Visual Art

Visual Art

The visual journalist and arts administrator highlighting creatives of color and forging communities

“I’m just going to trust my hand to do what it wants to do while I’m having this conversation and not have to go back with a fine-tooth comb to make it perfect.”

Making sense of a "torrent of content" at von ammon co

The exhibition is framed as a “gravitational field” of signs and symbols in which our relationship to the production of meaning is precarious by design. 

Bria Sterling-Wilson: Issue No. 1 at Full Circle Gallery

Subverting mandated or established pasts, Bria Sterling-Wilson proclaims new realities for the inhabitants of her collaged universe—and for herself.

ICA Baltimore's Flat File Program offers a wide range of materials, styles, and price points

ICA Baltimore is a volunteer-run art space that looks to promote the professional development of Baltimore and regional visual artists through our programs.

Inspired by gothic literature and speculative fiction, Allen’s photos conjure a sense of home, safety, and agency

The circle is a ritual space of release, love, gratitude, bliss, and praise, and memories of this ritual come flooding back when looking at photographs by Sydney J. Allen. 

The future is unclear, but making and experiencing art is more essential than ever

These ten exhibits of 2020 provide a fractured but highly ambitious roadmap, messy and democratic and full of brilliant tangents, the perfect puzzle for a precarious and undetermined future.

Seeing the paintings in “I Can’t Wait To See You” is a synesthetic event

Looking at Sahlehe's paintings feels like listening to Solange’s When I Get Home, Alice Coltrane’s Journey in Satchidananda, and Pharoah Sanders’ "Harvest Time."

A performance protest featuring a cast of Baltimore-based artists and bright yellow paint

Zohore’s new performance, enacted across the street from the BMA’s iconic marble steps, co-opts the literal subject of Da Vinci’s “The Last Supper” and considers the museum’s deaccessioning through the lens of religious sacrifice.

BmoreArt's print journal examines power within the context of individual art practices, communities, and institutional structures

Issue 10: Power is BmoreArt's second print journal released since Covid-19 closures

Laurie plays with borders and fences, flat spaces and wide-open ones that look like anywhere and nowhere at once

"I try to stress that all the real work in art-making is in the practice and the learning from those little failures along the way."

Diptychs from February 2020, capturing moments just before the shutdown, and the months that have followed

"I think of them as meditations on how injury is unavoidable and what that means for how we care for one another."

The exhibition title, Skully, comes from a popular game Owens played as a child in Druid Heights, just a mile away from Bolton Hill, the site of CPM, a new art gallery

Viewed as movements, these abstracts are maps that retrace Owens’ process, the steps he took to arrive at the finished series.

A White Artist Examines A Personal and Collective Legacy of White Privilege

This artwork skips the fraught emotionality of white people’s coming into consciousness about the constructs of race and the iterations of racism, and instead leads the viewer straight into an intellectual headspace.

Ito's work tells how people were affected by nuclear warfare, and how we could be affected again

Born in Tokyo and based in Baltimore, Ito understands himself as a collection of opposites and pursues both sides of those narratives through his open-ended and expansive photography practice.

'Black Futures’ explores what it means to be Black and alive right now

While forward-thinking, Black Futures is simultaneously about Black pasts and Black presents.

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