Saunders' latest book draws from a course he adores teaching on the 19th-century Russian short story in translation
A Swim in a Pond presents readers with two distinct ways to engage with seven full stories by Russian masters Tolstoy, Chekhov, Gogol, and Turgenev: either as a teacher/scholar or as
The weekly show airs on WTMD on Friday nights
The show is a two-hour listening experience that is about experience, not acquisition.
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An interview with Sonya Clark about her survey show at NMWA
Taking over an entire floor of the museum, the show is a massive undertaking that showcases 100 works in a survey spanning Clark’s career.
A conversation with the Dallas-based artist after his first series of shows on the East Coast in the Spring of 2021
A rebellious artist exploring his location and position through his necessary work, David-Jeremiah invites viewers to name their relationship to his America and their America as well.
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How the sculptor selects materials, why Baltimore is her 'Bermuda Triangle,' and what goes into the hour-long pandemic salad
Adapting and problem solving excite Maghazehe and motivate her materially centered sculpture practice.
Both Baltimore documentaries are part of this year's Maryland Film Festival lineup
A close read of two films screening at the 2021 MdFF.
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The 2021 festival is mostly virtual, with genre-bending offerings that work as well in the digital world as they do on the big screen
This eclectic approach to audience cultivation speaks to the fact that the Parkway’s core audience is a blend of multi-hyphenates: Cinephiles and filmmakers, arts administrators, college students, and anyone drawn to the Station North arts scene.
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Bradford’s Mother Paintings feel like deep breaths exhaled into a changed world
The figures populating the Mother Paintings live among slabs of heavy, humid air, hypersensitized in their responses to claustrophobic and caustic atmospheres.
Walters Workers United join a wave of museum unionizations
Organizers from Walters Workers United say that “the health and safety of employees, transparency, pay equity, and the museum’s top-down decision-making” are among the primary concerns they want to address.
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From 1968 to 1985, Clifton considered herself a “poet who lives in Baltimore” rather than a “Baltimore poet”
Through the imaginative, mystical works she produced—works she insisted she received—Lucille transcended location and met the reader, you could say, at the heart of humanity, where place is merely background.
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