“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.”
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.
ICA Baltimore is a volunteer-run art space that looks to promote the professional development of Baltimore and regional visual artists through our programs.
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.
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.
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."
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.
"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."
Viewed as movements, these abstracts are maps that retrace Owens’ process, the steps he took to arrive at the finished series.
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.
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.