Originally published on October 18, 2017 in BmoreArt.com
Melani Douglass has long been a champion for inclusivity. The programming she curated through the Family Arts Museum while an MFA Curatorial Practice Graduate student and as a Fellow in the inaugural cohort of the Urban Arts Leadership Program, facilitated numerous collaboration between community members and local arts institutions. Douglass’s curatorial efforts have consistently explored intersections between art, race and environment.
The power of her engagements is encapsulated in the principles that found their creation: in fostering healthy and sustainable pipelines between artists, arts institutions and communities. Douglass expounds on this mission in her new role as Director of Public Programs at the National Museum of Women in the Arts. Douglass and I talked about her position, upcoming exhibitions she is excited about, and collaborations between artists and institutions in Baltimore and DC. CONTINUE READING
Originally published on September 15, 2017 in Bmoreart.com
"Black Magic: AfroPasts/AfroFutures mines the Afro-diasporic visions, dreams and psychedelic premonitions of eight visual artists: Pierre Bennu, Jamea Richmond-Edwards, Ivan Forde, Adama Delphine Fawundu, Adrienne Gaither, Charles Jean-Pierre, Tariku Shiferaw, Danny Simmons, and also includes a literary contribution from Chlöe Bass. The collection at Honfleur Gallery in Washington DC assembled by Anthropologist/Curator Niama Safia Sandy is situated in distant, contemporary and future worlds that channel Afrofuturist and magical realist theory and literature. It harkens back to the exhibit of the same name Sandy curated in Brooklyn in 2016, but features different artists from DC and Baltimore instead." CONTINUE READING
Originally published in Bmoreart.com on September 11, 2017
"Adam Pendleton’s Wall Works, a term he coined to describe his massive floor-to-ceiling collage installations, are subtle, subversive, and saturated with obscure and purposefully convoluted content. On display at the Baltimore Museum of Art’s expansive lobby wall and in the Front Room Gallery, Pendleton codes his work with bold black and white iconography. Although they resemble graphic design and industrial printing methods, Pendleton’s iterations evade clarity, questioning about the role of language in social resistance movements.
Unlike the lobby, where Pendleton’s designs fill one two-story wall like wallpaper, the exhibit in the Front Room is completely immersive, with Wall Works on all sides. I wasn’t sure how to respond to the work when I first encountered it, and could not help but play the chorus from Erykah Badu’s classic anthem “… & On” in my head: What good do your words do if they can’t understand you / Don’t go talking that shit, Badu. Badu.
Wall Works warrant deep consideration of languages, both known and unknowable, and offer a push and pull between the legible and illegible components of abstraction, the histories I could discern and the ones too obstructed to decode." CONTINUE READING
Originally published on August 25, 2017 in Arts.Black
t has been more than twenty years since the prolific scholar and curator Thelma Golden organized her seminal exhibition Black Male: Representations of Masculinity in Contemporary American Art at The Whitney Museum of American Art. Some critics praised the collection for its broad depictions of black masculinity, which included perspectives from artists that neither identified as black or male. Most critics, however, considered the collection as exploitative, problematic, and not reflective enough of everyday black male identities. When the show traveled from New York to UCLA’s Armand Hammer Museum of Art and Cultural Center, it was met with protests, and counter-exhibitions by those who felt the work did not reflect their ideas or lived experiences of black masculinity. Golden maintained that the exhibition was not intended to be a “survey on black men” or a “catalog of types” rather, the exhibition worked as a sprawling mirror, a museum of refracted perspectives and imaginaries about black masculinity.
The aroused, triggered, enraged and enamored responses Black Male evoked ripple into contemporary dialogues. We artists, curators, critics, and patrons of color, each persist in our struggles to complete works that are at once contemplative of black and brown, queer and non-gender specific, marginal and interstellar representation, but not singularly limited to racialized, gendered, sexually oriented or planar contextualization. One wonders if works created by black artists that feature black subjects, will ever be conceived beyond the identities assumed of the bodies portrayed; if black art can ever just be, art.
Gallery CA which rests in the gritty and quickly gentrifying arts enclave of Greenmount West in East Baltimore City is no Whitney Museum. The humble gallery resides on the bottom level of a low-income housing apartment complex that frequently opens its doors to Charm City’s emerging and established artists. Despite the city’s nearly 64% black population, it is still rare for art works created by regional black artists and other artists of color to receive solo exhibitions at major art institutions and museums. Rarer still for those exhibitions to be curated by black artists, and representation of people of color in arts administrator roles are abysmally deficient. And yet, Two Lanes Stories, an exhibition currently on view at the at Gallery CA, falls in line with the spirit and intention of Black Male and prompts similar queries towards deeper and broader black masculine identity definitions by resisting caricature. CONTINUE READING
Originally published August 9, 2017 on Bmoreart.com
"When Watching God, the sophomore solo exhibition from emerging artist Asha Elana Casey, curated by Gallery 102 Director Andy Johnson at The Corcoran School of the Arts & Design at GW, juxtaposes texturally dense black and white abstraction with figurative portraiture to visualize West African rituals and transcendental states of consciousness.
The metaphysical, meditative landscapes Casey invokes are derived from the ritual iconography of pre-Abrahamic spiritual systems that proliferated throughout the African Diaspora as a result of the Transatlantic Slave Trade; IFA, Akom and Haitian Voudoun. I sat with the artist at Gallery 102 to discuss her influences and intentions." CONTINUE READING
Originally published July 28, 2017 on Bmoreart.com
"The Eubie Blake National Jazz Institute and Cultural Center presents Botany, the first solo exhibition of mixed media artist Clare Elliott. “My artwork is about highlighting the relationships and the love that I have and how they are important to me,” Elliott offered during our brief interview.
The direction of the show changed when Elliott learned that her godmother, Lori S. Goodman, an esteemed dancer/choreographer with Arena Players and award-winning instructor of Western High School Dance Team, passed away from lupus. Elliott grew up in Northwest Baltimore and attended Western High School. “I’ve known [Goodman] since I was 14 years old. You think fundamentally in the time that you mature; you become who you are. She was a huge part of that.”
In response, Elliott rallied her community of Western Alumni and members of Goodman’s family together to create a profound memorial. Goodman’s Girls, the prominent collection within the Botany exhibition, features twenty-eight small collaged portraits of women who were deeply impacted by Goodman’s tutelage and mentorship." CONTINUE READING
Originally published July 18, 2017 in Bmoreart.com
"Visionary social innovators and beloved Reservoir Hill Dovecote Café owners Cole and Aisha Pew have had an extraordinarily busy and productive year. In partnership with local and national entrepreneurs, the pair facilitated countless initiatives designed to combat systemic disinvestment in underserved communities within Baltimore City; food deserts, home ownership, lack of investment in POC led ventures, and others.
The latest venture, The Black Arts Executive Director Pipeline Program, launched via sister organization Brioxy, seeks to prepare Black artists, administrators, philanthropists, creatives and cultural workers for arts administration leadership careers.
“In the past year and a half we have worked with hundreds of leaders around the country,” Cole shared during a brief interview. “Part of our goal over the next couple of years is to really deepen our roots in Baltimore and to be able to support leaders from across different sectors.” " CONTINUE READING
Originally published June 22, 2017 in Bmoreart.com
"Bloodlines at Transformer DC curated by Martina Dodd features fine and performance artists who work with blood as a medium and metaphor for the familial, feminine and/or spiritual experiences all women encounter. Artists Lisa Hill, Tsedaye Makonnen, Samera Paz, Iman Person and members of the aje collective, made up of queer Black trans-media artists, each honor, interpret and display their personal connections to blood, motherhood, women’s bodies and menstrual cycles." CONTINUE READING
This is the last week Bloodlines will be on display at Transformer DC (Closes June 24, 2017). Be sure to visit www.transformerdc.org for more info and visit the show before it closes this weekend.
Originally published June 21, 2017 in Baltimore City Paper
"For thousands of years people all over the world have used materials sourced from the earth to record and grapple with cultural histories, memories, and identities in the form of masterful ceramics, tiles, and tools. Baltimore Clayworks' latest exhibition, "People of Color. People of Clay.," features a vast collection of works by 30 contemporary artists who continue this human tradition, folding their own stories into the earth." CONTINUE READING
"People of Color. People of Clay." is up at Baltimore Clayworks through July 1. For more info, visit baltimoreclayworks.org
Originally published June 19, 2017 in BmoreArt.com
"Inspired by early American figurative painting, Mequitta Ahuja’s huge portraits critique and engage the tradition of painting and the greater art historical canon. By featuring masterly rendered images of black women, primarily self-portraits in classical poses, the collection produces what Ahuja terms, “meaningful fictions,” to make atypical subjects, and the typically unnoticed compositional and aesthetic conventions of early figurative painting more visible." CONTINUE READING
More Sondheim Info:
The Walters and the Baltimore Office of Promotion & The Arts are partnering to present the Sondheim Artscape Prize Finalists’ Exhibition, one of summer’s most anticipated events. On view at the Walters Saturday, June 17 through Sunday, August 13, the exhibition showcases the work of the seven finalists competing for the Janet & Walters Sondheim Artscape Prize, a $25,000 fellowship that is awarded each year by an independent panel of jurors to a visual artist or visual artist collaborators living and working in the Greater Baltimore region. This year’s finalists are all based in Baltimore.
The winner will be announced at an award ceremony and reception at the Walters on Saturday, July 15, at 7 p.m., with extended gallery hours from 10 a.m. to 9 p.m. This year’s jurors are: Ruba Katrib, curator at SculptureCenter in Long Island City, New York, where she organizes exhibitions, educational and public programs, and publications, and coordinates program presentation; Clifford Owens, a New York-based contemporary artist who works in performance, photography, text, and video; and Nat Trotman, associate curator at the Solomon R. Guggenheim Museum.
The Janet & Walter Sondheim Artscape Prize is held in conjunction with Artscape, America’s largest free arts festival, and is produced by the Baltimore Office of Promotion & The Arts. Artscape runs from July 21 through July 23 along Mount Royal Avenue and North Charles Street. Additionally, an exhibition of the semifinalists’ work is shown in the Decker and Meyerhoff galleries at the Maryland Institute College of Art (MICA) Friday, July 21 through Sunday, August 6.
Originally published June 12, 2017 in Bmoreart.com
A new venture from Wilde Thyme Baltimore, a catering company based in Charles Village/ Remington, hopes to pair locally sourced, organically grown food with creative goods from local artists and artisans in Baltimore City. Taking a note from the brilliant model famously employed by the Taharka Bros—who provide delicious ice cream and radical literature to neighborhoods throughout the city—Wilde Thyme seeks to offer Mexican-Greek fusion treats and a diversely curated selection of visual art works. The company also aims to have accessible price points to those starved of organic foods and imaginative creations. CONTINUE READING
Originally Published May 26, 2017 on BmoreArt.com
"Theo Anthony’s Rat Film is a nonlinear feature about rats and residential segregation in Baltimore City. I hesitate to call the film a documentary because the work is not always transparent about the people and events it depicts. Spoiler alert: the fishing rod rat killers are actors.
As such, it falls into an interdisciplinary category of hybrid films; films that combine traditional documentary aesthetics with fictional narratives to create or reinterpret a supposed truth. Footage captured by Anthony, the writer/director, is spliced with archival photographs and virtual worlds. The result is a hyperreal framing of the city and its residents, which is at times entertaining, but reveals issues around the artistic privilege of representation. A few days after the film screened at this year’s MD Film Festival, Anthony shared some thoughts with me about his intentions in making the film." CONTINUE READING
Originally published May 10, 2017 on Bmoreart.com
"DeVane’s works are revisionist histories that celebrate and activate the power and influence of colonially marginalized people; in her creations so called savages and pagan ritualists, are holy, her subjects are whole and fully realized humans, systems, and/or sciences." CONTINUE READING
Oletha DeVane: The Other Side of Darkness is up at Project 1628 from April 9, 2017 – May 21, 2017 (with a closing reception 2:00 pm to 5:00 pm)
Originally published on April 26, 2017 in Baltimore City Paper
Like Baldwin's queries about constructions of masculinity, race, sexuality, and gender, artist/writer Devin N. Morris' solo show "In a Dignified Fashion," at Terrault Contemporary through May 6, expands and subverts conventional categories of identity both in content— queer subjects in flat, surreal environments—and in his technical style. CONTINUE READING
"In a Dignified Fashion" is up at Terrault Contemporary through May 6. For more information, visit terraultcontemporary.com
Originally published April 5, 2017 on Baltimore City Paper
Think about the light that illuminates your community and how it makes you feel. When you see red and blue flashing lights, do you feel calm or anxiety? Do the light poles in your neighborhood bear blue flashing surveillance cameras? Have you noticed these cameras as you drive through other communities? Is a bright flood light installed at the end of your block? Do you have LED street lights? Are the lights in your community shattered or broken? Is your community devoid of light?
April Danielle Lewis created the Safe and Sound public art project with residents from the Greater Mondawmin neighborhood to answer these questions and examine the role of light in safety and community... CONTINUE READING
Originally Published on March 27, 2017 in BmoreArt.
"For many athletes, playing a sport is the gateway to success, a once-in-a-lifetime opportunity to pursue higher education, or a one-in-a-billion opportunity to make millions playing professionally.
Dr. Gregory J. Kaliss explains this phenomenon in his essay, Men’s College Athletics and the Politics of Racial Equality. “The notion of meritocracy, deeply embedded in American culture, seemed best realized in Athletic competition, an arena many hoped could be free from the racial prejudice that abrogated millions of American’s opportunities in business, politics, and social life,” said Kaliss. At Baltimore’s Platform Gallery, artist Abdi Farah explores the insidious pathology of American sports culture, especially racialization of sports in a solo exhibit of drawings, paintings, and fiber works in America’s Team." CONTINUE READING
Originally published March 8, 2017 in Baltimore City Paper.
“I Am Not Your Negro” examines the idea of race, for people of color—who are given marginal identifications—and for those assigning the identifications: “white” people. Raoul Peck's documentary is not just a chronicle of Baldwin's memories, but a thorough historical compendium of America's morbid obsession with the idea of whiteness—a construct Baldwin states is “a metaphor for power, and this is simply a way of describing Chase Manhattan Bank.” Continue Reading...
Originally Published March 2, 2017 in BmoreArt.com
Whatchamcallit, the group exhibition and publication installed at Gallery CA includes contributions from Diane Kuthy, Joyce Yu-Jean Lee, Lawrence Lee, Olivia Robinson, Paul Rucker, Mandy Cano Villalobos, and James Williams II, the show’s curator. Williams declares Whatchamacallit, “a riposte to the superimposed cultural identities and labels that we individually find ourselves participating in, given to us by others. The artists in Whatchamacallit who are “obsessed over [their] identity” share an interest in challenging the cultural and social identities on both a micro and macro level.” Continue Reading
Whatchamacallit, curated by James Williams II, is on display at Gallery CA through March 10, 2017.
Artist Talk March 10, 2017 6-9 p.m.
Originally Published February 22, 2017 in BmoreArt.com
"... Influenced by the intimate interior spaces of black women’s homes, the fabulous clutch of black women’s fashion, Muse offers refreshing perspectives. Mickalene Thomas’ portraits are living muses: installations, large high-gloss photographs, pocket Polaroids, and collages inspired by women from her community of family members, lovers, friends, and artistic contemporaries.... Continue Reading
Mickalene Thomas’ Muse and tete-a-tete is on display at the MICA Meyerhoff Gallery, January 27, 2017 – March 12th.
Originally Published in BmoreArt.com February 20, 2017
"The great success of Peacock’s “museum” is its determined and persistent visualization of Trayvon not as a victim, but as a teenager. His life, his joys with family and hobbies are highlighted and remembered. Peacock’s exhibition stressed the importance of not just looking, but seeing Trayvon, and acknowledging that his life is reflected in all of our lives. Peacock considered him a brother, because he could be his brother, and is in many ways a little brother, nephew, or cousin to us all. Continue Reading
The Museum of Trayvon Martin: A Meeting Before Labor at Terrault Gallery- Malcolm Peacock February 11, 2017 – March 4, 2017
Originally Published February 15, 2017 in Baltimore City Paper
"Shifting Views" is the Baltimore Museum of Art's first exhibition of contemporary African art. Works by Senam Okudzeto, Diane Victor, Julie Mehretu, William Kentridge, Gavin Jantjes, Robin Rhode, and David Goldblatt include photographs, prints, and drawings that center a variety of local and global African diasporic issues: Migration and globalization, apartheid and state-sponsored surveillance, public and private space, segregation and stereotype are all on display here. Continue Reading...
Originally Published January 25, 2017 in Baltimore City Paper (print and online)
"I conducted a poll among some of my friends, all young professional women of color, to see how many of them planned to attend the Women's March on Washington. Crickets. Of the dozens of women polled, one or two seriously considered attending the march. The major consensus of my local community—and the greater black social media cadre—planned to sit out and give a glaring Michelle Obama side-eye to the whole event..." Read More
Originally Published January 4, 2017 in Baltimore City Paper (print and online)
"About Face," at Creative Alliance through Jan. 28. Amy Sherald, Tim Okamura, Ebony G. Patterson, and Rozeal make conscious decisions to break from the exclusive traditions of portraiture, which center European subjects, and instead affirm marginalized populations in regal, empowered, and humanizing ways.
Originally Published December 22, 2016 in BmoreArt.com
Kerry James Marshall: Mastry at the Met Breuer is up through January 29, 2017.
Originally published November 28, 2016 in BmoreArt.com
The Re-Education curated by Melissa Webb is on display at School 33 Art Center until January 21, 2017.
Check out the Artist Talk on Saturday, December 3rd or visit Baltimore’s Gifted vendors at School 33 Art Centers Holiday Shop 12pm-5pm December 10th and 11th.
On February 25, 2017, Baltimore’s Gifted will coordinate its first Pop-Up shop at the Great Blacks and Wax Museum. Baltimore’s Gifted products will also be available at future Women’s Exchange and Baltimore Women’s Makers events.
Orginally published November 17, 2016 in BmoreArt.com
Esta Tierra Es Tu Tierra is on display at Current Space Gallery thru November 19th. Visit the Closing Reception on November 19th 7-10pm to view additional video footage, installations and hear the artist talk by Erick Antonio Benitez.
Collaborating Organizations: Border Angels, Sacred Hearth Church, Amiredis (Association of Migrants Returned with Disabilities), El Desayunador, Casa Del Migrante
"Take Me Away to the Stars" is on display at Galerie Myrtis Nov. 5-Feb. 18, 2017. Opening Reception Saturday Nov. 5. from 3-6 p.m.; artist talk Jan. 28, 2017; Tea with Myrtis Feb. 18, 2017. For more information, visit galeriemyrtis.net.
Originally published October 5, 2016 in Baltimore City Paper.
"Occupational Hazards" was on view at New Door Creative through Oct. 15. For more information, visit newdoorcreative.com.
Originally published October 19, 2016 in Bmoreart.com
Yvonne Hardy-Phillips: You Are Here
April 2016 – ongoing
Venue: Central City East Baltimore Communities bounded by North Avenue, Broadway, Eager Street and Greenmount Avenue, Baltimore, MD, 21213
Originally published October 13, 2016 in Bmoreart.com
Lest We Forget was on view at Galerie Myrtis through October 16, 2016 with a closing ceremony on October 16th. For more information visit Galerie Myrtis.