Studying Bourgeois next to Maghazehe, the theme of rupture emerges again and again
Both women are primarily known for their work in sculpture, and that tactile sensibility easily translates to these textured two-dimensional pieces.
Building an archive of everyday Black life and culture
A conversation with conceptual artist and photographer Larry Cook and gallery owner/director Myrtis Bedolla
The 2020 Sondheim winner talks about balancing family and studio time, portraiture as power, and symbol systems
Hobbs is the rare sort of person who sets intentions and actually accomplishes them, who revels in being busy and can forgive herself when she falls short of her own extremely high standards.
Milad’s cryptic and deeply personal archive of gathered fragments invites viewers to exist in a state of suspended misunderstanding
Through a rich accumulation of visual, textual, and symbolic content, Milad invites us to struggle with the act of making meaning as well as our desire to know, understand, translate, and thus take ownership of her pieces.
This exhibit of African ritual objects explores gender fluidity through the creative force of the mother
This exhibition proves that gender is not a universally held construct.
On the photographer's Kubrickian control of color and shape
"I feel like I spend a lot of time observing non-traditional artistic objects, and I consider them art."
Edgar Reyes: Fragments at VisArts
As his family’s own historian, Reyes seems invested in keeping and sharing their stories with great care in a multifaceted way.
Baltimore painter Jerrell Gibbs on the myth of failure, the art scene's evolution, the seduction of paint and more
Gibbs' obsession with the topic of painting sits so close to the surface, he is absolutely gleeful to get into it.
The scholarship, writing, art, and curatorial practice of lifelong friends Leslie King Hammond and Lowery Stokes Sims
For almost fifty years, the scholarship and curatorial endeavors of Leslie King Hammond and Lowery Stokes Sims have built a legacy of excellence and diversity at museums and colleges
Photos of protest during the Trump years
Far from a comprehensive depiction of any one type of protest, Giordano focuses on the signs and symbols, human figures and crowds, to create a multi-faceted portrait of a movement and sometimes, a counter-movement.
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.
