Executive Director & Publisher
Cara Ober is an artist, arts writer, curator, and the Executive Director and Publisher at BmoreArt, Baltimore’s platform for art and culture, which includes web and print publishing, artist books, a gallery, and events series. She writes regularly about artist, museum, and material culture, with emphasis on context and subtext in the art world. In 2022, Ober was awarded the Sue Hess Legacy Arts Advocate of the Year Award in MD.
In 2019, she was awarded a Rabkin Art Writers Grant and was commissioned by the Warhol Foundation to write “Artspeak and Audience” for Common Field’s Field Perspectives Series. In addition to her regular writing and editing for BmoreArt, Ober has published articles in New York Magazine, Hyperallergic, Burnaway, Art Papers, ARTnews, and currently writes a monthly art column at The Baltimore Banner.
Cara has taught and lectured at MICA, Johns Hopkins, American University, UMBC, and Goucher College. She holds an MFA in painting from MICA and a degree in fine arts from American University. You can email her at [email protected]. (Photo Credit: E. Brady Robinson)
No matter your relationship status, the perfect Valentine’s Day gifts that support local creative businesses
A shopping list of twelve Valentine's Day gift options, all made in Baltimore
Why doesn’t Baltimore’s collecting institution buy more art from the artists who live and work here?
You would think that I would be on the same page as our major collecting institution in Baltimore, but I do not understand their “art math.”
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.
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.
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
Diversity, Equity, and Inclusion Require Structural Change and Transparency in the Way Museums Acquire and Sell Art
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?
The letter indicates conflicting understanding within the BMA itself about the justification for the deaccessions
A group of former trustees and members of Baltimore Museum of Art’s accessions committees sent a letter to Maryland Attorney General Brian E. Frosh requesting that their offices investigate the BMA for its recent decision to deaccession three major works.
Schaun Champion's romantic outdoor photos of Black men and women wearing floral crowns are the images we need right now
The series came from the artist's question: has anyone seen a black flower? No one could give her an answer, but she knew they existed.
Limitations and strategies for art prizes and digital exhibitions during a global pandemic
Conversations with the 2020 Sondheim Finalists: Miguel Braceli, Hoesy Corona, Phylicia Ghee, LaToya Hobbs, Muriel Hasbun, and strikeWare
NMWA’s collecting practices have significantly diversified the art world since 1987
NMWA’s recent acquisitions include 166 photos by Mary Ellen Mark, a mixed-media portrait by Delita Martin, three large-scale photos by Rania Matar, and a six-foot-long chandelier by Joana Vasconcelos
Photos by Devin Allen, Shae McCoy, Elena Volkova, Philip Muriel, Randall Scott, and Kyle Pompey
Ethics and expression through photos of protest
