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While forward-thinking, Black Futures is simultaneously about Black pasts and Black presents.
What we miss the most, what we're leaving behind, and what we're bringing with us post-pandemic
Each of Towns’ quilts in this series is named after a different African-American spiritual song, the roots of which run deep in the Black church and in the Black southern art tradition as well.
Betty Cooke's jewelry, most of it composed of simple line work constructed in sterling silver, is elegant, timeless, and remarkably wearable.
Installed in the mansion, the works are loosely grouped thematically by floors and rooms, tackling themes of segregation, women’s rights and suffrage, colorism, voter suppression, immigrant rights, and white supremacy.
Polyphemus, on view at Goucher College’s Silber Art Gallery, is an installation that takes its title from Homer’s Odyssey.
Barber's 2017 video piece “3 Peonies,” featured in the BMA’s virtual Screening Room, is like watching a dream play out, feeling both familiar and surreal.
This summer he wrapped up his fourth mural with students in Baltimore, which prompts him to describe himself as a “painter who makes mixed-media work that often involves community.”
The colorful abstract paintings of Linling Lu at Hemphill Fine Arts in Washington, DC seemed at first to be formal abstractions but expanded into spiritual, cultural, and personal visions.
It’s a treat to be able to experience Amussen’s work in person during Covid restrictions, in a multifaceted exhibition at Ladew Topiary Gardens in Monkton.
Christmas is an immovable force in the Baltimore arts landscape, a textbook multihyphenate mother, dancer, producer, and the founder of the nonprofit arts organization Muse 360 Arts.
A group of printmakers, educators, neighbors, innovators, and curators are using their platform to bring outdoor art and culture events to different neighborhoods in Baltimore City.
Copeland's collection is a reflection of the depth and width of her 30-year career in museums: contemporary art, functional works traditionally sidelined as craft, and objects of historical importance for what they remind us about where we come from.
Once an institution starts viewing its collection as revenue-generating assets, how does it reconcile its obligation to the artists it has collected in the past and the curators who made the decisions to collect the art?
Gatewood's photos function as moments of healing, which build up to create a more conscious future.