Every Day: Selections from the Collection is the BMA’s first reinstallation of its contemporary collection centered on black artistic imagination. Nearly 50 works of painting, sculpture, video, printmaking, and photography from the BMA’s permanent collection, alongside a select group of loans primarily from the celebrated Pamela J. Joyner and Alfred J. Giuffrida Collection, foreground the critical contributions black artists have made to postwar visual art.
MacArthur award-winning artist and Baltimore icon Joyce J. Scott’s earliest art lessons were at the knee of her mother, the renowned fiber artist Elizabeth Talford Scott. The eldest Scott passed down to her daughter knowledge inherited from generations of craftspeople in their family who had honed their expertise and persisted in their artistry through the extreme deprivations of slavery and its aftermath in sharecropping, migration, and segregation. “They couldn’t buy things,” Joyce J. Scott recounts, “so they made things.
Projected lights, sounds, and reflective surfaces convey a sense of flowing water in Oletha DeVane’s installation, Traces of the Spirit, presented inside the BMA’s Spring House. The exhibition references the building’s past as a dairy and place where enslaved people were forced to labor and creates an altar-like location for a selection of the artist’s spirit sculptures. For these totem-like objects, DeVane (American, b.
Beauty stops us in our tracks. It makes us pause, look, consider. Sometimes it overwhelms us. We are often told art should aspire to this standard and be proportionate, symmetrical, naturalistic, and orderly. But what of work that is designed to revolt and terrify? Across subSaharan Africa, artists working across a range of states, societies, and cultures deliberately created artwork that violated conceptions of beauty, symmetry, and grace—both ours and theirs. Subverting Beauty features approximately two dozen works from sub-Saharan African’s colonial period (c.1880-c.
For more than 30 years, New Orleans-natives Keith Calhoun (b. 1955) and Chandra McCormick (b. 1957) have been documenting life in the Louisiana State Penitentiary at Angola. Known as “The Farm,” the prison was founded on the consolidated land of several cotton and sugarcane plantations. Slavery, The Prison Industrial Complex includes poignant photographs and videos that record the exploitation of men incarcerated in the maximum-security prison farm while also showcasing their humanity and individual narratives.
UMBC's Albin O. Kuhn Library Gallery presents Experimentalist: The Art of Robert W. Fichter, the first retrospective of the artist’s career in over thirty years. Drawn from his archive at UMBC, the 55 works in this exhibition created between 1962 and 2006 highlight Fichter’s exploration of the human condition across photography, printmaking, and painting. Fichter employs shifting moods and mediums as well as wit, humor, and satire to deliver trenchant critiques of war, nuclear proliferation, and environmental disaster.
By Alex Reeves & Nell Quinn-Gibney
Directed by T.P. Huth
Rapid Lemon Productions
October 11 – 20
Rapid Lemon Productions closes their 2019 Season of Belief with another world premiere play.
Artificial intelligence, genuine grief, and a patchwork family.
When we die, who cares for those we leave behind?
Violinist Aisslinn Nosky joins UMBC’s Collegium — directed by Lindsay Johnson, joined by Paula Maust on harpsichord — and its outstanding student performers to explore the rich and diverse repertoire from the Baroque period: Corelli’s Concerto Grosso Op. 6, No. 4, the Vivaldi Concerto for Two Violins in A Minor, Op. 3, No. 8 (RV 522), and selected movements from Telemann’s Burlesque de Quixote Suite.
Marin Alsop leads the Orchestra in the Prelude and Liebestod to Tristan und Isolde, Wagner’s path-breaking expression of love that can only be fulfilled in death. Paul Hindemith’s one-act operatic shocker, Sancta Susanna, depicts two nuns visited by alluring temptations to cast away their vows and live a life of the flesh. Considered the greatest of his symphonies, Brahms’ Fourth Symphony concludes this program revolving around the most intense and forbidden of human passions.
Composed at the height of the Romantic period, Brahms’ Fourth Symphony is both a nod to the past and a look to the future. Marin Alsop unpacks the profound emotions behind this masterpiece and explores how Brahms paved the way for the modernists of the 20th Century.
Marin Alsop, conductor
BRAHMS Symphony No. 4
Join us for a "Brahms and Brews" after-party following the concert in the lobby.
Multiple GRAMMY Award winner Sharon Isbin returns to Baltimore!
Acclaimed for her extraordinary lyricism, technique, and versatility, Sharon Isbin has given sold-out performances in the world’s finest halls. Winner of the Madrid, Toronto, and Munich Competitions, Germany’s Echo Klassik and Guitar Player’s “Best Classical Guitarist” awards, she created festivals for Carnegie Hall, New York’s 92nd Street Y and NPR.
Mount Vernon began as a country estate for Revolutionary War hero John Eager Howard and grew to be the place to live for Baltimore's rich and famous in the mid-nineteenth century. The Garrett family, owners of the B&O Railroad, the Walters, founders of the Walters Art Museum, and the Thomases, owners of Mercantile Bank, are among the families that built handsome mansions along the four parks that surround the Washington Monument.
Over the past two decades, the Jerusalem Quartet has consistently garnered accolades and acclaim for its “passion, precision, warmth, a gold blend” (The Times, London). Opening with Haydn and 20th-century master Shostakovich, the ensemble concludes with Brahms’ intense and restless first quartet.
HAYDN: String Quartet in D minor, Op. 76, No. 2, “Fifths”
SHOSTAKOVICH: String Quartet No. 9 in E-flat major, Op. 117
BRAHMS: String Quartet in C minor, Op. 51, No. 1