This exhibit will feature multimedia installations by Sylvia Eken and Sarah Stefana Smith. Eken’s installation, TRADING CITIES, seeks communal, cultural, and intellectual impact by encouraging action through visual and textual forms. Smith’s Ten Forms Make A Village is premised on the planned community of Columbia, Maryland, and the challenges of integration, it was said to address.

In response to a culture saturated with devices that distance, digitize, and disembody, the artists in Compulsory Measures embrace repetition and ritual as mindful strategies to ascertain meaning.      

A solo exhibition of sculptural photography by award-winning photographer Sarah Hood Salomon. Salomon is a fine art photographer, photography judge, curator, educator, and author. Her work, which challenges the definition of a photograph, explores its dimensions, and questions its ability to represent the everchanging nature of the world, has been exhibited in numerous solo and group shows across the United States. She holds a bachelor’s degree from Mount Holyoke College and a Master of Fine Arts in Photography from Main Media College.

"I have never seen art like this", was a phrase repeatedly coming out of the mouths of the visitors upon opening.

This Hispanic Heritage Month, experience the ecstasy of color, energy, and motion in the show "We Become the Color of Dreams". A series of breathtaking abstracts, where you will feel the full body of the artist creating each piece. This is the first floor exhibit.

UMBC's Albin O. Kuhn Library Gallery presents Revisions: Celebrating Fifty Years of the UMBC Photography Collections, featuring highlights and lesser-known gems from UMBC’s considerable photography holdings. Looking back at a half-century of collecting, the exhibition offers thematic groupings and visual juxtapositions of photographs from the nineteenth century to the present. The display asks viewers to approach the history of photography with fresh eyes.

UMBC's Social Sciences Forum presents the annual Constitution Day Lecture, featuring Jared DeMarinis, administrator of the Maryland State Board of Elections. The speaker will give remarks and answer questions about the challenges to election administration and integrity posed by political misinformation, ideological polarization, and the recent COVID-19 pandemic.

A monthly continuation of the Baltimore Black Artist Fair. Each month Black businesses and Black creatives will be invited to attend a networking session which includes a marketplace, keynote speakers, a workshop, and an opportunity to connect with local resources.

The September 17 event will feature a workshop from Maryland Volunteer Lawyers for the Arts on Social Media and Intellectual property,

Maria Melendez Kelson, an award-winning writer of poetry and fiction, will sign books and read from her upcoming thriller, Not the Killing Kind. Presented by the Kratz Center for Creative Writing.

Free and open to the public. The reading and book signing will take place in the Julia Rogers Building at Goucher College, Room 227.

Dyani White Hawk (Sičáŋǧu Lakota) presents one new and two existing sculptural works from her Carry series. Each Carry piece, composed of a large copper bucket and ladle adorned with glass beads, bears extravagantly long fringe whose draping emulates arboreal root structures. Alongside the artist’s works, White Hawk selected historic Lakota belongings from the BMA’s collection. Through these works, White Hawk insists upon an interdependence between art and function—and by extension art and life—effectively calling into question art history’s tendency to devalue craft.

This exhibition reflects upon the buffalo as essential to Indigenous lifeways on the Plains since time immemorial. Euro-American colonizers and the United States government attempted to eradicate the species in a calculated strategy to subdue Native people and force them onto reservations in the late 19th century. This effort fundamentally transformed Native artmaking, both historically and presently. The critical importance of the buffalo within Plains Indigenous cultures can be felt across artworks that pre- and post-date the attempted eradication of the species.

For this new solo site-specific installation, Caroline Monnet (Anishinaabe/French) interweaves inspiration from eel trap pots made by Indigenous people of the Chesapeake Bay watershed along with traditional Anishinaabe longhouses. The artist responds to the Museum’s architecture as a departure point for her distinct aesthetic vocabulary, which inscribes traditional Anishinaabe motifs and cultural practices within contemporary forms and materials. Optically vibrating and resonating outwards, the forms forcefully claim space while also reflecting both a sense of reception and transmission.

This installation highlights the ways in which Native artists have increasingly asserted agency—the exertion of one’s own power—over representations of their communities and identities over time. In the early 20th century, white arts educators encouraged Native artists to create “authentic” art—as defined by settlers—that embraced traditional subject matter while often neglecting present realities. In the decades that followed, generations of artists have shrugged off settler expectations by depicting their community on their own terms.

This exhibition puts Laura Ortman’s (White Mountain Apache) My Soul Remainer into conversation with a historic Apache violin by Amos Gustina. Ortman’s video work features the artist playing the violin against the dramatic backdrop of the Southwestern landscape, while her collaborator Jock Soto (Diné) assumes reverential postures. Ortman’s original score builds upon then radically departs from the overwhelmingly white, male canon of classical music—her score samples a classical Mendelssohn piece, which bleeds into an atmospheric and ethereal composition.

“Blood is a gift and the land is a gift and our past is a gift. In the questions they ask and in the wandering they do, the short films in this program uncover and explore generational memory. They give thanks to those who are gone and those who are yet to be born, and to those who are here living right now. They drift through time, movement, memorial, and landscape towards some unknown and neverknown place and serve as a much-needed reminder that we’ll all get there together, just not at the same time.” —Sky Hopinka, Guest Curator

This exhibition pairs Henri Matisse’s compositions with those of 19th-century Japanese woodcut artists to explore the global appeal of color and pattern across space and time. The Art of Pattern: Henri Matisse and Japanese Woodcut Artists features several paintings and prints by Matisse from the 1920s, with posed models and heavily patterned interior backgrounds, reflecting the artist’s interest in layering his works from this period with decorative items from around the world.

Dana Claxton (Wood Mountain Lakota First Nations) presents a solo exhibition of her large-scale, backlit, color transparency photography, which she terms “fireboxes.” Works from her Lasso and Headdress series, including a newly commissioned Headdress portrait, draw together contemporary Native subjects with regalia and items from the subject’s own cultures. The exhibition situates many of the objects depicted in the firebox images alongside objects from the BMA’s historic Native art collection.