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.
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.
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.