltimore and the Washington, D.C., area, he said. The city will produce the festival and parade with the newly established Caribbean American Commission.

Scott said he will issue an executive order to establish the Baltimore Advisory Commission on Caribbean Affairs that will advise the mayor’s office, the City Council and all city agencies on issues affecting the community and help strengthen community ties, which includes the parade.

Charm City Live will close out the summer festivals. Scott said 2025 will be the fourth year of the one-day outdoor festival, which will feature food vendors, local merchants and job opportunities. The festival will leave people with a deeper appreciation of downtown Baltimore, he said.

“While the festivals may be fun and exciting, they’re also an important investment and opportunity for connection,” Scott said. “These events provide opportunities for local artists to shine, for business to thrive and sell their goods and most importantly, for our residents and our businesses to come together and build lasting connections.”

He said the festivals help put the “charm” in Charm City.

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

See also:

Sowebo festival can take place on Memorial Day Weekend along with Artscape, Mayor’s Office says
by Ed Gunts
Published December 11 in Baltimore Fishbowl

Artscape changes: A move to May from August, and 2 days not 3
by Ed Gunts
Published December 9 in Baltimore Fishbowl

American Craft Made Baltimore Returns!
Press Release :: December 10

The American Craft Council’s (ACC) flagship event, American Craft Made Baltimore, will return to the Baltimore Convention Center February 21–23, 2025. This annual, immersive event showcases nearly 400 accomplished artists and makers, attracting more than 10,000 dedicated craft appreciators, collectors, and members of the craft curious. Visitors can shop work by artists from around the country, participate in hands-on activities, view craft demonstrations, attend related events and parties, and much more.

American Craft Made Baltimore is one of the most highly respected and anticipated craft fairs in the United States. As the largest juried craft fair on the East Coast, the fair honors the art of the handmade, fostering connection between creators and appreciators and supporting the livelihoods of early career and established artists and makers.

“Living with handcrafted objects and buying work from the talented people who made it brings meaning and richness to our lives,” says ACC executive director Andrea Specht. “American Craft Made Baltimore gives people of all ages the chance to explore and deepen their appreciation for the artful work of the human hand, and through their purchases, to support the livelihoods of American makers. It’s a one-of-a-kind celebration of craftspersonship, creativity, and expression.“

In 2025, the 48th annual event will feature a juried selection of work from makers at all career stages and across a wide range of mediums, including ceramics, glass, jewelry, metalworking, clothing, furniture, and basketry. Attendees will have the opportunity to meet the creators behind their favorite pieces and discover new, innovative works that celebrates longstanding craft practices and push the boundaries of what craft can be.

New this year:

New Digital Experience
Browse exhibiting artists, explore event activities, purchase tickets, and more, on ACC’s new website at craftcouncil.org.

Exhibition Hall Update
This year’s event will be held in Swing Hall and Halls F–G of the Baltimore Convention Center, with entry through the Otterbein Lobby on Level 100.

Weekend Passes
Attendees can now purchase Weekend Passes that grant access to all three days of the marketplace, offering a chance to see and experience more of the fair than they can take in through just one day. Weekend Passes also provide access to the Artist Reception & Award Ceremony on Saturday night.

Related events:

American Craft Made Kick-off Party
Thursday, February 20, 6-8 pm
Made in Baltimore (301 Light St, Baltimore, MD, 21202)
Free; registration required

Experience an evening of craft, culture, and connection. Enjoy delicious local bites, sip on craft cocktails, and explore a stunning showcase of Baltimore’s finest makers featured in Made in Baltimore’s inspiring space. Celebrate with us as we honor the artists who keep American craft alive and thriving! Registered attendees will be invited to enjoy an open bar featuring cocktails and mocktails expertly crafted by CAnE Collective and sample delicious bites, with additional items available for purchase from The Empanada Lady, Habesha Flavor, and MFG Toffee.

Artist Reception & Award Ceremony
Saturday, February 22, 2025, 6-7:30 pm
Baltimore Convention Center, Camden Lobby
Free; open to all exhibiting artists and Weekend Pass holders.

ACC and the Baltimore Convention Center look forward to hosting all fair exhibitors and Weekend Passholders at an after-hours reception and award ceremony. ACC offers a series of annual awards that celebrate outstanding artists in our events. These include the Awards of Excellence, the Randall Darwall Award, the Asé Design Studio Award for Excellence in Wood, and the CERF+ Emerging Artist Readiness Award.

Highlights for 2025:

Hands-on craft experiences & demonstrations!
Attendees of all ages can participate in fun and educational hands-on activities and demonstrations led by local arts organizations and community partners as part of Let’s Make!, an interactiveexhibit showcases the processes and skills involved in making handcrafted goods. Let’s Make! activities will be announced soon.

Shop the work of emerging artists and students!
ACC offers real-world marketplace experience to students pursuing craft as a career through School-to-Market. This program provides the practical insight and exposure needed to launch successful practices after graduation, and gives show attendees an opportunity to purchase work by student and emerging artists. American Craft Made also features a special section of early career and emerging artists.

Hotel discounts available.
For visitors coming from out of town, participating artists, and exhibitors, ACC offers hotel discounts at the Royal Sonesta Harbor Court Baltimore, the Sheraton Inner Harbor, and the Hyatt Regency Inner Harbor. A range of room options are available. Click here to book your room.

TICKETS:
Tickets are on sale now. Presale tickets are $10; day-of tickets are $15. Admission is free for ages 12 and under. ACC Members receive two complimentary tickets per day or two complimentary Weekend Passes per event. Weekend Passes are available and offer access to all three days of the event. For more information and to purchase tickets, visit craftcouncil.org/events/american-craft-made-baltimore/.

MoCA Arlington announces 2025 SOLOS Awardees
Press Release :: December 10

Museum of Contemporary Art Arlington is proud to announce the artist awardees of the museum’s 2025 SOLOS exhibitions program. Artists Joshua Challen Ice (Pittsburgh, PA), Brandon Morse (Washington, DC), Kei Ito (Baltimore, MD), Christina Lorena Weisner (Kill Devil Hills, NC), and Kelli Williams (Elkridge, MD) were honored at the museum’s 50th Anniversary Gala and are all preparing for solo exhibitions at the museum in 2025.

Joshua Challen Ice and Brandon Morse will have solo exhibitions at the museum from February 14 to May 25, 2025. Solo exhibitions by Kei Ito, Christina Lorena Weisner, and Kelli Williams will take place from June 13 to September 7, 2025. Including work in sculpture, installation, stop-motion animation, and new media work created with generative systems, the exhibition series covers a range of contemporary practices, highlighting work by artists at the forefront of contemporary art.

Launched in 1988, SOLOS is one of MoCA Arlington’s longest running programs and its primary open call exhibition opportunity. The program invites artists based in the Mid-Atlantic to submit proposals for solo exhibitions in one of the museum’s nine gallery spaces. The 2025 SOLOS artist awardees were chosen by a selection panel which included artist and former SOLOS participant Phaan Howng (Effigy, Elegy, Eulogy, 2018), Cynthia Stucki, Curatorial Assistant for Contemporary Art and Photography, Carnegie Museum of Art, and Dr. Andrew Wasserman, Assistant Professor, Department of Art and Design, Missouri State University.

Through SOLOS, MoCA Arlington supports the careers and artistic practices of some of the Mid-Atlantic’s most cutting edge artists. The program invites early career artists to have their first institutional solo show and gives mid-career artists the opportunity to exhibit ambitious new bodies of work and experiment with new directions in their practice. In both cases, the program acts as a crucial opportunity and stepping stone as artists develop their practices and thrive in their careers. The program reaffirms MoCA Arlington’s commitment to supporting contemporary artists, reflecting its legacy as the only museum in the DC metropolitan area founded by artists.

SOLOS 2025 Exhibition Schedule:

February 14 – May 25, 2025: Brandon Morse (Washington, DC); Joshua Challen Ice (Pittsburgh, PA)

June 13 – September 7, 2025: Kei Ito (Baltimore, MD), Christina Lorena Weisner (Kill Devil Hills, NC), Kelli Williams (Elkridge, MD)

ABOUT THE ARTISTS

Joshua Challen Ice

Born 1995, Monroeville, PA
Based in Pittsburgh, PA

Joshua Challen Ice creates sculpture, kinetic, and light-based installation art to explore ideas related to architecture and philosophy. Drawing on his background in lighting design and technology for the stage, he creates fully immersive works. Ice’s practice operates as a quasi laboratory for developing new ideas. Without limiting himself to one medium or even sensory experience, Ice uses the tools, materials, and skills he has collected over time to instigate endless possibilities and explorations.

Ice’s work has been exhibited in solo exhibitions at Sculpture Center (Cleveland, OH), Carlow University Gallery (Pittsburgh, PA) and Gradient Project Space (Thomas, WV) and in group exhibitions at Miller ICA at Carnegie Mellon University (Pittsburgh, PA), SPACE Gallery (Pittsburgh, PA), and The Royal Danish Academy (Copenhagen, Denmark), among other venues. He has participated in artist residencies and fellowships in the United States and Europe and created numerous immersive public art installations throughout Pittsburgh. Ice graduated from Point Park University with a BFA in Lighting Design and Entertainment Technology.

Kei Ito

Born 1991, Tokyo, Japan
Based in Baltimore, MD

Kei Ito is an interdisciplinary artist whose work is centered around utilizing the conceptual framework of photography to visualize the invisible. Mainly employing camera-less photographic techniques, performance, and installation, Ito creates large-scale installations and a variety of photographic projects that excavate hidden histories. As a third-generation atomic bomb victim living in the US, Ito employs his generational history as a series of case studies that often applies the language of monuments and memorials, initiating a journey of healing and growth while inviting audiences to explore nuanced social issues and honor the memories of those lost to both historical and contemporary tragedies.

His solo and group exhibitions have been reviewed in the Washington Post Magazine, Hyperallergic, BBC Culture & Art, BmoreArt, ArtMaze Magazine, ESSE Magazine and various newspapers worldwide. Ito’s works are included in major institutional collections, such as the Museum of Contemporary Photography (Chicago, IL), the Norton Museum of Art (West Palm Beach, FL), the Gregory Allicar Museum of Art (Fort Collins, CO), En Foco (NYC, NY), the Eskenazi Museum of Art (Bloomington, IN), and the Georgia Museum of Art (Athens, GA). Ito received his BFA from Rochester Institute of Technology followed by his MFA from Maryland Institute College of Art.

Brandon Morse

Born 1974, Arlington, TX
Based in Washington, DC

Brandon Morse works with generative systems in order to examine the poetic and metaphorical potential of physical phenomena such as entropy and emergence. Through the use of code and the creation of custom computer software, he builds simulations of seemingly complex systems. The resulting videos and video installations seek to draw parallels between the ways these systems work and the ways in which we, both individually and collectively, navigate the world around us.

Morse’s previous exhibitions include the Kreeger Museum, the Corcoran Gallery of Art, and the American University Museum at the Katzen Arts Center (Washington, DC), the Nanjing Museum (Nanjing, China), and Kusthalle Detroit, as well as many gallery exhibitions across the United States, Europe, and Asia. Morse holds an MFA from the Ohio State University and a BFA from University of Wisconsin Stevens Point. He is currently Associate Professor and Chair of the Department of Art at University of Maryland.

Christina Lorena Weisner

Born 1982, Richmond, VA
Based in Kill Devil Hills, NC

Christina Lorena Weisner is a sculptor and an Associate Professor in the Department of Fine Arts at the College of the Albemarle. Weisner explores complex relationships between objects, humans, and the natural environment, from the organic to the technological. Her work draws parallels between the vast and the microscopic, the subjective and the objective. It invites the viewer to consider the deep geological time of water, rocks, and the landscape as well as the more fleeting existence of living beings.

Weisner has exhibited nationally and internationally, most recently at the Gregg Museum of Art and Design (Raleigh, NC), Southeastern Center for Contemporary Art (Winston Salem, NC), and SteM Zwijgershoek / Mercatormuseum (Sint-Niklaas, Belgium). In 2013-2014, she was awarded a Fulbright Grant for Sculpture and Installation Art to Germany, where she worked on a series of site-specific sculptures based on the Ries Meteorite Impact Crater. Weisner received a BFA in Sculpture and BA in World Studies from Virginia Commonwealth University and an MFA in Sculpture and Ceramics from University of Texas at Austin.

Kelli Williams

Born 1989, Landover, MD
Based in Elkridge, MD

Kelli Williams is an animator and visual artist who uses stop-motion animation, photography, augmented reality, installation, and humor to create work that explores the impact of social and mass media on the construction and perception of identity. In Williams’ work, the physicality of stop-motion animation, with its meticulous and hands-on process, acts as a material metaphor for the tangible effort involved in crafting personal identity.

Williams’ work has been exhibited widely, including most recently at the Peale Museum, the Eubie Blake Center for the Arts, and Gallery CA, all in Baltimore, MD. Her work has screened at film festivals in New York, Los Angeles, Philadelphia, Columbus, and Edinburgh, Scotland, among many other locations. Williams contributed to Netflix’s Peabody award-winning short film Cops and Robbers and her work has been featured in the Huffington Post, Columbus Live, Hyperallergic, Artnet, and Baltimore Magazine. Williams holds a BA in Fine Art from Morgan State University and an MFA from Columbus College of Art & Design. She is a professor at Maryland Institute College of Art.

Maryland collector ‘hit the mother lode’ of Egyptian art. Then the FBI called.
by Tim Prudente
Published December 8 in The Baltimore Banner

Excerpt: From his decades of hunting for Egyptian antiquities, Mark Ragan has filled three display cases in his Anne Arundel home with amulets, pottery and doll-size mummy carvings called ushabtis.

He likes to tell of finding a supposed “Egyptian corn measurer” for sale, only to realize it was no corn measurer — it was a sacred canopic jar from the 18th Dynasty. He bought it for about $300. That might have been the climactic moment of his collecting.

Then an eBay seller caught his eye.

The seller’s photos showed ushabtis of alabaster and limestone, phallic figurines, even a faience amulet to the fish goddess Hatmehyt.

<… this story continues. Read the rest at The Baltimore Banner: Maryland collector ‘hit the mother lode’ of Egyptian art. Then the FBI called.

John Waters releases his list of The Best Movies of 2024
by Ed Gunts
Published December 9 in Baltimore Fishbowl

Excerpt: Movies about lesbian bodybuilders, a gay beatnik, and Brutalist architecture topped filmmaker John Waters’ list of The Best Movies of 2024, out this week on Vulture.com, part of New York Magazine.

Waters’ list is always highly-anticipated because it’s one of the first in a long line of year-end reviews that roll out between Dec. 1 and Christmas — and he’s willing to consider works that some critics won’t. One of his more surprising choices this year is “Joker: Folie a Deux,” a film that many critics panned.

“Love Lies Bleeding,” by director Rose Glass, is Waters’ choice as the best movie of the year. Set in 1989 and starring Kristen Stewart and Katy O’Brian, it’s a romantic thriller that follows a lesbian relationship between a reclusive gym manager, who is part of a crime family, and an ambitious bodybuilder who uses too many steroids and gets wrapped up in organized crime. Waters called it a “hilarious, bloody film noir” that “Russ Meyer might have made if he had been a lesbian intellectual addicted to steroids.”

Glenstone Museum Announces Spring 2025 Reopening with Major Exhibitions
by East City Art Editorial Team
Published December 11 in East City Art

Excerpt: Glenstone Museum will fully reopen its Pavilions building on March 20, 2025, debuting major new exhibitions by Jenny Holzer and Alex Da Corte. The reopening marks the return of several signature presentations alongside fresh installations, reflecting Glenstone’s commitment to innovative and thought-provoking art.

Jenny Holzer’s exhibition in Room 2 will feature The Child Room (1990), a seminal LED and marble installation shown for the first time since 1993, alongside drawings, paintings, and LED works that explore personal and political themes. Alex Da Corte’s Room 6 presentation includes Rubber Pencil Devil (Hell House) (2022), a neon sculpture housing his 2018 video work, which examines themes of satire, violence, and Americana.

“We are grateful to Jenny Holzer and Alex Da Corte for trusting Glenstone to share their visions,” said Emily Wei Rales, Glenstone’s director and co-founder. “These presentations invite reflection on extraordinary challenges in society today.”

Major Exhibition at McDaniel College opening in 2025 explores romance novels and their cultural impact
Press Release :: December 11

McDaniel College hosts “Romancing the Novel,” a major exhibition exploring romance novels and their cultural impact.

Featuring original cover art, including paintings by James Griffin, Frank Kalan, and Gregg Gulbronson, manuscripts, publicity materials, genre history, and fan artwork, “Romancing the Novel” is curated by Robert Lemieux, associate professor of communication and cinema at McDaniel. The exhibition is in association with McDaniel’s Nora Roberts American Romance Collection, Bowling Green State University’s Browne Popular Culture Library, renowned romance publisher, Harlequin, and Yale University Art Gallery (Roy Lichtenstein’s “Crying Girl” is on loan courtesy of Yale University Art Gallery.)

Free and open to the public, “Romancing the Novel” runs Monday, Jan. 6-Friday, March 7, in McDaniel’s Esther Prangley Rice Gallery, Peterson Hall, at 2 College Hill, Westminster, Maryland. A public reception takes place Thursday, Feb. 6, 5:30-7:30 p.m., with a gallery talk at 6 p.m., and a “Romancing the Novel” speaker series is planned in collaboration with Carroll County Public Library to further highlight the romance genre during the month of February. As part of this series, historian Nicole Jackson, a professor at Bowling Green State University and co-host of the “Black Romance Has A History” podcast, presents “Love in Liberty: Black Historical Romances and the Joy of Freedom,” on Thursday, Feb. 27, at 6 p.m., in Coley Rice Lounge, McDaniel Hall, at McDaniel College (2 College Hill, Westminster, Maryland) with details about additional events forthcoming.

“With an emphasis on original cover art, the writing process, notable authors, publicity materials, fan interaction, and genre history, the exhibit provides a wide-ranging view of the publishing industry’s most profitable genre – romance – and its influence over the past 80 years,” according to Lemieux.

“Romancing the Novel” is the sixth exhibition that highlights the artistic and historical significance of a major influence on popular culture organized by Robert Lemieux at McDaniel. Others have included “Kings of the Pages: Comic Strips & Culture 1895-1950” in fall 2011, “Beyond Words: The Artistry of Illustrated Children’s Books” highlighting Caldecott award-winning children’s books in spring 2014, “Visions of the Circus” about the history of the circus in fall 2017, “Icons of American Animation” in spring 2022, and “Breathtaker” with works from Mark Wheatley and Marc Hempel’s acclaimed graphic novel in collaboration with the Norman Rockwell Museum in fall 2022.

McDaniel College Professor of English Emerita Pamela Regis, former director of McDaniel’s Nora Roberts Center for American Romance, past president of the International Association for the Study of Popular Romance, and author of “A Natural History of the Romance Novel,” served as a consultant for the exhibition.

Hours for the Esther Prangley Rice Gallery are Monday through Friday, 10 a.m.-4 p.m., and Saturday, noon-5 p.m. Call 410-857-2595 for more information.

“Romancing the Novel” is made possible with support from the Nora Roberts Foundation, McDaniel College’s Hoover Library, and the Department of Communication and Cinema at McDaniel College. Media partners are BmoreArt and WYPR-FM.

Frederick Arts Council Announces FY25 Community Arts Development Grant Awardees
Press Release :: December 5

The Frederick Arts Council announces that it has awarded CommunityArts Development (CAD) grants to 15 arts organizations and arts programs throughout Frederick County.

The recipients include Calvary United Methodist Concert Series, Choral Arts Society of Frederick, Emmitsburg Community Chorus, Endangered Species Theatre Project, Frederick Book Arts Center, Frederick Regional Youth Orchestra,Maryland Ensemble Theatre,Other Voices,Spires Brass Band,Delaplaine Visual Arts Education Center, The Frederick Children’s Chorus, The Frederick Chorale, The Global Z Recording Project, Transformative Arts Project, and Weinberg Center for the Arts.

The CAD grant program allows high-quality arts programming to be available to as many community members as possible. FAC’s CAD grant awards are supported by the Maryland State Arts Council. “The Frederick Arts Council is honored to continue supporting these organizations that provide so much to the community,” states FAC Executive Director, Louise Kennelly.

CAD applications are evaluated by a dedicated CAD Committee, which includes representatives from the Frederick Arts Council staff and board as well as the local creative community. Serving as FY2025’s CAD Committee Chair was arts advocate Maura Parrott.

Maryland Leaders Announce Plans Surrounding 2025 Preakness Festival
Press Release :: December 11

Maryland First Lady Dawn Moore, together with Governor Wes Moore, Baltimore City Mayor Brandon M. Scott, and the Sport & Entertainment Corporation of Maryland today previewed plans for the creation of the Preakness Festival, a reimagined celebration of the iconic Preakness Stakes that will take place across Maryland for the first time in 2025.

“Today is not just about an initiation, it’s about an invitation: join us. Partner with us, because it will take each of us working in partnership to make this our biggest and best year yet,” said Maryland First Lady Dawn Moore. “We want everyone to have a seat at the table. Together, we can create a truly unforgettable celebration and elevate our communities right here in Maryland.”

Coinciding with the 150th running of the Preakness Stakes in 2025, the new festival will feature free and ticketed cultural events, arts activities, and other programming at prominent locations across the state. Through public and private stakeholder partnerships, the festival will deliver experiences that equitably enhance economic growth, promote tourism, and inspire civic pride through collaborative work with small, minority-, women- and veteran-owned businesses.

“For this to be Maryland’s decade, it has to be Baltimore’s time. We cannot have a growing, thriving state if our state’s largest city isn’t growing and thriving too,” said Governor Wes Moore. “Preakness 150 will be more than a celebration—it will help us build a legacy in this city and this state. A legacy of progress; a legacy of opportunity; a legacy of growth and a legacy of leaving no one behind.”

First Lady Moore, Christian Johansson, Belinda Stronach, David Rubenstein, and Michael Hankin will serve as Preakness 150 Festival leadership co-chairs. Maryland Department of Commerce Secretary Kevin Anderson, Maryland Department of Agriculture Secretary Kevin Atticks, and Baltimore City First Lady Hana Scott will serve as honorary festival chairs.

In May, the Board of Public Works approved an agreement to transfer ownership of Pimlico Race Course to the State of Maryland. The historic agreement guarantees the home of the Preakness Stakes in Baltimore and establishes Pimlico as the year-round home of thoroughbred racing in Maryland. The agreement also ensures full renovation of Pimlico facilities, including the racetrack and hotel and event space construction; and a $10 million investment through the Maryland Department of Housing and Community Development to promote housing, job training, workforce development and other local priorities within the Park Heights community.

“The Preakness is a cornerstone of Baltimore’s identity, celebrating our city’s culture and community to the world,” said Baltimore City Mayor Brandon M. Scott. “The Preakness Festival represents a bold vision for its future, providing momentum to other long-term revitalization projects in and for Baltimore. As Mayor and a son of Park Heights, I am incredibly excited that the festival will showcase investments in Northwest Baltimore, focusing on equitable development and job creation while tapping into the very spirit that makes Baltimore Charm City.”

Maryland’s critical equine industry accounts for 25% of the state’s agricultural base, roughly 28,000 jobs, and $3 billion in total economic impact. Festival programming is intended to expand impact not only in the equine industry but also to capture expected growth in major affiliated industries like tourism and hospitality, with even greater impact for local small businesses.

“The Preakness Festival will mark a significant evolution in Maryland’s approach to equestrian events,” said Maryland Sports Commission Executive Director and Sport & Entertainment Corporation of Maryland President Terry Hasseltine. “Our goal is to deliver holistic experiences that will positively impact communities across the state, drive tourism, and solidify Maryland’s reputation as a premier destination for world-class events. We are excited to lead this effort in collaboration with our great partners.”

Initial planning and seed funding for the festival was made possible through the Maryland Lottery’s Major Events Fund. Additional commitments for investment from key businesses and leaders — including David Rubenstein, Co-Founder and Co-Chairman of the Carlyle Group and Chairman and CEO of Major League Baseball’s Baltimore Orioles and Brown Advisory—are helping enhance long-term economic vitality and accessibility for all Marylanders to enjoy future Preakness Festivals.