All Articles
“There’s a rhythm to the garden. You wanna be able to look at it and your eye feels at ease.”
On taking things apart to put them back together
Featuring Jackie Andrews, Mara Colecchia, Nicole Dest-Forrester, Caitlin Duckwall, Luci Jockel, Andy Lowrie, Kerianne Quick, Sarah Parker, Risa Reyes, and Ashlee Wetta.
No longer an athlete, or even a die-hard sports fan, Donahue is more concerned with the storytelling aspects of sports.
The rich patina of age and nature upon the original structure, a significant work of art in itself, elevates the unique contributions of contemporary artists to this region.
After four decades working in Baltimore County art education, Linda Popp focuses on her art, investigating relationships and the concept of time and place through mixed media.
To arrive at their resting place, items found at the bottom of a privy had to fall often ten or more feet, often out of someone’s back pocket, the same way many of us have dropped a cellphone in the modern toilet.
The objects Tierney employs trigger memories and personal associations, but they also represent systems, histories, industries and labor, and the environmental impact of it all.
To list the items that Riddleberger has saved from landfills would take a building as large as the 1885 gas company “valve house” in South Baltimore where he keeps his collection of curios: an architectural salvage business called Housewerks.
There is more than the single story of the material; there is usually a personal tie-in, a cultural or historical reference the viewer can also pick up on if they engage with it.
Timmons is especially drawn to pieces rendered by artists based in or affiliated with Baltimore: Amy Sherald, Elizabeth Talford Scott, Jerrell Gibbs, Mequitta Ahuja, Derrick Adams, and Devin Allen, among many others.
Black pop art iconography, like Jet magazine’s coverage and advertisements reflecting the 1960s Black is Beautiful movement and the Natural Hair Movement of the 2000s, are all influential to Brown’s photographs.
Moses' curatorial project, the Maryland Institute Black Archives (MIBA), uncovered the erased history of Black students at MICA and documented as many stories from present-day Black students, alumni, faculty, and staff as possible.
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.
Entering the wood-floored room on the third floor of the couple's Baltimore home feels a bit like walking into a cabinet of curiosities from centuries past.