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.
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Baltimore Shakespeare Factory’s goal is to represent Baltimore's diversity on our stage, our staff, our board of directors, and in our audience.
This event--our second annual--aims to provide an open forum for community members to share their thoughts and feelings on the topic. We will share the outcomes of last year's focus group as well as plans for moving forward, with the primary portion of the evening spent hearing directly from you, our community.
UMBC's Center for Art, Design and Visual Culture presents Distal’s Musk: Rosy Keyser, featuring new works by artist Rosy Keyser, a painter and sculptor known for working in large-scale gestural, tactile abstraction. Further details and related programing announcements forthcoming.
An opening reception will be held on Thursday, October 31, from 5 to 7 p.m., and the gallery will open for regular viewing hours on Friday, November 1.
Admission to the exhibition and all related events is free.
Harlan D. Parker, director
Michael Torke: Monday and Tuesday
Jeremy Podgursky: As A Spell, Against Falling Objects
David Dzubay: Labyrinth
Generations: A History of Black Abstract Art offers a sweeping new perspective on the contributions black artists have made to the evolution of visual art from the 1940s to the present moment. Artists featured include pioneers of postwar abstraction once overlooked by history, such as Norman Lewis, Alma W. Thomas, and Jack Whitten, as well as artists from a younger generation such as Kevin Beasley, Mark Bradford, Martin Puryear, Lorna Simpson, and many others.
This exhibition explores the cross-cultural connections in Melvin Edwards’ sculpture from 1980 to the present. Edwards (American, b. 1937) was profoundly influenced by his experience at a major arts festival in Lagos in 1977. Since then his work has increasingly connected to African art, languages, poetry, liberation politics, and philosophy. He has made reciprocal ties to many African countries, such as Nigeria, Ghana, Zimbabwe, and Senegal, where he has maintained a home for nearly 20 years.
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.
This focus exhibition acknowledges and celebrates the contributions of women artists to the development of American modernism through nearly 20 works from the BMA’s collection by Elizabeth Catlett, Maria Martinez, Georgia O’Keeffe, and Marguerite Zorach, and others. The selection of painting, sculpture, and decorative arts showcases these artists’ innovative engagements with the major art movements of 20th century from Cubism to Abstract Expressionism.
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.
Peabody Opera Theatre
Samuel Mungo, managing artistic director
Peabody Opera Theatre Orchestra
Joseph Young, conductor
Ruth Blaustein Rosenberg Artistic Director of Ensembles
Noting that “[Jane] Austen’s Pride and Prejudice practically begs to be set to music,” reviewers have praised Mechem’s opera as “a spot-on aural representation of the people and universe of the novel. Mrs. Bennett as a high soprano? Check. Darcy as a graceful yet manly baritone? Check. Mr. Collins as hilariously imperious bass baritone? Check check check…”
New as of Fall 2019, the Peabody Jazz Composers Monthly Forum has partnered with An die Musik Live to bring together education, creation, and performance to the music community in Baltimore and the DMV. This unique forum offers students the ability to showcase compositional techniques and collaboration, all inside an intimate venue where many of Jazz’s greats have performed. Once per month on a Wednesday evening, audiences have the opportunity to listen in on the creative processes of many of the most promising young artists today.
UMBC Theatre presents Girls on a Dirt Pile by Susan McCully, directed by Eve Muson.
In an unspecified way station or border crossing, we meet a group of women who, stripped of their former privilege, come to understand themselves at the most elemental level. Despite total humiliation, they fight for their dignity and agency, aware that they will be the moral and emotional victors in the continuing war against structural patriarchy.
Let the big Balkan brass meets Brazilian sounds of the West Philadelphia Orchestra and the infectiously danceable samba & forro groove of the Pablo Regis Baile band make you dream of hot summer nights. Drink specials, Balkan and Brazilian dance lessons and more!
Limited seating dance party! Contact the box office for accessibility concerns, questions, and to hold seats.
BSF closes their season with the Baltimore premiere of Beaumont’s under-performed gem. A sendup of courtly romance, The Knight of the Burning Pestle is the reason we stage Shakespeare’s contemporaries: Bill never wrote anything this bawdy or satirical.
A normal play about a London grocer is interrupted by the audience and rewritten on the fly to become an increasingly absurd chivalric epic that leaves no target un-pricked.
Pre-show entertainment begins 30 minutes before showtime.
Free lecture about the play given at 7pm each Saturday.
“The cat can play his butt off.” — All About Jazz
“Unquestionably one of the most con?dent and impressive of all the new pianists… Haidu is an important new talent.” — Jazzwise
"11 sizzling tracks"— Downbeat
“A rising star in New York’s vibrant jazz scene…Haidu is one of the ?nest young jazz lions... With jazz luminaries like trumpeter Jeremy Pelt and alto saxophonist Jon Irabagon gracing the band as part of a core quintet, rising above their powerful performance is quite an accomplishment and Haidu does just that.” — Jazz Times
J.S. Bach, Partita No. 1 in Bb major, BWV 825
Praeludium, Allemande, Corrente, Sarabande, Menuet I, Menuet II, Gigue
J.S. Bach, Partita No. 2 in C minor, BWV 826
Sinfonia, Allemande, Courante, Sarabande, Rondeaux, Capriccio
J.S. Bach, Partita No. 4 in D major, BWV 828
Ouvertüre, Allemande, Courante, Aria, Sarabande, Menuet, Gigue
UMBC's Department of Music presents the Camerata Chamber Choir under the direction of Stephen Caracciolo. A select choir of 40–50 singers drawn from all majors of the university, Camerata performs a wide variety of works drawn from the expansive choral repertoire, including Renaissance motets, folksongs, choral-orchestral works, German part songs, Russian sacred liturgies, American spirituals, and new works.