George Condo: The Way I Think at The Phillips Collection by Brendan L. Smith
George Condo may not be a household name, but his artwork looks both familiar and unique.
“The only way for me to feel the difference between every other artist and me is to use every artist to become me,” Condo has said.
His work pays tribute to Picasso, Jackson Pollock, Willem de Kooning, and Francis Bacon, but Condo has developed a signature style that explores our panoply of psychological states, ranging from humor and overt sexuality to our darker impulses mired in dark pits of fear and loathing.
While Condo is more well-known as a prolific painter, the Phillips Collection has amassed approximately 200 drawings, sketches, and sketchbooks along with some “drawing paintings” in George Condo: The Way I Think. The exhibition—on view until June 25 in The Phillips Collection—offers an expansive view of the 59-year-old artist’s work which blurs the lines between representation and abstraction. Condo embraces the grotesque and comical, reveling in a distorted carnival mirror of life where his reflections confound our expectations.
The Wedding Pianist (from sketchbook)
Condo has led a fascinating life, finding himself at the intersection of major art movements. He was a studio assistant in Andy Warhol’s factory in the 1970s, befriended fellow New York artists Jean-Michel Basquiat and Keith Haring, and moved to Paris in the 1980s. He collaborated with unhinged author William S. Burroughs in the 1990s and painted several different cover illustrations for Kanye West’s My Beautiful Dark Twisted Fantasy album in 2010.
The final cover featured West having sex with a weird nude armless angel/phoenix/demoness adorned with white wings, feathered legs, and a polka-dotted tail. West claimed the album was banned in Wal-Mart, but that may have been the goal given his penchant for publicity stunts. Just ask Taylor Swift, Jay Z, or North when he gets a little older.
Condo pays homage to Picasso to an almost obsessive degree, and he coined the phrases “psychological cubism” and “artificial realism” to describe his own work. “Picasso painted a violin from four different perspectives at one time,” Condo said. “I do the same with psychological states.”
Double Heads Drawing
Several drawings in the exhibition, including a series called Double Heads Drawing, feature Picasso-esque portraits with faces emerging from a fractured maze of Cubist planes while uneven oversized eyes angle down toward maniacal grins. The work isn’t compelling because it looks too familiar. We know what to expect because we’ve seen it before, and while it was revolutionary in Picasso’s time, it just seems derivative now.
Condo’s work branches out more effectively into aspects of Surrealism, Abstract Expressionism, and Pop Art in his own definitively weird stew. Some portraits and swirling scenes portray conflicting desires and uneasy psychological landscapes. In The Discarded Human, a beautiful nude woman’s body morphs sharply at her shoulders with a dislocated and darkened head. Only one menacing eye and two sharp rows of teeth emerge from the inky shadows. Her visage is both repulsive and attractive, combining lust, fear, and dread in a primordial soup of raw emotions.
Some of Condo’s sketches are displayed salon style from floor to ceiling, including some detailed drawings of dinosaurs inked in bright red or lime green when Condo was 7-years-old in the 1960s. In the center of another room, more than 100 sketchbooks are stacked in rows under glass, creating a sense of mystery about their contents. Only a few are opened to reveal pages inside. One note dated Aug. 27 with no year includes just one cryptic sentence: “I feel better than I have ever felt in my life.”
A 2009 graphite and colored pencil drawing titled Study for the Fallen Butler is a fascinating example of how a painting can transcend its conception. The drawing shows a debauched scene with a drunk tuxedoed butler slumped on the floor while raising his champagne glass toward the nude bottom of a woman bending over in a French maid costume. Drawn curtains behind them reveal a painting of rolling green hills beneath a cloudy sky. The setting may be a stately home while the master is away or the stage of a bawdy theatrical production, but the artifice is real, as Condo would say.
It’s difficult to compare the study for The Fallen Butler to the grand painting that followed because they aren’t located near each other in the exhibition. They aren’t even on the same floor in The Phillips Collection. Two rooms of Condo’s drawings and sketches are effectively displayed on the ground floor, but visitors then must consult a map, climb a flight of stairs, and walk past other exhibitions to find six of Condo’s large paintings shoehorned into a small claustrophobic room next to the restrooms. The inclusion of the paintings seems like an afterthought in the bifurcated exhibition or a strange curatorial decision to downplay the paintings because the exhibition’s theme focuses on Condo’s drawings.
The Fallen Butler
The Fallen Butler is worth seeing despite the location. The painting, on loan from the Museum of Modern Art, bears only a passing resemblance to the study as it transforms from a comical over-the-top scene toward a more vivid, subtle abstraction. The butler, or part of him, is still visible hoisting a large green bottle, but most of the maid has disappeared into the jumbled background except for a disjointed head with glaring eyes perched atop an elongated neck. Other small floating faces peek out from a patchwork quilt of colors that threatens to overwhelm the main characters. While the title references only the butler, the painting is an ensemble performance.
Another highlight is Spanish Head Composition which combines elements of painting, drawing and collage. A central figure has a scribbled Picasso-esque face on a painted body with a wide-brimmed hat and a swirling shirt with a clownish collar. He is surrounded by small portraits on paper that have been affixed to the canvas. The drawings vary in style and complexity, ranging the gamut from more representational to abstract. Some of the portraits appear to be studies for the large central figure, and the inclusion of the preparatory drawings in the final work offers a fascinating time line or view of roads not taken.
Spanish Head Composition
George Condo: The Way I Think will be on view at The Phillips Collection through June 25.
The early 20th century saw an influx of international companies eager to break into the expansive Chinese market, selling textiles, tobacco, chemicals, insurance, and
The early 20th century saw an influx of international companies eager to break into the expansive Chinese market, selling textiles, tobacco, chemicals, insurance, and pharmaceuticals. The advertising poster, widely used in Western markets, became ubiquitous in China with the arrival of the West’s most famous corporate names, such as British- American Tobacco, Standard Oil of New York (Mobil), Colgate Palmolive, and Eveready Batteries. From the early 1900s until the mid- 1930s, commercial artists in Shanghai were hired to create vibrant lithograph posters to advertise this wide variety of newly available products for daily use, including batteries, cloth, cigarettes and soaps.
Stylistically, advertising posters drew on realistic representational techniques concurrently popular in Western art. The visual language of the posters was aspirational, most frequently depicting smiling women dressed in fashionable outfits and surrounded by natural beauty. Modern printmaking techniques, particularly innovations in lithography, allowed for wide distribution. Advertising poster imagery becameengrained in the visual culture of China’s major cities, and popular to the point that people would hang the posters on the walls of their homes.
Dennis Lee Mitchell captures elusive and ephemeral smoke on paper in his unconventional drawings. He applies acetylene torches directly to the surface of archival paper, creating rich brown-blacks and faint gradations left by moving smoke. The finished works require multiple preparatory drawings, as Mitchell attempts to chart the course of airborne solid and liquid particles. The resulting imagery evokes natural forms such as landscapes and plants, yet remains captivatingly abstract.
Mitchell holds an MFA in Ceramics from Arizona State University, and both an MA and a BA in Ceramics from Fort Hays Kansas State University. Mitchell is an emeritus Professor of Art at Northeastern Illinois University in Chicago. His work is held in public and private collections internationally, including the Utah Museum of Fine Arts, Salt Lake City; the Museum Boymans-van Beuningen, Rotterdam,
The Netherlands; the Illinois State Art Museum, Chicago; the Racine Art Museum, Racine, Wisconsin.
(Wednesday) 5:00 pm - 7:00 pm
Five years ago, in June of 2014, 10 months before the Uprising, D. Watkins was still on the come up, a freelance essay writer grinding towards success. His viral essay
Five years ago, in June of 2014, 10 months before the Uprising, D. Watkins was still on the come up, a freelance essay writer grinding towards success. His viral essay “Too Poor for Pop Culture” had dropped earlier in 2014, putting him on the map for a local and national audience for the first time. Red Emma’s had the honor to partner with D. on his first print publication, a zine version of this essay and a few others. At the time, we wrote that “D. Watkins’ essays for Salon and elsewhere, chronicling the struggles and hustles of Black Baltimore and his own trajectory from street dealer to creative writer, are no doubt the first shots fired by a major literary talent in the making.”
Turns out this was a fair assessment. With his third book in five years out, writing in the New York Times, and a high-profile gig as a regular Salon columnist and videomaker, D. is a voice to be reckoned with, and one who has studiously made a point of using his success to lift up new rising voices from Baltimore’s streets.
To mark the fifth anniversary of his first print publication, D.’s coming to Red Emma’s for a conversation with the essential Lisa Snowden-McCray of the Baltimore Beat for a conversation about what’s changed, what remains to change, and how his new book We Speak for Ourselves fits into this picture.
(Wednesday) 7:00 pm - 9:00 pm
1225 Cathedral St, Baltimore, MD 21201
VICE VERSA Nick Primo + Hae Won Sohn June 27 – July 27, 2019 Opening Reception: June 27, Thursday 6-8pm Baltimore, MD - MONO Practice Baltimore is delighted to present Vice Versa, a two person exhibition by
– Sol LeWitt
(Thursday) 6:00 pm - 8:00 pm
212 McAllister Street, Baltimore 21202
sur/reality is Baltimore City Hall’s first-ever art exhibition highlighting the work of local transgender artists from Baltimore. Curated by Gender Museum in partnership with the Mayor’s
sur/reality is Baltimore City Hall’s first-ever art exhibition highlighting the work of local transgender artists from Baltimore. Curated by Gender Museum in partnership with the Mayor’s Office and Baltimore City LGBTQ Affairs, sur/reality is an exploration of the dual existence of transness both as an experience & as an identity. Featuring a multitude of mediums, motifs, textures and concepts, the show will culminate in a reception and intimate artist talk-back with Gender Museum Curator and creative Jamie Grace Alexander. The show is FREE, and all are welcome. Some art will be available for sale. Questions? Contact [email protected]
Smith “Smith” Smith
(Thursday) 6:00 pm - 8:30 pm
Baltimore City Hall
100 Holliday Street, Baltimore 21202
C. Grimaldis Gallery is pleased to present its 42nd annual summer exhibition, featuring modern and contemporary painting, drawing, sculpture, and photography. Summer '19 showcases a selection of artists that preview
(Thursday) 6:00 pm - 8:00 pm
C. Grimaldis Gallery
523 North Charles Street Baltimore MD 21201
Thursday, June 27th at 7 pm Shannon Collis & Liz Donadio will be performing Sounding Place, a site-specific video
Thursday, June 27th at 7 pm Shannon Collis & Liz Donadio will be performing Sounding Place, a site-specific video and sound installation for the Art/Sound/Now series at The Walters Art Museum in Baltimore.
Sounding Place is a live performance that combines recorded audio and visual elements and merges them with the existing architecture of the Walters and its vast collection. By engaging visitors in unexpected places, Sounding Place brings attention to hidden characteristics of the museum and reintroduces these findings back into the existing site. The artists will engage with the Walters as an emergent performative space, seeing the museum as a living, breathing entity that harbors sonic and visual complexities beyond the works formally on display.
New York artist Maria Chavez debuts a new work, The Breaks, composed of broken-record recordings that fans from around the world created for the artist.
(Thursday) 7:00 pm - 8:30 pm
Artists from around the region will gather in Ellicott City the weekend of June 28-30 as Art in Ellicott City presents Paint It! Ellicott City 2019, an
Artists from around the region will gather in Ellicott City the weekend of June 28-30 as Art in Ellicott City presents Paint It! Ellicott City 2019, an annual plein air painting event. The Howard County Arts Council (HCAC) and Howard County Tourism have partnered to host this paint-out weekend culminating in an exhibit of 30 juried artists at the Howard County Center for the Arts.
The guest juror for Paint It! Ellicott City 2019 is award-winning plein air artist Nancy Tankersley, who selected the following artists for the juried exhibit: Bruno Baran, Christopher Best, Sid Branham, Blandine Broomfield, Thomas Bucci, Ann Crostic, Ronaldo Dorado, Raymond Ewing, Katherine Farrell, Erin Gill, Jill Glassman, Marita Hines, Debra Howard, Greg Johannesen, Zachary Kator, Jane Knighton, Kathleen Kotarba, Michael Kotarba, Carol Leo, Duane Lutsko, Michael McSorley, Amanda Milliner, Alina Poroshina, Christine Rapa, Ann Schaefer, Sandhya Sharma, Sharon Trumbull, Pamela Wilde, Tara Will, and Larry Witham.
The event begins with an Artist Orientation and Welcome Reception at the Howard County Center for the Arts on Thursday, June 27 from 4:30-6:30pm. Then, all day on June 28-30, artists will set up their easels throughout Ellicott City’s historic district to capture the essence of the picturesque mill town and all its charms. Members of the public are encouraged to come watch the artists at work while strolling Main Street’s sidewalks and shops. Artists and art students from the community will also join in the fun, painting alongside the juried artists as Open Paint-Out participants.
Artists and visitors are invited to attend a free reception at the Howard County Center for the Arts on Monday, July 1 from 6-8pm. The evening will feature the presentation of juror awards and a one-night exhibit of work created by Open Paint-Out artists. Awards will include the coveted Gino Awards, two $1,000 cash prizes sponsored by the Manelli family in honor of Ellicott City artist Gino Manelli (1915–2010), and a new $1,000 award from Art in Ellicott City. Additional Paint It! awards are made possible through the generous support of these sponsors: AARP, Patapsco Heritage Greenway, and Blossoms of Hope.
Registration is required for those wishing to be included in the one-night Open Paint-Out exhibit. Registration is available at the Arts Council and in the Exhibit Opportunities section of the HCAC website at hocoarts.org before or during the event.
This year’s presenting sponsor, Art in Ellicott City, is a private foundation created in 2017 to further the creation and installation of public art in Ellicott City.
Both exhibits run from July 1 to August 9, 2019. Gallery hours are Monday through Friday 10am – 8pm, Saturday 10am – 4pm, and Sunday 12 – 4pm. The galleries and the Center for the Arts are closed July 4. To learn more about these and other HCAC programs, visit hocoarts.org or call 410-313-ARTS (2787).
june 28 (Friday) - 30 (Sunday)
Howard County Center for the Arts
Perhaps William Shakespeare’s best-known play, Romeo and Juliet is THE classic of youth on the cusp of adulthood, and star-crossed love torn apart by passion and vengeance. Like
Perhaps William Shakespeare’s best-known play, Romeo and Juliet is THE classic of youth on the cusp of adulthood, and star-crossed love torn apart by passion and vengeance. Like life, it’s a play that’s half comedy and half tragedy; Romeo and Juliet will make you laugh out loud before it breaks your heart.
June 28-July 21, 2019
The Great Hall Theater at St. Mary’s Community Center
3900 Roland Avenue
Baltimore, MD 21211
Adult Admission: $24
Discount Admission (students, seniors, educators, veterans, and artists): $19
Children Under 12: FREE!
Fridays and Saturdays at 8:00pm
Sundays at 4:00pm
Pre-show entertainment begins 30 minutes before showtime.
Free lecture given at 7pm each Saturday.
All performances end with a cast talk-back.
Opening Night is Pay-What-You-Will!
June 28 (Friday) - July 21 (Sunday)
The Great Hall Theater at St. Mary's Community Center
3900 Roland Avenue, Baltimore 21211
On View: June 21st - July 7th Reception: Friday, June 28th 5-7PM Locations: Sheila & Richard Riggs & Leidy Gallery Fred Lazarus IV Center 131 W. North Avenue 21201 Dolphin Gallery Dolphin Design
On View: June 21st – July 7th
Reception: Friday, June 28th 5-7PM
Sheila & Richard Riggs & Leidy Gallery
Fred Lazarus IV Center
131 W. North Avenue 21201
Dolphin Design Center 1204 W. Mt Royal Ave 21217
1401 W. Mt Royal Ave 21217
1400 Cathedral St 21201
1601 W. Mt Royal Ave 21217
1601 W. Mt Royal Ave 21217
** BBOX On View Dates will be slightly altered, July 3 – July 12 | Reception July 8 7-7:30 PM
(Friday) 5:00 pm - 7:00 pm
REGINALD F. LEWIS MUSEUM PRESENTS Behind The Lens: DARK CITY BENEATH THE BEAT “An audio visual Baltimore club music and dance experience” – TT The Artist, Director Join us for
REGINALD F. LEWIS MUSEUM PRESENTS
Behind The Lens: DARK CITY BENEATH THE BEAT
“An audio visual Baltimore club music and dance experience” – TT The Artist, Director
Join us for an exclusive first look preview of Dark City Beneath The Beat, a musical documentary highlighting the rising Baltimore club music and dance culture.
Rhythmic and raw, Dark City Beneath the Beat directed by TT The Artist, is an audio visual experience re-imagining the narrative of Baltimore, a city rising above social and economic turmoil to develop a vibrant and close knit community for the arts through it’s homegrown sound Baltimore club music.
Inspired by an original Baltimore club music soundtrack, Dark City Beneath The Beatshowcases local musicians, DJs, poets, dancers and producers who are pioneering Baltimore club music as a positive subculture in a city overshadowed by trauma, drugs and violence.
Event Schedule Info:
The Reginald F. Lewis Museum: Behind The Lens
830 E Pratt St. Baltimore, MD | June 28, 2019
5:30pm: Opening Mixer Hosted by Bmore Than Dance music by DJ Ayymello
6:40pm: Film Presentation
7:50pm: Behind The Lens: Meet The Cast Panel
8:30pm – 9:30pm: Closing Reception
(Friday) 5:30 pm - 9:00 pm
Reginald F. Lewis Museum
830 East Pratt Street, Baltimore MD 21202
June 26-September 1 Opening Reception: Wednesday, June 26, 6pm – 8pm | Free Adam Stab’s (American) ‘Street Life Art’ is an uncomfortable acknowledgement of the experience of growing up and living on
June 26-September 1
Opening Reception: Wednesday, June 26, 6pm – 8pm | Free
Adam Stab’s (American) ‘Street Life Art’ is an uncomfortable acknowledgement of the experience of growing up and living on the streets where graffiti is made, and where others tend to avoid. This suite of artwork is inspired by the consideration of what it means to be a part of the world during this time of extreme polarization. Labels of ‘outcast’ and ‘outsider’ may be sought out and embraced by some, while adding to the already sizeable burden of those born without access to wealth, opportunity or privilege and subjugated to the lowest rungs of (American) society. This work is not pretty or vibrant as is a lot of graffiti and “street art.” It is literally trash.
Collages of trash scraps, rubbings of manhole covers, and spray paint are intensely flat up close. From afar they are full of depth, messy, and chaotic-symbols of survivalism from the street. There are shadows, and you swear you can see the pieces of trash pulling up from the surface, and as you walk closer, and you inch your face nearer, you have to stop your impulse to reach out with a fingernail to see if you can get under that one piece… But no, the surface is impossibly smooth, texturally the definition of flat. This same extreme two-dimensional quality mimics graffiti -or style- writing, Stab’s foundational technique.
When Adam Stab first moved to Baltimore in 1983 he was 13 years old, without siblings or friends, alone and a loner. He was drawn to the streets, plunging into its depths on his skateboard, into alleys so deep they became urban canyons, a webbing of traverses opening to infinite possibilities for a kid searching for himself in a concrete jungle. It was in this state of search and discovery that Stab found the “heat (he) had never known, a first full breath of passion” never inhaled before.
The vast majority of Stab’s work will likely never be seen by the “Art World” within gallery or museum or private collectors’ library walls – it is permanently and consciously installed on walls never meant to show art, never meant to be observed by those passing by and frequently passing judgement. Observing Stab’s work does not require” proper” attire, but the hiking gear of an adventurer, or the broken shoes and cast-off clothing of those without the option to be anywhere else. This work, made of the stuff of the world beneath our feet, found and repurposed detris and urban municipality industrial textures, is an inverse of graffiti, instead of creating artwork in the lost urban landscape, he has brought that landscape inside as art.
Graffiti reclaims the dismissed and forgotten urban landscape; this artwork is that landscape making claim to the world which would rather forget that it’s there.
(Friday) 6:00 pm - 8:00 pm
The Peale Center
225 North Holliday Street, Baltimore MD 21202
Closing out a month of jazz, Baltimore-born, award-winning saxophonist, Birckhead steps away from the Lauryn Hill touring band to present his own group. “ONE OF THE MOST RIVETING YOUNG IMPROVISORS IN
Closing out a month of jazz, Baltimore-born, award-winning saxophonist, Birckhead steps away from the Lauryn Hill touring band to present his own group.
“ONE OF THE MOST RIVETING YOUNG IMPROVISORS IN NEW YORK” -NY TIMES
Saxophonist Brent Birckhead is an award-winning artist, whose aesthetic is an intersectional amalgam of traditional and popular styles. Unbound by genre, Birckhead’s approach to woodwind artistry is driven by his compulsion for creative risk and deep respect for legacy. His place in the continuum of a storied lineage begins with his surname, Birckhead, and extends to his extensive musical education and work ethic as a visionary approach to life as a rising leader.
Educated at Howard University (BME, MM), Birckhead was named best blues/pop/rock soloist and outstanding instrumental jazz soloist by Downbeat Magazine as part of the annual Student Music Awards. In 2011 Brent was named “Best Alto Saxophonist” by the Washington City Paper.
The Baltimore native’s talent earned him the honor of performing and touring with legendary artists including Lauryn Hill, Nas , Dave Chappelle, Wale, Eric Benet, Larry Graham, George Duke and many more. Birckhead has also performed at some of the world’s most prestigious venues such as Blue Note NYC, Hollywood Bowl, Smalls Jazz, Blues Alley, 9:30 Club, Merriweather Post Pavilion, Billboard Tokyo and Osaka.
In 2014, Birckhead joined the faculty at Morgan State University. His debut album, ‘BIRCKHEAD’ is availible now.
FRI JUN 28 | 8PM | $20, $17 MEMBERS (+$3 at the door)
(Friday) 8:00 pm
The Creative Alliance
3134 Eastern Avenue, Baltimore MD 21224
This June, Make Studio is excited to kick-off the summer with a special collaborative exhibition and workshop as part of 2019’s Artscape Gallery Network (
This June, Make Studio is excited to kick-off the summer with a special collaborative exhibition and workshop as part of 2019’s Artscape Gallery Network (http://www.artscape.org/visual-arts/visual-arts-detail/70).
Make Studio is pleased to present the exhibition Everything Else (A Market-Space), a collaborative, immersive exhibition featuring a site-specific installation, paintings, and sculptural works by Sondheim Prize applicants Amanda Burnham and Nicole Dyer and their curation of new and recent, complementary works by Make Studio’s program artists. The exhibition opens on June 29, 2019, and will be celebrated with a reception with the artist on July 26, 2019.
Artists Burnham and Dyer both explore the “everythingness” of human activity in their work, particularly the ever-accumulating objects and detritus that can fill our shared spaces. Everything Else (A Market-Space) will be a playful contemplation of commodities, community, space, and place — where everything is for sale, or is it? All together, the collaboration with Burnham, Dyer and Make Studio program artists will evoke a retail and civic gathering place that is in many ways familiar but also unexpected, and at all times an embodiment of the messily creative and consumptive nature of humanity.
On Saturday, June 29th from 2-4PM the public is invited to participate in Burnham’s inclusive workshop, based on the exhibition — Everything and Anything: Creating Shared Space — alongside Make Studio artists. Attendees will be adding to the perimeter of the Market-Space installation and have the opportunity to draw inspiration from live animals from the Drawing Zoo (www.thedrawingzoo.com). The workshop is free with all materials and instruction provided. (Voluntary donations towards materials costs are welcome.)
RSVPs to [email protected] are appreciated!
About Amanda Burnham
Amanda Burnham (b. Toledo, OH, 1979) is interested in cities, systems, and the dark humor to be found in modern life; she makes drawings, artist books, and large site specific installations. The latter works are usually composed of hundreds of quick, gestural, acrylic paint sketches made with a fat brush that are then cut and collaged onto both built armatures and the existing surfaces of a space; these are sometimes further animated with embedded lighting. The effect is somewhere between a comic book and a stage set.
(Saturday) 2:00 pm - 4:00 pm
Schwing Art Center, 3326 Keswick Road Front, Baltimore MD 21211
Enjoy some light refreshments, see the exhibition for one last time, and get a chance to hear about upcoming events at Waller Gallery! Kid Friendly event!
Enjoy some light refreshments, see the exhibition for one last time, and get a chance to hear about upcoming events at Waller Gallery!
Kid Friendly event!
(Saturday) 2:00 pm - 5:00 pm
2420 Calvert Street, Baltimore MD 21218
Opening Reception June 29th 2019 4pm-7pm Closing Reception August 3rd 2019 4pm-7pm Show runs from - June 29th 2019 - August 3rd 2019 Artist -
Closing Reception August 3rd 2019 4pm-7pm
Show runs from –
June 29th 2019 – August 3rd 2019
Most of the works in this exhibition were created over the past three years and were inspired by my natural surroundings on Hooper’s Island, the Blackwater Wildlife Refuge and the Chesapeake Bay Region. Included are also several earlier works which have either rarely or never been exhibited.
(Saturday) 4:00 pm - 7:00 pm
Gallery Blue Door
833 Park Avenue, Baltimore 21201
Baltimore Clayworks Artist in Resident Solo Exhibition Resident: Jason Piccoli Show Title: Resonance Show Description: Resonance is comprised of a collection of recent works by Jason Piccoli, consisting of lidded jars, bottles, pouring vessels,
Baltimore Clayworks Artist in Resident Solo Exhibition
Resident: Jason Piccoli
Show Title: Resonance
Resonance is comprised of a collection of recent works by Jason Piccoli, consisting of lidded jars, bottles, pouring vessels, and vases. The work is Cone 6 Oxidation fired using a porcelain-based clay body.
Many of the wheel thrown and assembled forms utilize underglaze painting, water etching, and are glazed with a variety of transparent celadons. The work is inspired in part by a unique fusion of cross culture architectural and formal design disciplines.
Resonance as a simple title is meant to reflect a blend of decisions that look and feel harmonious both in the individual works and as a collected body of work. Careful attention to craftsmanship, proportion, and surface treatment will work to induce a sense of cohesion, or resonance, through a thoughtful assemblage of personal styles.
Jason Piccoli is a native of Colorado and grew up moving between Littleton, Denver and Arvada. He spent his youth devouring sources of science fiction, fantasy, eastern thought, and obsessing about ancient cultures. He practiced painting, drawing, and lived with guitars. He studied Fine Art at Arapahoe Community College earning his Associate’s in Art, where he found his passion for clay and a fondness for the community that surrounded it. He earned his BFA in Ceramics at Metropolitan State University of Denver, and later his MFA in Ceramics at Edinboro University of Pennsylvania. In graduate school he wanted to explore the idea of bridging the functional, the sculptural, and the painted image. Water etching, underglaze painting, hand-built attachments and stacking wheel thrown porcelain forms are currently explored in his work.
Every artist has their own system of working, their own rules that they follow. Some are conscious, others are unconscious. These systems and rules embody experience, skill level, interests, tastes, inspirations, aptitude, method and that thing you were once told “never to do.” This is what I think of as the artist’s archetype, and it is as unique as a fingerprint. The artist’s archetype as a model from which to create is never motionless. It is always in flux, moving from one pole to the other, following its own logic together with the artist’s instinct and intention.
Archetype, being the model from which other models are derived, is for me an appropriate way to describe the journey of a body of artistic work. The primary model which first served as inspiration, has an evolution of its own and grows to become more detailed, distilled into something more elegant through each iteration. Structures for understanding and exploring the origin of modes of thought are extremely interesting to me as they relate to inspiration for making work. The psychology and philosophy of creation are like these engines running in the background that help drive the conception and construction of objects.
Subtle shifts and changes in seemingly minute ways can dramatically alter a final work, taking it either forward or backward. Though often at a struggle, I try to be aware of this underlying operating system that is driving the objects I make, trying to uncover subroutines of influence and suggestion that may be running in the background despite my conscious knowledge. Learning about these background processes, and what triggers their execution is an opportunity to either abandon them or embrace their suggestions. In the end it is about trying to make work as consciously and honestly as possible. Taking risks and pushing the materials and ideas to their boundaries propels work forward and is essential to the evolution of a developing system. Every piece is the evolution of an idea brought into material form until the result has reached some sort of peak expression. Though often taking a Taoist approach to things, the peak is only an opportunity to plunge into a different valley and climb a different hill.
(Saturday) 6:00 pm - 9:00 pm
5707 Smith Avenue, Baltimore MD 21209
Exhibition Information Title: In One Piece Venue: Project Space at Baltimore Clayworks Gallery, 5707 Smith Ave, Baltimore, MD 21209 Opening Reception: Saturday, June 29, 6-9pm Exhibition Period: June 29 - August 24, 2019 Artist Website:
Exhibition Description”In One Piece” is a residency culminating solo exhibition of Hae Won Sohn, a long-term resident artist of Baltimore Clayworks. Taking place at the Project Space of Baltimore Clayworks Gallery, featured work are decontextualized fragments originating from the material-ecosystem formed within the artist’s studio. Such fragments are an end product of the artist’s process of embracing the uncontrollables. These hand made objects reflect simulatneous materiality of natural and artificial living environements. They reside and evolve in response to each other as a comfortable way to live outside studio. Presented in unscripted manners of digital and physical documentation; viewers are invited to the study each piece both as something completing a missing whole, and that is complete in itself.
Artist Bio: Hae Won Sohn (b. 1992, South Korea) is a visual artist currently based in Baltimore, MD where she is a long-term resident artist at Baltimore Clayworks. Coming from Seoul, South Korea; Sohn earned her Bachelor of Fine Arts from the College of Design at Kookmin University (Seoul, South Korea). She moved to the United State in 2016, earning her Master of Fine Arts from Cranbrook Academy of Art (Bloomfield Hills, MI). Sohn was the recipient of the Tony Hepburn Scholarship and the Chrissy Award of the year of 2017 at Cranbrook Academy of Art. Her work has been exhibited internationally at venues including Zahoorul Akhlaq Gallery (Lahore, Pakistan), Gray Contemporary (Houston, TX), MONO Practice (Baltimore, MD), Sculpture Space NYC (Long Island City, NY), Cranbrook Art Museum (Bloomfield Hills, MI), and Kyung-In Museum of Fine Art (Seoul, South Korea).
Artist Statement: My artistic practice evolves through the process of casting and mold-making; physically, conceptually and methodically. I primarily create (series of) cast objects. The origin of these cast objects are substances that are produced in my studio, through my studio practice–either by intention or not. Residues, leftovers, remains, and remnants, which were once valuable parts in the context of one process no longer holds the same meaning, function, nor value once they are removed from its system. I celebrate these autonomous outcasts through the act of casting; which for me is an act of acknowledging history as I am preserving moments, and creating new ones. Later on through repetitional mold-making and casting, I am to witness the distinction between empty volumes and filled volumes, voids and masses, negative spaces and positive ones beginning to neutralize. I invite viewers to join the game of chasing down such visual and structural correlations between the solid moments I have excavated from system.
(Saturday) 6:00 pm - 9:00 pm
5707 Smith Avenue, Baltimore MD 21209
Hannah Pierce Long-Term Resident Artist at Baltimore Clayworks Title: A Fault In My Structure Venue: The Solo Space at Baltimore Clayworks, 5707 Smith Ave, Baltimore, MD 21209 Exhibition Dates:
Long-Term Resident Artist at Baltimore Clayworks
Title: A Fault In My Structure
Venue: The Solo Space at Baltimore Clayworks, 5707 Smith Ave, Baltimore, MD 21209
Exhibition Dates: June 29- August 24, 2019
Opening Reception: Saturday, June 29, 6-9 pm
A Fault In My Structure: A solo show by Hannah Pierce will showcase an array of narrative, highly detailed small scale sculptures displayed both on and off the wall alongside equally illustrative, mixed media installations. Using quirky characters, architectural components, and childish inspirations, Pierce creates disorienting spaces filled pop surrealist imagery, exaggerative perspectives, and dramatic shifts from 2-d to 3-d.
My work consists of surreal, narrative-driven sculptures that primarily portray bizarre characters and various elements from urban environments. Within my playful, architectural configurations, I utilize deceptive, illustrative qualities and exaggerative forms to distort the viewer’s perspective and enhance the theatrical nature of these narrative works.
These uncanny structures are usually accompanied by weathered surfaces, references to smog, unknown fluids, and other depictions of urban detritus. I tend to use visual metaphors that recognize our dependency upon man-made environments and our desperate attempts to conform to living such in intensely industrialized areas. Within all my sculptures, the figures are visually separate from their surroundings in their illustrative, 2-dimensional format. This separation personifies an underlying tension and a sense of estrangement that everyone in our contemporary society can relate to.
Being heavily influenced by Pop Surrealism, I sarcastically pair dismal scenes with pleasurable pops of color, playful perspectives, figure distortion, and many childlike references. In my most recent works, there is an obvious focus on addictions and habits, with an emphasis on oral fixations. Although these are adult issues, I draw attention to childlike qualities when pertaining to concepts of excess, lack of self-control, and escapism. Within these works, I can bring a sense of humor and absurdity to some of the darker, more challenging aspects of being human in unstable, perpetually changing environments
Hannah Pierce is a ceramic sculptor and mixed media artist. She received her MFA in Ceramics from Edinboro University of PA and her BA in Studio Art at Humboldt State University of CA. Before graduate school, Hannah worked as an educator for people with developmental disabilities at The Studio and Cheri Blackerby Gallery, located in Eureka, California. She has exhibited her work nationally in fairs such as Aqua Arts Miami and Superfine! Arts Fair D.C. and exhibitions such as The Clay Studio National, The Clay Studio’s Graduate Student Biennial, both the 50th and the 52nd Annual NCECA National Student Juried Exhibition and the Workhouse Arts Center’s 6th Annual Workhouse Clay International where she received the award, “Best of Show”. She was also awarded a Full Kiln God Scholarship as a Resident at Watershed Center for Ceramic Arts. Pierce is currently the Abilities Fellowship Artist at Baltimore Clayworks, where she is teaching overlooked communities and expanding the community arts programming, while rigorously continuing her studio practice and exhibiting new work. Her work was recently published in June/July/August 2019 issue of Ceramics Monthly.
Photo credit: Artist
7th Floor, Bad Luck Baltimore, 2019 Earthenware and wood
28 x 16 x 15 in.
(Saturday) 6:00 pm - 9:00 pm
5707 Smith Avenue, Baltimore MD 21209
On view: JUN 29 - JUL 20 Reception: SAT JUN 29 | 6-8PM | FREE 21 Days : NYC is a solo exhibition of candid street portraits by Don
On view: JUN 29 – JUL 20
Reception: SAT JUN 29 | 6-8PM | FREE
21 Days : NYC is a solo exhibition of candid street portraits by Don Willett. Don spent most of the 90’s in New York City as a visual artist. 21 years later he returned to the “city that never sleeps” to walk the streets once again. For 3 weeks, he explored the places that shaped his time there and captured the people within. A curated selection of photographs from this series are presented here, providing a unique view of the city and the impact it has on those who call it home. Don’s work reveals themes of intimacy and loneliness, youth and aging; captured against the oft overwhelming backdrop of the largest US city. This unyielding urban environment forms a callous frame which surrounds the challenges that each of us will experience throughout life.
(Saturday) 6:00 pm - 8:00 pm
The Creative Alliance
3134 Eastern Avenue, Baltimore MD 21224
New Works is a screening series dedicated entirely to Film and Video artists based in Baltimore, MD. Our mission is to foster community among local image makers and promote, support,
New Works is a screening series dedicated entirely to Film and Video artists based in Baltimore, MD. Our mission is to foster community among local image makers and promote, support, and grow the local scene. The series was founded by Jimmy Joe Roche in 2016 and is hosted by Normal’s Book Store in the Red Room. Saturday June 29th will showcase various, never seen before work by thirteen local video artists. Screenings will be held at 7 and 9PM, and a cash donation of $5-10 is required at the door. We hope to see you there!
7 PM (Doors at 6:30)
9 PM (Doors at 8:30)
All tickets at the door
Featuring the work of:
@ Normals Books and Records
For more information about New Works, please check out our site: https://newworksbmore.tumblr.com
(Saturday) 7:00 pm - 10:00 pm
Normal's Books and Records
425 E 31st St, Baltimore, Maryland 21218
Grammy-nominated pianist and composer Vijay Iyer is “one of the best in the world…” (Pitchfork). The MacArthur award-winner and Harvard University professor
Grammy-nominated pianist and composer Vijay Iyer is “one of the best in the world…” (Pitchfork). The MacArthur award-winner and Harvard University professor sees jazz as “creating beautify and changing the world” (NPR).
Doors open at 6:30pm.
Members pre-sale starts May 29 ($35). Non-member tickets available June 5 ($50).
Sunny Day Tickets
When the skies are clear and the heat mild, the Museum will release an additional 150 tickets after 1 p.m. on the day of the concert. For updates on the day of the event, call 443-573-1701 or follow us on Facebook and Instagram.
In the event of inclement weather, concerts are held in the Meyerhoff Auditorium. Outdoor Jazz + Dinner reservations must be changed to indoor seating or rescheduled by calling Gertrude’s Restaurant at 410-889-3399. No refunds or exchanges.
(Saturday) 7:00 pm - 9:00 pm
Baltimore Museum of Art
10 Art Museum Drive, Baltimore, MD 21218-3898
June 29 at 8:00, doors at 7:30 Adults- $12 ($10) ET Drone Home: An Interstellar Mixtape The Voyager Golden Records are the farthest flung objects humans have ever created. But
(Saturday) 8:00 pm - 1:26 pm
Black Cherry Puppet Theater
1115 Hollins Street, Baltimore 21223
Join us for FRESH TALK on the aesthetics of gender equity. As Marvel Comics’ first licensed jewelry designer, Douriean Fletcher created the power-packed accessories for the blockbuster film Black Panther (2018).
Join us for FRESH TALK on the aesthetics of gender equity.
As Marvel Comics’ first licensed jewelry designer, Douriean Fletcher created the power-packed accessories for the blockbuster film Black Panther (2018). The Afro-futurist-inspired design propelled audiences into a world where power and gender roles were based on expertise and ability.
With the jewelry in a starring role, Fletcher created looks that reflected gender equity in Wakandan society. Join us for a conversation that explores how we communicate gender, power, and expertise through adornment.
• Douriean Fletcher, artist and jeweler
• In conversation with: Dr. Ayana Omilade Flewellen, UC President’s Postdoctoral Fellow at the University of California Berkeley and Co-Director of the Estate Little Princess Archaeology Project and Maia Nuku, the Evelyn A.J. Hall and John A. Friede Associate Curator for Oceanic Art at the Metropolitan Museum of Art
Followed by Catalyst, a cocktail hour with a topic and a twist.
Required. $25 general; $20 members, seniors, students. Price includes museum admission and Catalyst cocktail hour. Program will be live-streamed at nmwa.org/freshtalk4change.
This event will have an American Sign Language (ASL) interpretation option. If interested, please email [email protected] at least two weeks prior to the event.
[Jewelry photos: BJ Photographer]
(Sunday) 4:30 pm - 6:00 pm
National Museum of Women in the Arts
1250 New York Avenue, NW Washington DC 20005