Beyond the Frame: BmoreArt’s Marathon Studio Tour with Christopher Bedford and Mera Rubell by Cara Ober

It’s no secret that I love a good Baltimore art tour. BmoreArt often hosts artists, critics, collectors, and curators from all over the country and showing them Baltimore’s studios, galleries, museums, and artist-run spaces is an essential part of what we do.

Visiting art professionals are often shocked by Baltimore’s historic architecture, authentic culture, unique neighborhoods, and an old world elegance that is rapidly disappearing from most East Coast cities. However, they are most surprised by the quality and seriousness of the art being made here. I think this is due, at least in part, to Baltimore’s communal, easygoing attitude and a general disdain for self promotion.

A few months ago I was asked to plan a studio tour for Christopher Bedford, the new director of the Baltimore Museum of Art, and Mera Rubell, an internationally respected collector and founding partner of the Rubell Family Collection, a Miami-based museum. The goal was simple: introduce Chris and Mera to a diverse range Baltimore artists and studio spaces through as authentic a means possible. We selected twenty-two studio visits for two days, February 28 and March 1, traversing from Highlandtown to Federal Hill to Hampden to Station North, squeezing in time for the occasional coffee, snack, and cocktail in between.

“I found the experience stirring and inspiring and I look forward to continuing a meaningful engagement with the local artist community,” said Bedford after the tour. “Our twenty-two studio visits were a forceful demonstration that artists in Baltimore are responding with intelligence and determination to the specifics of our social context, using their creative acumen to advocate for inclusivity and social justice in a city where those values are more pressing than most.”

“I was impressed with much of the work that I saw, but also with the strength and support in the art community in Baltimore,” said Rubell. “The artists have such an amazing network here. Baltimore is an inspiring place to be an artist and I was thrilled for the opportunity to visit their studios.”

After the second day of the tour, Rubell hosted a reception at the Lord Baltimore Hotel for all the artists on the tour and included all 198 who applied. Those of us who completed the entire marathon tour were exhausted, but it was important to raise a glass together and celebrate all that we had experienced.

Over two intense days, we overcame competing schedules, an unforgivingly full agenda, a vicious thunderstorm, and caffeine deficiency. We rallied for a surprise visit from WJZ TV and subsequent news story, experienced breathtaking parallel parking triumphs, and survived my crazy driving in general. I am proud that we managed to stay ahead of the ambitious schedule I set and were able to focus on eleven separate bodies of work each day. It helped that the participating artists were fantastic hosts and incredibly generous individuals.

Many thanks to the BmoreArt team, including Alex Oehmke and Channan Deviluk, and to The Pearlstone Family Foundation for sponsoring this tour. Additional thanks to the Lord Baltimore Hotel, The Baltimore Museum of Art, and Area 405. Thank you, Mera and Chris, for setting aside two full days out of incredibly busy schedules and for opening your minds to the artistic possibilities that may unfold in the future.

Baltimore artists, thank you for trusting us with your work and for being willing to open your private working spaces to us. Thank you for curating your spaces, for hanging your best work, and for your professionalism and vulnerability.

Though I did not coin the term “Beyond the Frame,” I appreciate its allusion to broadening professional relationships and breaking down barriers. This tour confirms that local artists and national institutions can grow exponentially from working together in purposeful and strategic ways. From my vantage point, the over-quoted Casablanca line rings true: I think this is the beginning of a beautiful friendship– between artists, collectors, and museums in Baltimore.

Here’s a peek into our adventure, hopefully a preview for future tours and collaborations.

Day 1 Studio 1: Amy Sherald at Creative AllianceAmy was scheduled first because she had to catch a late morning train to New York for a solo exhibit at Monique Miloche during Armory Week. Despite her studio being mostly empty, Amy was an engaging host and prepared a slide show of images.

Amy Sherald is the winner of the National Portrait Gallery’s 2016 Outwin Boochever Portrait Competition. The honor includes a $25,000 cash prize and a commission to create a portrait of a living person for the museum’s permanent collection. Born in Columbia, SC, Sherald graduated from Clark Atlanta University and earned an MFA from the Maryland Institute College of Art. In 2013, she had a solo exhibition at the Reginald F. Lewis Museum in Baltimore, and the National Museum of Women in the Arts recently acquired one of her portraits, “They Call Me Redbone but I’d Rather Be Strawberry Shortcake.”

Paul Rucker at Creative Alliance:
Paul introduced Chris and Mera to his huge collection of antique books on this history of race in America. He also showed us new video work via his computer and played the cello for us.

Paul Rucker is a visual artist, musician, and composer who uses visual images and sound to render powerful reflections on racial injustice in America. A native of South Carolina, Rucker’s work investigates the long-term social and economic effects of slavery in the United States, drawing parallels to racially motivated violence, police brutality, mass incarceration, and the criminalization of African Americans.

Rucker has presented performances and visual art exhibitions across the country and has collaborated with schools, prisons, and policy institutes to address issues of mass incarceration. His awards include Creative Capital, MAP Fund, Joan Mitchell Painters & Sculptors Grant, Smithsonian Artist Research Fellowship, MacDowell Colony Fellowship, and a residency at Maryland Institute College of Art as the Robert W. Deutsch Foundation research fellow in Baltimore, MD.

Cheeny Celebrado-Royer and Taha Heydari at School 33:Royer and Heydari are recent MICA MFA graduates and share a studio at School 33. Although they don’t work collaboratively, both explore immigrant perspectives from poignant and personal viewpoints. Heydari makes large paintings which appear digital from a distance while Royer works in sculpture and installation.Two works by Cheeny Celebrado-Royer
Detail from painting by Taha Heydari

Cheeny Celebrado-Royer’s work embodies cross-cultural experiences while reconstructing and deconstructing personal memories. The objects are recreated using raw and found materials that represent the social and cultural gaps between the countries she considers home (Philippines and U.S.). Through experimenting with installation, sculpture, painting and relational aesthetics using cardboard boxes, twine, house paint, concrete and packing tape, and digitally manipulated photographs, she hopes to communicate the fragility, inconsistency, and the momentary quality of memory.

Having recently completed his MFA at the Maryland Institute College of Art, Taha Heydari uses his minutely detailed brushwork to reveal and comment on the issues of racial identity, prejudice, and propoganda in the United States and the Middle East. Particularly of interest to Heydari are the ways in which the seductive power of media imagery is being used to shape perceptions and outcomes in the regions.

Bathroom Break: I had to introduce our visitors to the best art bathroom in Baltimore! Created by Laure Drogoul and Amanda Burnham, this bathroom was transformed by a Robert Rauschenberg Foundation Grant at School 33 for collaborative projects.

Lynn Cazabon at School 33:detail from print by Lynn Cazabon

Lynn Cazabon creates work using a diversity of media including photography, audio, animation, and video, taking form as installations, public displays, websites, mobile applications, and community collaborations. Her work has been exhibited extensively nationally and internationally in museums and galleries, including public art, solo and group exhibitions with WRO Art Center (Wrocław, Poland), Govett-Brewster Art Gallery (New Plymouth, New Zealand), The Mattress Factory (Pittsburgh, PA), Artists Space (New York, NY), Hallwalls Contemporary Arts Center (Buffalo, NY), Schroeder Romero Gallery (New York, NY), Atlanta Contemporary Art Center (Atlanta, GA), and with the Art in Embassies Program.

Lynn has received grants and fellowships from the Puffin Foundation, Maryland State Arts Council, Fulbright Scholar Program, Trawick Foundation, the Greater Baltimore Cultural Alliance, Franklin Furnace Archives, The Camargo Foundation, MacDowell Colony and Yaddo. Her work has been featured in numerous books and exhibition catalogs, including most recently in Emanations: The Art of the Cameraless Photograph by Geoffrey Batchen (DelMonico/Prestel, 2016). Cazabon is an Associate Professor of Art at University of Maryland Baltimore County.

Tiffany Jones at School 33:

Baltimore-based photographer Tiffany Jones received her BFA from the Maryland Institute College of Art in 2012. Jones has exhibited her artwork in various galleries and museums in Massachusetts, New York, Virginia, and Maryland. These include the Marianne Boesky Gallery in New York, Artisphere in Virginia, Baltimore Museum of Art, James E Lewis Museum, and Sheila and Richard Riggs Galleries all in Baltimore. In 2012, Jones received a b-grant from the Baker’s Artist Awards for her photographic works, which address topics of identity across multiple generations. Jones continues her photographic work while using her community as an inspiration.
Graham Coreil-Allen at home studio in Druid Hill Park:

Graham Coreil-Allen is a Baltimore-based public artist and organizer working to make cities more inclusive and livable through public art, radical walking tours, and civic engagement. Born in Galveston, Texas, and raised in Tampa, Florida, the public artist studied at Tulane School of Architecture in New Orleans, completed his BA at New College of Florida in Sarasota, and received his MFA from Maryland Institute College of Art’s Mount Royal School of Art in Baltimore. He has created public projects and programs for numerous organizations, places, and events both nationally and abroad, including the Baltimore Office of Promotion and Arts, 99% Invisible, The Deitch/Creative Time Art Parade, Eyebeam, openhouseNY, Washington Project for the Arts, Arlington Art Center, Artscape, Transmodern Festival, VisArts, Current Space, and ICA Baltimore. Coreil-Allen was an invited artist in the US Pavilion at the 13th International Venice Architecture Biennale, was selected for an inaugural Rubys Artist Project Grant, and is a founding leader of Citizen Artist Baltimore.

“As a social practice artist, I work to make cities more inclusive and liveable through public art, walking tours, and civic engagement. Through research and agency, I develop projects that push pedestrian agency, interpret the overlooked, and renegotiate public space. I activate the everyday built environment through video, creative cartography, installations for pedestrian play, critical writing, and interactive tours. My ongoing New Public Sites walking tour series explores the history, design and uses of overlooked public spaces. The tours start with an expansive understanding of civic space and activate the potential for such sites through the sharing of radical histories, community organizing efforts, poetic taxonomies, and subversive re-definitions. Along the way I invite participants to practice “radical pedestrianism” – traveling by foot through infinite sites of freedom while testing the limits of and redefining public space. Building on my tour insights, I enhance places through public art, such as hopscotch crosswalks and immersive maps. Whether marking crosswalks for joywalkers or framing provocative city vistas, I always bring a sense of play and critical engagement to public space.”

Lynn Silverman Home Studio in Hampden: Born in 1952, Lynn Silverman received her BFA from Pratt Institute in Brooklyn, New York, and her MA in Fine Art from Goldsmiths’ College in London, England. She has participated in many solo and group exhibitions in Europe, Australia, and the United States. In addition to publishing four books, her work may be found in public collections in the Australia and Great Britain.  In 2010, she was awarded a Fulbright Scholarship to the Czech Republic. She currently teaches at the Maryland Institute College of Art in Baltimore.
Zoë Charlton – Home Studio in Hampden:

Zoë Charlton was born in Tallahassee, Florida, in 1973, and lives and works in Baltimore, Maryland. Charlton received her MFA degree from the University of Texas at Austin and her BFA from Florida State University in painting and drawing. She has participated in residencies at the Skowhegan School of Painting and at The Creative Alliance in Baltimore, MD.

Her work has been included in national and international group exhibitions including the Contemporary Art Museum (Houston, TX), the Studio Museum of Harlem (NYC, NY), the Zacheta National Gallery of Art (Warsaw, Poland), Haas & Fischer Gallery (Zurich, Switzerland), Clementine Gallery (NYC, NY) and Wendy Cooper Gallery (Chicago, IL). Charlton’s work has been reviewed in ARTnews and Art in America. Previous experiences range from being an animator for Flat Black Films in Austin, Texas to teaching positions at Missouri State University (MO) and Southwestern University (TX). She is an Associate Professor of Art at American University in Washington, DC.

René Treviño Home Studio in Peabody Heights:
René Treviño received his BFA in Fine Arts from the School of Visual Arts (SVA) in 2003 and his MFA from the Maryland Institute College of Art (MICA) in 2005. He was included in the 2007 WPA/Corcoran OPTIONS Biennial in Washington DC and was awarded a 2016 Rubys Art Grant, a 2009 Baltimore Creative Fund Individual Artist Grant and won the 2009 Trawick Prize. Additionally he has been an Artist in Residence at Serenbe in Chattahoochee Hills, GA; Creative Alliance in Baltimore, MD; and The Studios of Key West in Key West, FL. Trevino currently resides in Baltimore, MD and teaches at Towson University and MICA, and is represented by the Erin Cluley Gallery in Dallas, TX.

“History is subjective; there are so many blurred lines and so much distortion. Context and point of view are very important; one person’s hero is another person’s villain…it depends on who tells the story. As a gay Mexican-American I have always felt excluded and under-represented by history. By using a historical context as a backdrop for my work, I can reweave these “lessons” of the past. My work is an attempt to make our already complicated history even more complicated. The more layers that I present, the closer I can get to something that might resemble truth.”

Lisa Dillin Home Studio on Howard Street / Mt. Vernon:
Lisa Dillin is a Baltimore-based interdisciplinary artist working primarily in sculpture and participatory art practices. Dillin earned her BFA in photography from Atlanta College of Art in 1998 and her MFA in sculpture from Cranbrook Academy of Art in 2006. Her work has been selected for exhibition at various venues including the Baltimore Museum of Art and The Contemporary Museum in Baltimore, MD, Hamiltonian Gallery and Washington Project for the Arts in Washington, D.C., Vox Populi and Practice Gallery in Philadelphia, PA, as well as Nurture Art and Transmitter in Brooklyn, NY. Art fairs include the Select Art Fair in NYC, Aqua Art Fair and Artist-Run Art Fair in Miami, FL and the (e)merge art fair in Washington DC. Dillin was a 2012 Sondheim Prize Finalist, and a 2014 MSAC Individual Artist award recipient.

DAY 2

David Page at Area 405: Born in Cape Town, South Africa, David Page earned a National Diploma in Fine Arts from the Cape Tecnikon in 1986 and received an MFA from the University of Maryland, College Park in 2002. Recent solo shows include God and Lunchmeat at Old dominion University and “Staan Nader, Staan Terug!” (come closer, get away!) at Stevenson University. Awards include the Maryland State Arts Council’s Individual Artist Award in 1996, 2007, 2009 and 2012, the Trawick Prize in 2004 and the University of Maryland’s Art for Peace Award in 2001 which included the commission of a small sculptural object that was presented to Nelson Mandela upon his visit to the university. 

Jackie Milad at Area 405:
Jackie Milad has participated in numerous group and solo exhibitions most notably with Flashpoint Gallery in Washington D.C. and the Museums of Fine Arts in both Mazatlan and Culiacan, Mexico. In 2010 and 2016 Milad was awarded an individual artist grant from Maryland State Arts Council. Jackie is also an active arts administrator and curator, having worked for several institutions in the mid-atlantic region. She earned her MFA from Towson University and her BFA from Tufts University and the School of Museum of Fine Arts in Massachusetts.

“My works on paper, present the complexities of identity-making for people of mixed race and mixed ethnic backgrounds. Much of my life has been spent finding difference between my immigrant parents, and not able to fully identify with either. In this current series I have constructed a new visual language, a mash-up of actual and invented symbols associated with my Egyptian and Honduran background and family history. This work is intentionally irreverent; I imagine I am tearing down ancient pyramids, symbols of power and grandeur, to reveal another story—one that is uniquely mine.”

Antonio McAfee at Area 405: Antonio McAfee is a photographer raised and based in Baltimore, MD. He received his BFA in Fine Art Photography from the Corcoran College of Art and Design and MFA from the University of Pennsylvania. He received a Post-Graduate Diploma in Art in Arts and Culture Management from the University of the Witwatersrand (Johannesburg, South Africa). Recent exhibition venues include University of Maryland, College Park’s Stamp Gallery, George Washington University’s Gallery 102 (Washington, DC), and Corcoran Gallery of Art (Washington, DC).

Stewart Watson and Lauren Frances Adams Collaboration at Area 405:
Lauren Adams graduated with a Bachelor’s of Fine Arts from the University of North Carolina at Chapel Hill, and with a Masters of Fine Arts at Carnegie Mellon University in 2007.

Adams has exhibited at the North Carolina Museum of Art (Raleigh), the Warhol Museum (Pittsburgh, Pennsylvania), an ex-Turkish bathhouse in Belgrade, Serbia, Nymans House National Trust (England), Royal NoneSuch Gallery (Oakland, CA), The Mattress Factory (Pittsburgh, PA), EXPO Chicago (with the Contemporary Art Museum St. Louis), Contemporary Applied Arts (London) and CUE Art Foundation (New York). She attended the Skowhegan School of Painting and Sculpture, held a residency at the Joan Mitchell Center in New Orleans, La Cité internationale des Arts in Paris, France, and Back Lane West in Cornwall. She is the recipient of the Joan Mitchell Foundation MFA Award and a Puffin Foundation Grant.

Current projects involve Elizabethan colonialism, Croatoan indians, and the legend of the Lost Colony. This recent work has been exhibited at the Luminary Center for the Arts (St. Louis, MO), Conner Contemporary (Washington, DC), the Southeastern Center for Contemporary Arts (North Carolina), and the Contemporary Art Museum in St. Louis (Missouri).

Other recent works from the Decorum series trace the global histories of enslaved people, from antiquity to the present, as mediated by art historical and popular culture sources. This series utilizes ornament as indicative of the aspirations of class and social status throughout a variety of cultures. The artist works with sources that are frequently found in museum collections, where the museum acts as both witness and author.Stewart Watson: The degeneration of my spine has lead to years of surgeries, procedures, metal rods, chronic pain and a perpetual longing for relief. This genetic quirk or hereditary flaw could be a repercussion of family possessions and the weight of obsession leading to the need to balance, lift, prop, strap, truss, buffer, embellish, stuff, cushion and pad objects and spaces – ever searching for comfort and the perfect place to settle.

Through luxurious fabrics, chosen to evoke the perception of a well-appointed living rooms and the memories rarely enjoyed, Watson manifests the uncomfortable perfection of the nineteenth century lifestyle through remnants of her kin’s obsession with the past. Drawn into anonymous portraiture and reliquaries that immortalize relationships she has with deceased members of her family who are elevated to levels of tumultuous reverence. With over two centuries of objects that have been kept in boxes and in rooms, stacked and passed down without regard for usefulness or beauty yet marked with names and dates and data only for posterity’s sake. The value has been affixed and the value has been bestowed from that family connection rather than practicality, market worth, or even demand from existing family members as there are few left to fight over the mountainous remains.

Stephen Towns at Area 405: Originally from Charleston, South Carolina, Stephen Towns is a mixed-media artist and muralist currently based out of Baltimore, Maryland. Towns works primarily in oil and acrylic and draws much of his visual inspiration from Medieval altarpieces, impressionist paintings, and wax cloth prints.

Commenting on his work, Towns notes “All of my work is rooted in my growing up in the Deep South. Furthermore, my much of my work is in response to the issues that have plagued African-American culture–issues such as loss of ancestral roots, slavery, class, education, skin tone and religion. The portraits I create are not only glimpses of the sitters; they are also a reflection of myself and mirror my struggle to attain a sense of self-knowledge, self-worth and spirituality beyond the Christian values that are often idealized in African-American culture. I want to create beauty from the hardships in life.”

Dina Kelberman Studio in Station North / K-town:
Dina Kelberman is an artist living and working in Baltimore, MD. She has shown and spoken about her work internationally. Kelberman was recently invited to create original web-based pieces for the New Museum and The Marina Abramovic Institute and was included in the Montréal International Biennial of the Contemporary Image. Her work has been written about in The New York Times, Art21 and NPR.

“My work is about how everyone and everything is special, and so while specialness is not special, it is still pretty much the most exciting thing going. Much of my work comes out of my natural tendency to spend long hours collecting and organizing imagery from the internet, television, and other commonplace surroundings of my everyday life. I like to elevate the familiar and transform brief moments into infinite stretches of time.”
We had to try on her masks (balaclavas?)!

Mina Cheon at K-Town Studios:

Mina Cheon (천민정 PhD, MFA) is a Korean-American new media artist, scholar, and educator who divides her time between Seoul, South Korea, Baltimore, and New York.

Cheon has exhibited her political pop art known as “Polipop” internationally. Polipop draws inspiration from global media and popular culture and makes work that intersects politics and pop art in subversive yet provocative ways. In particular, the artwork focuses on geopolitical and contested spaces and political pop icons while responding to Asia’s relationship with the Western world in global media culture. The work is expressed in diverse mediums such as new media, video, installation, and performance as well as traditional media such as paintings and sculptural objects.

Ada Pinkston at Motor House Micro-Studios:Ada Pinkston is a multimedia artist, organizer, educator, sister, aunt, and daughter living and working in Baltimore, Maryland. Interactions with people are the pulse that drives the flow of her work. Her art explores the intersection of imagined histories and sociopolitical realities on our bodies using monoprint, performance, experimental video, and collage techniques. A graduate of Wesleyan University, her work has been featured in New York, Berlin, and San Francisco.

Victor FM Torres at City Arts 2 (Dance Studio):
Victor F. de M. Torres is an interdisciplinary, multimedia, and community artist born in Rio de Janeiro, Brazil. He currently lives in Baltimore, Maryland, and teaches New Media for the Creative Arts at George Mason University in Fairfax VA. Torres holds an MFA in Intermedia and Digital Arts from the University of Maryland, Baltimore County (UMBC). He has a B.A. in Socio-Cultural Anthropology, also from UMBC.

Torres’ work has been shown in Baltimore at the Baltimore Museum of Art, Worlds in Collusion, The Red Room, Current Gallery, Transmodern Festival, The Whole Gallery, Tarantula Hill, Maryland Art Place, and the Thames Street Wharf Building at MAP’s Starlight Dinner – where he was recognized as an “Art Star.” In New York City, Torres’ work has been seen at Mix NYC 2012, La Mama Galleria, and Dixon Place. In Rio de Janeiro, his work has been shown at Plano B. Torres has recently participated in LaBbodies’ “Boundaries, Borders, and Barricades” performance art festival in Baltimore, and he has recently shown work at the Monmouth Museum in New Jersey, as well as Colors of Humanity Online Gallery.

Torres is an organizer and founding member of both Glitter Thighs and SEAK (Socially Engaged Arts Kollective). Glitter Thighs has received City Paper’s Baltimore’s Best Night Life in 2013, while SEAK has received the sponsorship of Maryland Art Place. Torres is the founder of Vector Voltage Publishing, curator of LIGHTHOLE, and editor of the LIGHTHOLE Journal.

Mera and Chris are initiated into the “Elevator of Death” at the Copycat: We survived !

Hoesy Corona at Copycat: Hoesy Corona is a multidisciplinary artist, project manager and founding co-director of Labbodies performance art laboratory.

“I think of myself as an artist of change. I am Hoesy Corona. I am also Dr. H. Corona. My alter egos are part of my larger inquiry into who we are and how we construct ourselves and our identities. And how so often those who exist on the margins of society have to change who they are simply to survive. The driving inquiry that runs throughout my work is: what does it mean to be a queer latinx in a place where there are few queer latinxs and what are the psychological ramifications of not seeing yourself reflected anywhere.”

Erick Benitez at Copycat: Erick Antonio Benitez aka Pájaro de la Selva (b.1988; Bronx, New York) is Salvadorian-American visual artist, sound alchemist, and curator based in DC/Baltimore. He received his BFA from Maryland Institute College of Art in 2014 and has had work exhibited in galleries across Northeastern US, including Connor Smith (DC), Gallery CA (Baltimore), and Greenpoint Gallery (Brooklyn, NYC). His work has been reviewed in The Washington Post, Baltimore City Paper, BmoreArt, What Weekly, and featured in BmoreArt Journal + Ideas and Let’s Talk Live (WJLA).

Benitez’ interdisciplinary work is rooted in his commitment to matters of cultural identity, mysticism, nature, social justice, and activism/education through art. Benitez co-founded La Bodega collective, a cooperative of cross-disciplinary, multi-functional studios and galleries. He is part of Woven Autonomo, a sonically-focused entity who collaboratively curate and perform sound art and music. Benitez is also a collaborator with the Greenmount Greenway Project, which aims to rehabilitate vacant lots in the Greenmount West Neighborhood into safe, active, and inspiring parks for everyone.

Phaan Howng at Copycat:
Bio: American Born Taiwanese, b. Providence, Rhode Island 1982, Currently residing and working in Baltimore, MD.

“My work investigates post-apocalyptic conditions through a vivid imagining of destructive geological events. Like an epic blockbuster movie, my large-scale installations and landscapes on paper refer to the sublime and unthinkable beauty of an Earth post-humanity. I use the image of this future without humans to describe the present crises our ecology and of the Anthropocene era.”

After the Tour: After it was all over, all I wanted was a cocktail and a couch. Thankfully, both were well provided at the artist reception hosted by Mera Rubell at the Lord Baltimore Hotel.

Although I’m still a little exhausted from this experience and continuing to process all that I saw, heard, and learned, the studio ‘visitors’ all agree: this was an important and transformative experience. I hope that this is just the first of many more studio tours and that Baltimore’s talented, hardworking visual artists will continue challenge and inspire by bringing us into their worlds.