BmoreArt

This week’s news includes: New Museum Directors Announced at The Peale and The Walters, Galerie Myrtis to represent Bria Sterling-Wilson, The Dutchess in Hampden, Prince’s Designer from Maryland, Ethiopia at the Crossroads honored by Apollo Magazine, Morel Doucet honored by the Harpo Foundation, Black Earth Rising open at the Baltimore Museum of Art, Mucha at the Phillips Collection, searching for artist space in DC, Chrissy Thornton’s opinion piece, and more — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Bria Sterling-Wilson, Wifey Material, 2022, Collaged found imagery, 15 x 12″, Image courtesy of the artist and Galerie Myrtis

The Peale Names John Suau as New Executive Director
Press Release :: December 19

The Peale, America’s first purpose-built museum and Baltimore’s Community Museum, is pleased to announce the appointment of John Suau as its new Executive Director, effective January 6, 2025.

Suau brings over two decades of leadership experience in cultural heritage, museum innovation, and institutional transformation, including the formation of the American Alliance of Museum’s Diversity Coalition. His career includes notable achievements such as revitalizing the Historical Society of Washington, DC into the dynamic DC History Center, where he fostered an innovative partnership with Apple to renovate the museum’s historic building and introduce new community-led programming.

His extensive work with digital platforms for museum interpretation and accessibility, and the development of IDbGLAM—an international portal for galleries, libraries, archives, and museums—further reflects his commitment to expanding engagement with cultural heritage through technology and
partnerships.

“Baltimore has always held a special place in my heart,” said Suau. “From my time as Executive Director of the Mid-Atlantic Association of Museums, based in Baltimore from 2002 to 2006, I came to love this city as a vibrant center for creativity and community. It feels like coming home to step into this role
at The Peale.”

“We are thrilled that John will be guiding The Peale in this next chapter of its 210-year-old story,” said William Chickering, The Peale’s Board President. “His leadership represents both growth and continuity with the mission and vision that have guided the renovation of the 1814 museum building and its relaunch as Baltimore’s Community Museum.”

Outgoing founding director Nancy Proctor, whose visionary leadership has redefined The Peale as a national model for community museums, will remain engaged as a consultant/collaborator to ensure a smooth leadership transition and support The Peale’s continued growth.

“John’s energy and ideas are breathtaking,” said Proctor. “Our goal has always been for The Peale to remain dynamic and inclusive of new voices and directions for the organization. I am excited to continue to support The Peale and engage with Baltimore’s creative communities in new ways through its ever-evolving platform.”

“Building on Nancy’s extraordinary foundation is both a privilege and an inspiration,” Suau added. “Together with The Peale’s talented team and Baltimore’s creative community, I look forward to amplifying the voices and stories that make this city a cultural treasure.”

Under Suau’s leadership, The Peale will focus on expanding community engagement, strengthening partnerships, and advancing its mission to celebrate Baltimore’s history, creativity, and innovation.

Events welcoming Suau to The Peale and its community will be announced in early 2025.

The Walters Art Museum’s ‘Ethiopia at the Crossroads’ named Apollo Magazine’s ‘Exhibition of the Year’
by Marcus Dieterle
Published December 13 in Baltimore Fishbowl

Excerpt: The “Ethiopia at the Crossroads” exhibition that premiered at The Walters Art Museum in Baltimore has been named “Exhibition of the Year” by Apollo Magazine.

Displaying historic Ethiopian artworks and artifacts alongside pieces by contemporary Ethiopian artists, the exhibition explored the interactions of art, culture, and spirituality within Ethiopia and throughout the region.

“With ‘Ethiopia at the Crossroads’, the Walters Art Museum brought the largest exhibition of historic Ethiopian art and culture ever assembled outside the country to viewers in the United States,” Apollo Magazine wrote.

After delays, Tony Foreman’s The Duchess is finally open in Hampden
by Christina Tkacik
Published December 13 in The Baltimore Banner

Excerpt: After years of delays, Tony Foreman’s restaurant The Duchess has officially opened on The Avenue in Hampden.

The former Cafe Hon space is barely recognizable after a painstaking remodel that includes the addition of bespoke wooden booths and benches, copper-top tables and antique furnishings from England.

“I wanted to build a dignified but not formal vessel,” said Foreman, who worked with longtime collaborator Katie DeStefano on the design.

In addition to dinner, the restaurant will serve late-night snacks for the post-theater set leaving downtown venues, as well as weekend brunch, complete with soccer — or “proper football,” as Foreman calls it — on the telly.

… this story continues. Read the rest at The Baltimore Banner: After delays, Tony Foreman’s The Duchess is finally open in Hampden

Prince’s visual style is iconic. Meet the Maryland man who helped design it.
by Leslie Gray Streeter
Published December 12 in The Baltimore Banner

Steve Parke’s brush with greatness began with the stroke of a ballpoint pen against a cocktail napkin. Those pivotal scribblings backstage at a Washington, D.C., club led to working closely with one of music’s most influential geniuses. Hint: His reign was purple. And very funky.

“He made things happen,” said Parke, a former Baltimore resident now living outside Frederick and the longtime in-house art director for one Prince Rogers Nelson, aka His Royal Badness, aka The Artist. In his 13 years in and around Paisley Park, Prince’s Minnesota headquarters, Parke created stage sets, T-shirts, album covers and designs that helped establish the legend’s visual style.

At the Catonsville branch of the Baltimore County Public Library on Thursday, he’ll tell stories of his time with the “Purple Rain” auteur and introduce “Prince: Icon,” a bound collection of images that runs the length of the guitarist, singer and style revolutionary’s career for which Parke served as consultant editor.

The son of a U.S. Army veteran, Parke spent a lot of his youth in Fairfax, Virginia, studying theater at George Mason University and designing posters, programs and sets. After moving to Baltimore as a young adult, he worked retail jobs while pursuing whatever creative projects he could, such as illustration work for magazines and photographing local acts.

One night he photographed Lionel Richie, whose opening act was fierce Prince protégé and percussionist Sheila E. While backstage, he met Sheila’s guitarist, Levi Seacer Jr., and drew a quick sketch on that napkin.

The two exchanged numbers, and Seacer soon called to see if Parke could send paintings to Minneapolis for his new boss, Prince, to see. (That must have been a really great napkin drawing.) “I got a call out of the blue from Prince’s manager at the time saying, ‘Would you come work on a video set?’” Parke said.

So Parke flew from Maryland to Minnesota to meet Prince. “I was trying to hold my fan self back. He told me, ‘I’m heading out, leaving for France in three hours.’” In the meantime, Prince asked, could Parke come up with a design for the video for “Glam Slam,” a song from the “Lovesexy” album? No pressure or anything! “This all sounds like a cliché, but I pulled a piece of illustration board out of the trash, took a colored pencil and started drawing on top. He gave me a thumbs-up, and he left.”

With that, Parke was hired and worked straight “for 72 hours, cranking any caffeine I could. I thought I was going to drop dead of a heart attack.”

He didn’t know if Prince liked the result because “I didn’t hear anything. They [Prince’s team] said, ‘Then you’re good. Keep going.’” Thus began a collaboration with a man whose particular and unusual nature is the stuff of legend.

“He was great sometimes and was not great at other times,” Parke said. “He was a boss and all the things that go along with it. Sometimes he’d go back and forth with you. He could be your boss, or a good friend, and then he could become the biggest persona that anyone who thinks of how Prince would be.”

Once he learned to gauge which Prince he was getting, their working relationship became, well, in sync. “He would call me in my office and say, ‘Hey, come down to the studio,’ and he’d wave me in while he was laying down a guitar track and say, ‘What do you think?’ He shared things with me, gave me insight into where he was musically. It was very, very cool.”

From 1988 to 2001, Parke spent one week a month in Minneapolis and the rest in Baltimore — though Prince wanted him to relocate. “At another time in my life, I would have said, ‘Hell, yes, I’m moving tomorrow’ without asking my wife, which would have been a bad idea,” he said. During his tenure, he did sets, created album covers, hand-painted guitars and even helped redesign Paisley Park to make it look less corporate. “He gave me opportunities I didn’t have anywhere else.”

But when Parke’s son was born it was time to come back to Baltimore full time. “I needed to forge a new path,” said Parke, whose more recent work includes “I, Paparazzi,” a graphic novel from DC Comics. Prince’s camp called him a few times for projects, but Parke said no. “A few days with him turn into weeks. I was trapped by reality.”

Reality came crashing on April 21, 2016, when a friend from St. Paul, Minnesota, called. “He just told me, ‘Somebody found a dead body at Paisley Park,’ and I said ‘I know who it’s not.’ That’s where my brain went,” said Parke, who hadn’t seen Prince in years. “But all of a sudden my phone started blowing up. I was just stunned by it. How do you react? I was like, ‘We’re gonna find out the reporting was wrong.’”

Sadly, the media was right. “In addition to being someone I’d spent a lot of time with, he [Prince] was a huge part of my life before I even met him — when I was a kid, at that time of your life when a musician or an actor can take on a life of their own in your head. And that part was gone, too.”

Parke contributed artwork to the memorials at Paisley Park but didn’t attend any. “I couldn’t deal with it,” he said. But Parke did return for a celebration in 2017 and was struck that, in more than a decade, the singer “had not made changes to the interiors from when we worked on it. He kept it.”

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

Galerie Myrtis is honored to welcome Bria Sterling to its roster
Newsletter :: December 17

Galerie Myrtis is proud to welcome Bria Sterling-Wilson to our esteemed roster of represented artists. Based in Baltimore, Sterling-Wilson is a talented photographer and collagist who recontextualizes found materials to examine the representation and perception of African Americans in society. Her collages combine contrasting elements such as textures, anatomical features, and clothing to celebrate the rich complexity of the Afro-diaspora while reflecting on its often-oppressive historical contexts.

A central theme in Sterling-Wilson’s work is her photography, which captures the everyday lives of Black residents in Baltimore, including intimate portraits of her own family. Recently, she has focused on documenting her grandmother and revisiting her family’s archives as part of her Artist-in-Residence program at Loyola State University for the 2024-2025 academic year.

During her residency, Sterling-Wilson presented the solo exhibition The Sterlings at Loyola’s Julio Fine Art Gallery, in November 2024. The exhibit, praised by The Greyhound, the university’s publication, and WBAL TV-11 News, emphasizes the significance of familial bonds through Sterling-Wilson’s masterful collages. For the remainder of her residency, she will continue her creative exploration and research in the university’s distinguished archives.

Morel Doucet honored with The Harpo Foundation 2024 Visual Artists Grant
Newsletter :: December 14

Galerie Myrtis proudly announces that Morel Doucet is a recipient of The Harpo Foundation 2024 Visual Artists Grant. The Harpo Foundation supports under-recognized artists whose work fosters critical dialogue. Doucet received this grant for his innovative artistry and skillfully weaving powerful narratives about ecology, identity, and social justice. This milestone reflects Morel’s commitment to creating thought-provoking works that challenge perspectives and inspire change.

“The review process for these grants involved 3 rounds of independent review and 13 outside advisors and panelists in the contemporary arts field that rotate annually to assure a fair and equitable process. The Foundation received a record-breaking number of applications, making the selection process difficult, but we could not be more proud to support the work of these 10 artists.” – The Harpo Foundation

Frederick-Gaithersburg-Rockville, MD Ranked #9 Among Top 20 Most Arts-Vibrant Large Communities in the U.S.
Press Release :: December 13

SMU DataArts, the National Center for Arts Research, released its annual ranking of the 40 most arts-vibrant communities in the United States, organized into three separate lists based on community size, which identifies Frederick-Gaithersburg-Rockville as number 9 in the list of 20 Large communities in the United States. The list is based on their 2024 Arts Vibrancy Index, which is developed through a data-driven approach that analyzes the level of supply, demand, and government support for the arts using data available in more than 900 communities across the country. Frederick, along with its neighbors Rockville and Gaithersburg has consistently appeared on the Arts Vibrancy Index since the launch of the rankings in 2015. This year, the Frederick-Gaithersburg-Rockville area is ranked ninth on the annual list of the 20 most arts-vibrant large communities in the nation.

“We are thrilled to have Frederick in the top ten most arts-vibrant communities in the US again this year,” said Louise Kennelly, Executive Director of the Frederick Arts Council.

The Index reflects fluctuations in arts activity, participation, funding, access and employment that occurs in each community; however the Arts Vibrancy Index has consistently shown that highly arts-vibrant communities are dispersed broadly throughout the U.S., with every region of the country represented in the top rankings. This finding arises naturally out of objective analysis of the data, not from any selection of communities to achieve geographic representation. From Ohio to Colorado, New York to Alaska, arts vibrant communities recognize regional artistic diversity and community success.

Highlights from the 2024 Arts Vibrancy Community Rankings:
• Four new communities made it into the Top Arts-Vibrant communities lists this year.
o Syracuse, NY joined the list of medium communities
o Auburn, NY; Branson, MO; Taos, NM joined the list of small communities
• Wilmington, DE returned to the list for the first time since 2020. After being absent from the list last year Newark, NJ-PA and Vineyard Haven, MA returned to the list.
• Seventeen communities have made the list every year since 2015, although many of their rankings have shifted over time.
o San Francisco-San Mateo-Redwood City, CA remains in the top position on the list of large communities.
o Boston, MA ranked in the third spot on the list of large communities, its highest position ever.
o Santa Fe, NM ranked first among medium communities.
o Jackson, WY ranked first among small communities for the fifth year in a row.

“In the face of rising costs, shifting funding sources and long-standing inequities in access, funding and employment, arts communities have continued to demonstrate their resilience and the undeniable richness they bring to towns and cities across the country,” stated Dr. Jennifer Benoit-Bryan, Director of SMU DataArts. “The Arts Vibrancy Index helps the arts community – leaders, businesses, governments, funders – better understand the dynamics of arts activities that occur in local areas. Over the years, it’s been rewarding to see the diverse ways the reports have been used: from funders who use data to analyze how their investments can increase arts vibrancy in the communities they serve to arts leaders who use the reports and interactive maps in their decision-making for relocating their operations or determining markets for touring shows. The Index has been indispensable in shining light on the arts in communities all across the country.”

The Lists
In addition to the top arts-vibrant communities listed in the rankings, all 50 states are compiled in a separate ranking, where New York remains in the top position for 2024. Arts-vibrancy scores for every county in the United States can be viewed on an interactive map that identifies arts and cultural strengths that are present in every community.

Large Communities (population: 1 million +)
On the list of the most arts-vibrant communities with populations of 1 million or more: Boston, MA ranked in the third spot on the list of large communities, its highest position ever; Rochester, NY returns to the Top 20 list following an absence since 2018; and Milwaukee-Waukesha, WI rose to the 14th spot on the list of large communities after their 2023 debut at 18th position.
1. San Francisco-San Mateo-Redwood City, CA
2. New York-Jersey City-White Plains, NY-NJ
3. Boston, MA
4. Washington-Arlington-Alexandria, DC-VA-MD-WV
5. Minneapolis-St. Paul-Bloomington, MN-WI
6. Philadelphia, PA
7. Nashville-Davidson–Murfreesboro–Franklin, TN
8. Newark, NJ-PA
9. Frederick-Gaithersburg-Rockville, MD
10. Austin-Round Rock-Georgetown, TX
11. Chicago-Naperville-Evanston, IL
12. Los Angeles-Long Beach-Glendale, CA
13. Seattle-Bellevue-Kent, WA
14. Milwaukee-Waukesha, WI
15. Rochester, NY
16. New Orleans-Metairie, LA
17. Portland-Vancouver-Hillsboro, OR-WA
18. Denver-Aurora-Lakewood, CO
19. Cincinnati, OH-KY-IN
20. Cambridge-Newton-Framingham, MA

Medium Communities (population: 100,000 – 1 million)
Medium communities are home to populations ranging from 100,000 to 1 million people. Syracuse, NY is new to this list, while Wilmington, DE returned to the list for the first time since 2020.
1. Santa Fe, NM
2. Ithaca, NY
3. San Rafael, CA
4. Pittsfield, MA
5. Kalamazoo-Portage, MI
6. Boulder, CO
7. Missoula, MT
8. Wilmington, DE-MD-NJ
9. Syracuse, NY
10. Ann Arbor, MI

Small Communities (population <100,000)
Small communities are defined as areas with populations under 100,000.  Auburn, NY; Branson, MO; Taos, NM joined the list of small communities while Jackson, WY-ID ranked first among small communities for the fifth year in a row.
1. Jackson, WY-ID
2. Steamboat Springs, CO
3. Juneau, AK
4. Vineyard Haven, MA
5. Branson, MO
6. Brevard, NC
7. Taos, NM
8. Glenwood Springs, CO
9. Hailey, ID
10. Auburn, NY

The Arts Vibrancy Index is composed of 13 unique measures which cover aspects of supply, demand, and public support for arts and culture, and are adjusted for cost of living and population differences among communities. For more information on how the Arts Vibrancy Index is calculated, metrics, data sources, more detail on specific communities and the interactive map, please visit [www.culturaldata.org/what-we-do/arts-vibrancy-index]

ABOUT THE FREDERICK ARTS COUNCIL
The Frederick Arts Council invests in a vibrant and cohesive arts community for the people of Frederick County. The organization fosters an environment where the arts flourish in the community through grants and scholarships, arts advocacy, and links to essential resources. FAC is responsible for large-scale programming such as the Frederick Festival of the Arts, Sky Stage, Frederick Public Art Initiative, FAC Artist Studios, Art in the Park, and Arts in Education grants. For more information about the Frederick Arts Council, visit www.frederickartscouncil.org

ABOUT SMU DATAARTS
SMU DataArts, the National Center for Arts Research, is a project of the Meadows School of the Arts at Southern Methodist University. The mission of SMU DataArts is to provide the evidence-based insights needed to collectively build strong, vibrant, and equitable arts communities. Its research efforts range from academic papers published in leading journals, applied research undertaken with community partners, and actionable insights shared directly with arts practitioners. Its programs provide business intelligence tools and resources to help arts leaders leverage data to answer critical management questions and connect research analyses to their own work. Recent publications include research reports on the scope of federal COVID-19 relief funding for the arts; national operating trends for arts and cultural organizations  the alchemy that drives high performing arts organizations of color; audience diversity, equity and inclusion in large performing arts organizations; impact of investments made in diverse creative communities; and more.

Walters Art Museum Appoints Kate Burgin as Executive Director and CEO
Press Release :: December 16

The Walters Art Museum’s Board of Trustees today announced the selection of Kate Burgin as the museum’s new Executive Director and CEO, following a seven-month national search. Burgin currently serves as President of the Talent Stream division at Catalyte, Inc., a Baltimore-based technology services and workforce company. Prior to joining Catalyte in 2022, Burgin served in several executive positions at the Walters beginning in 2016. In her most recent role at the Walters, Burgin was Deputy Director of the museum. She succeeds Julia Alexander, who served as director from 2013 until October 2024. Burgin will start in her new role as the Andrea B. and John H. Laporte Director in late-January 2025.

“I am thrilled that Kate Burgin will join the Walters as our new Executive Director and CEO,” said Peter L. Bain, President of the Walters Art Museum’s Board of Trustees. “It is truly extraordinary that among the remarkable pool of candidates—distinguished by their exceptional quality, diverse experiences, and impressive expertise from across the nation—the ideal choice for this vital role was right here in Baltimore. Kate’s vision, leadership, and deep connection to our institution make her uniquely suited for this position. Having spent several years away gaining valuable experience in other sectors, she brings fresh ideas and innovative approaches that will undoubtedly help advance the Walters’ mission.”

Added Sheila Vidmar, Walters Trustee and Chair of the Search Committee, “This was a highly competitive national search, and Kate emerged as the clear and unanimous choice. Her passion for the arts and their ability to enrich lives, combined with her deep commitment to Baltimore, made her stand out among an impressive field of candidates. We are excited to welcome her back to the Walters and are confident that her leadership will have a transformative impact on the museum and the broader community.”

In Burgin’s current role at Catalyte, she leads the company’s apprenticeship and workforce division that helps organizations build high-performing workforces, and expands career opportunities in technology fields for individuals coming from underrepresented communities. Under her leadership, the company increased its job training and apprenticeship offerings, and established new partnerships with Fortune 500 companies and the public sector. Burgin also led Catalyte’s partnership with the State of Maryland on an innovative workforce initiative to create new technology apprenticeships in state and local governments.

During her prior tenure at the Walters, Burgin led a series of transformational initiatives for the museum, including the development and initial implementation of a new diversity, equity, accessibility, and inclusion (DEAI) plan, and the successful completion of a $10 million capital fundraising project. Working with the Executive Director and other members of the museum’s leadership team, Burgin created new Visitor Experience and Learning & Community Engagement departments to increase outreach to the wider Baltimore community.

“The Walters Art Museum is an essential part of the arts and culture ecosystem in Baltimore and the State of Maryland, and I am deeply honored to lead this great institution,” said Kate Burgin. “When I joined Catalyte in 2022, I never imagined that this opportunity would present itself. My experiences outside the museum field have provided me with a broader perspective and the flexibility to approach opportunities differently–whether by rethinking job training and mobility, developing partnerships with an array of businesses and organizations, or engaging in and working to support our city’s and state’s goals to grow Baltimore as a vibrant cultural destination. I am excited to work alongside the exceptional team at the Walters to shape its future as a dynamic, inclusive, and forward-thinking institution dedicated to preserving and presenting its exceptional collections and exhibitions for our entire community.”

Burgin’s earlier career included roles at TDC, a nonprofit consulting firm where she served as Senior Vice President, Director of Research and Special Initiatives, and at Boston Consulting Group, where she was a Consultant, Project Leader, and Learning & Development Manager between 2008 and 2014. She holds an MBA from Harvard Business School and a Bachelor of Arts degree, magna cum laude, in History and Literature from Harvard College. A Baltimore City resident, she currently serves on the Board of Directors for the Greater Baltimore Committee representing Catalyte, and as a Trustee for the Bryn Mawr School. Between 2023 and 2024, Burgin served on the Board of Trustees of the Walters Art Museum, formally recusing herself from Board business once her interest in the museum’s Executive Director position advanced.

The Walters Art Museum’s search process began in April, when then-Executive Director Julia Alexander announced her appointment as the President of the Samuel H. Kress Foundation; she formally departed the museum on September 13. The Search Committee of the Board of Trustees, led by Sheila Vidmar, and including six other trustees, selected Russell Reynolds Associates to lead the national search. Russell Reynolds had 22 candidates from across the country express interest in the position. From this group, seven of these were interviewed virtually, narrowing to a final group of four who were invited to participate in in-person interviews.
About the Walters Art Museum
The Walters Art Museum is a cultural hub in the heart of Baltimore, located in the city’s Mount Vernon neighborhood. The museum’s collection spans more than seven millennia, from 5,000 BCE to the 21st century, and encompasses 36,000 objects from around the world. Walking through the museum’s historic buildings, visitors encounter a stunning panorama of thousands of years of art, from romantic 19th-century images of French gardens to mesmerizing Ethiopian icons, richly illuminated Qur’ans and Gospel books, ancient Roman sarcophagi, and serene images of the Buddha. Since its founding, the Walters mission has been to bring art and people together to create a place where people of every background can be touched by art. As part of this commitment, admission to the museum and special exhibitions is always free.

BMA to Present Black Earth Rising, Exploring Ties Between Contemporary Climate Crisis and Colonialism
Press Release :: December 17

On May 18, the Baltimore Museum of Art (BMA) will open Black Earth Rising, a timely exhibition that examines the connections between the climate crisis and colonialism through profoundly beautiful works by contemporary African diasporic, Latin American, and Native American artists. Organized by celebrated curator and writer Ekow Eshun, the exhibition features some of today’s most acclaimed artists, including Firelei Báez, Alejandro Piñeiro Bello, Frank Bowling, Teresita Fernández, Todd Gray, Sky Hopinka, Wangechi Mutu, Yinka Shonibare, and Jaune Quick-to-See Smith. Together, their works highlight the ways that artists of color are engaging with the splendor of nature as a means of liberation and reclamation, while also offering audiences opportunities to consider the historical trajectory of today’s climate crisis. Black Earth Rising is a ticketed exhibition organized as part of the BMA’s Turn Again to the Earth initiative, which explores environmental issues through a range of exhibitions and programs, as well as sustainability planning. It will remain on view through September 21, 2025.

“As the world grapples with one of the most pressing issues of our time, I couldn’t think of a better interlocutor than Ekow to bring this necessary exhibition to our audiences. Black Earth Rising brings forward the boundless imagination and perspectives of incredible artists and urges us to rethink climate change through its historical roots,” said Asma Naeem, the BMA’s Dorothy Wagner Wallis Director. “Black Earth Rising will also stir the senses and pull on our consciences, and hopefully provoke us to new pathways of understanding and action. Each of the exhibitions in Turn Again to the Earth are polyphonic, at turns joyful and sobering, and for all of our community, no matter your background.”

Black Earth Rising positions artists of color as central to our understanding of climate change. The paintings, sculpture, film, and works on paper created by the featured artists grapple with the impacts of cultural displacement and the legacies of slavery, and at the same time, many of these artists find healing, liberation, and transcendence in nature. In this way, artists are uniquely positioned to shift the direction of environmental conversations—by both reflecting on the persistent ramifications of colonialism and celebrating the power of nature to offer experiences of extraordinary beauty, joy, and respite. The artworks in the show are as vividly colored, dynamic, and ecstatic as they are thoughtful and moving. They inspire optimism even as we confront the history and future of climate change.

The exhibition’s name is taken from terra preta—Portuguese for “black soil”—which refers to a type of fertile earth found in the Amazon Basin that was created by ancient Indigenous civilizations many thousands of years ago through a process of intentional soil management.

RAL’s 10th Annual Regional Juried Photography Exhibition Opens the League’s 2025 Season
Press Release :: December 17

Ring in the new year with three exciting exhibitions at the Rehoboth Art League. Opening January 10 will be the “10th Annual Regional Juried Photography Exhibition,” “Flowers in Ice: Works by Kathryn Harris: Juror and Awards Judge,” and “Recent Acquisitions: Works of art acquired by purchase, donation, or promised gift to RAL’s Collections.”

On the evening of January 10th from 5-7 pm, the art league will host an opening reception for all three exhibitions, inviting anyone interested to visit the Corkran, Tubbs, and Ventures galleries to see these new shows.

From January 10 to February 2, the Corkran Gallery will be displaying the “10th Annual Regional Juried Photography Exhibition.” This yearly show invites artists from Delaware, Pennsylvania, Maryland, Virginia, New Jersey, and Washington DC to submit their latest photographic work. This year’s artists were selected for the exhibition from a large pool of applicants, and their work represents a wide array of techniques and content, from traditional modernist approaches to contemporary and alternative media. The exhibiting artists include Cathy Anderson, Gary Bank, Joseph Barbella, Scott Becque, Carol Bell, Linda Benzon, Debbie Blair, Patrick Brown, Drew Burslem, Bill Crnkovich, Geri Dibiase, Kevin Dunn, Robert Fleming, Andy Gordon, Vladimir Grablev-Dorian, Paul Hammesfahr, Chris Hardee, Michael Hower, John Hoyt, Lesley Husband, Claire Ingley, Diana Itter, James Luciana, Dave Magyar, Matt Makara, Barry Matus, Judith Picciotto, Lorraine Quinn, Cheryl Riexinger, William Robinson, Kenneth Rose, Guillermo Silveira, Jean Spratt, Peter Treiber, Rich White, John Yeatman Jr, Rob Zane.

The exhibit is juried and judged by local photographer, Kathryn Harris. Harris, who also has a solo show in the Ventures gallery, will award $900 worth of prize money to selected artists. She will be hosting a free public Gallery Talk on January 11 at 10 am in the Corkran Gallery, where she will discuss her award decisions and her own career as an artist.

The Rehoboth Art League is pleased to present an exhibition of artwork from its permanent fine art collection, which includes pieces never before seen by the public. From January 10 to March 9, the Tubbs Gallery will showcase “Recent Acquisitions: Works of art acquired by purchase, donation, or promised gift to RAL’s Collection,” an exhibition curated with the assistance of the league’s Collections Committee members. The Rehoboth Art League is one of only a few actively collecting art institutions in Delaware. The collection contains over 1000 items, which include works of art in various media; colonial furniture; artifacts and decorative art collected by the Corkran’s when they resided in the Homestead, as well as an array of RAL’s organizational archives.  The collection maintains a focus on mid-20th century works of art created by notable artists such as Ethel P.B. Leach, William Leach, Orville Peets, Jack Lewis, Howard Pyle, Edward Grant and Howard Schroeder, to name a few.

Finally, Kathryn Harris’s solo photography exhibition, “Flowers on Ice,” will be in the Ventures Gallery from January 10 to February 2. Passionate about photography from childhood, Kathryn continues to explore the medium as an artist. “Flowers on Ice” features new images from Harris, capturing her current interests and photographic techniques. She is an active member of the Coastal Camera Club and has exhibited her work regularly around the region. She says of her photographs: “Exploring the subtleties and interactions of my visual world excites me and photography provides a means for doing this.  The photographic frame provides limits and focus for attention which allows me to appreciate details not otherwise noticed.”

We invite the public to an opening reception for all three shows on Friday, January 10, from 5-7 pm. The exhibitions are free and open to everyone during the regular gallery hours of Monday through Saturday, 10am to 4pm and Sunday, noon to 4pm.

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 exhibits, classes, memberships, events and more, please visit its website at RehobothArtLeague.org or call 302.227.8408. You can find them on Facebook and Instagram @RehobothArtLeague.

The Phillips Collection Presents Timeless Mucha: The Magic of Line
Press Release :: December 18

The Phillips Collection, in collaboration with the Mucha Foundation, announces the North American tour of Timeless Mucha: The Magic of Line, a groundbreaking exhibition that reappraises the work and influence of artist Alphonse Mucha (1860–1939). Organized by the Mucha Foundation, this major exhibition will premiere at The Phillips Collection in Washington, DC, on February 22, 2025, and will be on view through May 18, 2025. The exhibition will then travel to the New Mexico Museum of Art, Sante Fe, NM (June 20–September 20, 2025); the Boca Raton Museum of Art, Boca Raton, FL (November 19, 2025–March 1, 2026); the Nelson-Atkins Museum of Art, Kansas City, MO (April 11–August 30, 2026); and the Museo Kaluz, Mexico City, Mexico (October 8, 2026–February 8, 2027).

Timeless Mucha surveys Mucha’s revolutionary contributions to graphic design and explores the enduring influence of his signature style, rediscovered by later generations of artists. Featuring over 100 works, the exhibition traces Mucha’s artistic evolution—from his early training to his emergence as a leading figure of the Art Nouveau movement—showcasing his intricate linework, flowing forms, and highly stylized designs that transformed poster art, commercial illustration, and visual aesthetics worldwide. In the 1960s, Mucha’s distinctive style found new life in the vibrant poster art of the counterculture movement—becoming a trademark of psychedelic rock posters and album covers, influencing iconic bands like the Grateful Dead and The Rolling Stones—as well as comic books, Japanese manga, and murals.

“We are thrilled to host the North American debut of this important exhibition, which demonstrates how Mucha’s revolutionary style continues to resonate across diverse artistic genres and generations,” says Jonathan P. Binstock, Vradenburg Director & CEO at The Phillips Collection. “By pairing Mucha’s iconic art with contemporary works influenced by his vision, this exhibition speaks directly to the Phillips’s legacy commitment to showcasing the history of modernism, from its roots in the past to its most recent expressions.”

Organized into thematic sections, Timeless Mucha delves into Mucha’s foundational studies, shaped by his Moravian boyhood, classical training in Munich and Paris, the vibrancy of fin-de-siècle Paris, and his relationships with Paul Gauguin and other artists, all of which influenced his unique artistic style. A key moment in Mucha’s rise to fame was his collaboration with French actress Sarah Bernhardt, whose theatrical portraits propelled both of their careers to new heights. The exhibition also focuses on his groundbreaking posters and designs that elevated the graphic arts to a respected art form. Inspired by botanical forms, Mucha’s sinuous, organic style and alluring women—often called le style Mucha—defined the visual aesthetic of the early 20th century. Widely accessible to the public through advancements in mass production and a flourishing publishing industry, Mucha’s magazine covers, books, postcards, decorative panels, calendars, and more became part of everyday life. “Art is… as eternal as man’s progress… Art is therefore in a continuous state of development,” stated Mucha. The artist’s designs formed a template for the Art Nouveau movement, influencing both the artistic and commercial realms.

“Alphonse Mucha’s designs were grounded in his belief that beauty could speak directly to the soul,” says Tomoko Sato, curator at the Mucha Foundation. “For Mucha, art was about more than technique—it conveyed moral and emotional depth, making it accessible to all. Through harmony of line, color, and proportion, his work evoked emotions and created a dialogue between the viewer and the piece, blending aesthetics with a purposeful message.”

“Mucha’s pioneering posters were more than advertisements; they were a means to make art part of daily life,” says Renée Maurer, associate curator at The Phillips Collection. “Through his designs, Mucha created moments that resonate, and his legacy lives on in the way we experience beauty and emotion through line and form.”

Other sections examine how Mucha’s work was rediscovered by later generations of artists. His fluid lines and decorative elements became a hallmark of 1960s psychedelic rock posters and album covers, influencing iconic bands like the Grateful Dead, Jefferson Airplane, and The Rolling Stones. Mucha’s visual language also made a lasting impact on Japanese manga, where his stylized forms can be seen in the work of artists such as Hideko Mizuno, one of the first successful “shojo manga (girls’ comics)” artists in Japan, and others. Underscoring his enduring influence, the exhibition will pair classic Mucha works with contemporary examples they inspired, from the cover of a 1969 album for Diana Ross & The Supremes to Joe Quesada’s comic book illustrations. The show will feature a diverse array of posters, drawings, book illustrations, and designs, as well as artifacts from Mucha’s personal collection, including Japanese prints, and works that decorated his studio, which he called a “Cathedral of Beauty.”

Timeless Mucha celebrates Mucha’s creative genius and offers an in-depth look at how his revolutionary style transformed graphic arts. The balance between commercialism, accessibility, and the power of decorative beauty remains a signature of his legacy.

VENUES & DATES

The Phillips Collection: February 22–May 18, 2025

New Mexico Museum of Art: June 20–September 20, 2025

Boca Raton Museum of Art: November 19, 2025–March 1, 2026

Nelson-Atkins Museum of Art, Kansas City, MO: April 11–August 30, 2026

Museo Kaluz: October 8, 2026–February 8, 2027

EXHIBITION ORGANIZATION & SUPPORT

The exhibition is organized by the Mucha Foundation and curated by Tomoko Sato, curator at the Mucha Foundation. The coordinating curator for the presentation at The Phillips Collection is Renée Maurer, associate curator at the museum.

The presentation of this exhibition at The Phillips Collection received essential support from Robert and Debra Drumheller and Paul W. Killian and Carole Goodson.

EXHIBITION CATALOGUE

The exhibition is commemorated with a beautifully illustrated catalogue produced by Mucha Foundation Publishing in collaboration with ARTBOOK | D.A.P. Featuring insightful contributions from Tomoko Sato, curator at the Mucha Foundation; Kelli Bodle, associate curator at the Boca Raton Museum of Art; Camille Brown, associate curator at The Phillips Collection; Aimme Marcereau Degalan, senior curator of European arts at the Nelson-Atkins Museum of Art; and Christian Waguespack, head of curatorial affairs and curator of 20th century art at the New Mexico Museum of Art in Santa Fe, the catalogue offers commentary on Alphonse Mucha’s legacy and influence.

DC Artists Continue the Search for Space in an Ever-Changing Landscape
by Carolyn Toye
Published December 18 in East City Art

Excerpt: For about four years, from 2012 to 2016, Union Arts DC was home to countless visual and performing artists in the city. While operating under the name Union Arts DC from 2012-2016, the space had housed artists as far back as the 1980s. This beloved artist space, located in a warehouse at 411 New York Avenue, NE, held art studios, galleries, rehearsal halls, even a recording studio. On any given day, visitors could enjoy art exhibitions, live music, and open mics.

“I felt like I was there at least every other week, sometimes multiple times in the same week,” recalls Adrian Ferguson, owner of Art of Noize, a multi-purpose artist studio in Petworth. “Union Arts was the ‘art epicenter’ of the city.”

ABC CEO Takes a Stand Against Biased Media Coverage, Proposes Coalition for Change
Press Release :: December 18

Chrissy Thornton, President and CEO of Associated Black Charities (ABC), has issued a powerful response to the media following a recent local media article in the Baltimore Brew that inaccurately reported on a duplication of a grant approved by the Baltimore City Council for ABC. In her opinion piece, titled “Let’s Leave Healthy Holly in 2024, Shall We?”, Thornton calls attention to the harmful impact of outdated narratives and biased portrayals of Black leadership, while highlighting the need for accountability and balance in media coverage.

The article, initially framed as a critical exposé, later unceremoniously published a follow up piece that revealed that its concerns stemmed from a simple clerical error by the City Council. However, Thornton’s frustration stems not only from the rushed nature of the reporting but also from the article’s failure to recognize ABC’s progress under her leadership. Rather than focusing on the grant’s potential to support Black communities, the article dredged up references to past controversies associated with ABC, undermining the organization’s current achievements.

Thornton also expressed her disappointment with the dismissive way the article characterized her leadership, reducing her extensive professional credentials to “former real estate investor and motivational speaker,” while omitting her advanced academic qualifications, leadership roles, and numerous accolades. She sees this as part of a larger pattern of media bias that undervalues the contributions of Black leaders, especially Black women.

“The pervasive pattern of dismissiveness toward Black leaders is no accident—it is intentional,” Thornton said. “Media bias that devalues Black leadership and perpetuates outdated narratives harms not just organizations like ABC, but the communities we serve. It is unacceptable for media platforms to amplify critiques and propaganda against Black leaders, organizations, and efforts without giving equal attention to their achievements and change-making.”

In her response, Thornton issued a call for accountability, condemning the media outlets that amplify these stories without providing fair and balanced coverage.  She emphasized that if the media continues to ignore the positive work of Black organizations and leaders, that she personally, along with ABC and its allies would respond accordingly.

Recognizing the critical need for accurate and equitable reporting, Thornton plans to announce a new initiative spearheaded by the Black Leadership Circle (BLC), an auxiliary group powered by ABC. In early 2025, the BLC will convene local and regional media outlets to establish a Coalition for Trustworthy News and Information Sourcing for Black Communities. This initiative will promote collaboration with media outlets that demonstrate a commitment to fair reporting on Black communities while holding others accountable for perpetuating harmful biases.

“This coalition will stand as a resource for amplifying media that genuinely cares about Black causes and advancing narratives that reflect our progress and resilience,” Thornton said. “By building partnerships with trusted outlets, we aim to restore trust and ensure our stories are told with dignity and respect.”

Thornton also used her opinion piece to highlight ABC’s significant strides under her leadership. The organization, which will celebrate its 40th anniversary in 2025, has redefined itself as a powerhouse for advocacy and action. In 2024 alone, ABC hosted over 100 events and engagement activities – both virtually and in person, advancing initiatives in education, workforce, housing, health equity, and criminal justice reform. Despite these achievements, Thornton noted that some local media outlets too often overlook ABC’s impact in favor of outdated narratives.

“The work ABC is doing today is transformative,” Thornton said. “We refuse to let lazy journalism obscure the incredible progress and impact we’re making. The Healthy Holly references are part of the past and have no relevance to the forward momentum of this organization.”

Thornton’s call for a more responsible media landscape reflects ABC’s broader commitment to equity and justice. As ABC continues its mission to empower Black communities, the organization challenges the media to evolve alongside it, promoting stories of resilience, leadership, and transformation.

To read the full opinion piece, “Let’s Leave Healthy Holly in 2024, Shall We?”, visit https://bit.ly/abchh or follow ABC on social media.