Arts Writer
Laurence Ross is a Baltimore-based writer and educator. He received his MFA from the University of Alabama where he served as the Creative Nonfiction Editor for Black Warrior Review. His essays have been published in magazines and literary journals such as Pelican Bomb, The Georgia Review, Brevity, and The Huffington Post. In 2014, Ross served as the Director of P.3Writes, an educational program in conjunction with U.S. Art Triennial Prospect New Orleans. In 2020, he curated his first visual art exhibition at Woodland Pattern in Milwaukee, WI. Contact: [email protected]
An Artist Whose Collections Weave into Her Art
Though the first floor of Franklin's home is filled with art, there are no defined boundaries that separate the art in her collection, the art she herself makes, her collections in progress, and the more ordinary articles of her life.
The final screening is June 11 at the SNF Parkway Theater
The final three screenings are fitting, as they amplify the voices of many regional artists, Baltimore’s youth, and the complex beauty of the city itself.
In TLaloC’s 'Orbis Tertius: Hlaer to Jangr,' vibrant inflatable pieces filled the space from floor to ceiling, gleaming like alien objects, their purpose and meaning inscrutable.
In an economic and political environment where artists are accustomed to scarcity, the notion of excess space is indeed otherworldly.
The city-wide triennial features site-specific work responding to New Orleans, the American South and, often as a result, issues of environmental, economic, and racial justice
With 17 different venues and a map in hand, I moved in currents and countercurrents over the course of my 11-day visit and still didn’t see it all.
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.
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.
How do we break free? Giving our full attention seems a good place to begin.
Polyphemus, on view at Goucher College’s Silber Art Gallery, is an installation that takes its title from Homer’s Odyssey.
Nothing happens without the audience in The Institute for Counterfeit Memory, a play that arrives in a cardboard box
The experimental nature of this play is not simply for the sake of experiment but to highlight all of our assumptions that make us comfortable and therefore passive, forgetful, and complicit.
In Church’s world, bodies are much more likely to remain isolated than to touch
Now the textures of the art I have collected are more real, more tangible, than the textures of human faces.
If a good performance is one that resonates, then Collective Dreaming at MICA’s BBOX theater March 6 and 7, was spectacular, as the COVID-19 pandemic has made the performance unexpectedly relevant and poignant.
If a good performance is one that resonates, then Collective Dreaming at MICA’s BBOX theater March 6 and 7, was spectacular.
Lola Pierson's opera, with music by Horse Lords, finds humor in incomprehension
Lola Pierson, who wrote the text and directed the show, frequently had the audience laughing—often at the very confusion that opera (and language) might perpetuate.
Tragicomedy seems a fitting genre for a show about witchcraft, for what is more magical than being more than one thing at once?
As Budenz makes clear at the beginning of the show, there has always been some version of a fuckboy, always someone trying to slide into your DMs.
