In 2018, the Baltimore Museum of Art (BMA) deaccessioned seven artworks from its contemporary holdings to create an acquisition fund for purchases of works by artists underrepresented in its collection and within broader art historical narratives.
Twenty-two of the 125 works acquired through the fund in the past three years are on view in Now Is The Time. Coupled with several extraordinary gifts the museum has received, the exhibition offers an insightful snapshot of the BMA’s curatorial effort to identify artists deserving of greater scholarly research and public attention, placing the highest priority on those artists who are women, Black, Indigenous, self-trained, and/or have connections to Baltimore. Now Is The Time includes established figures alongside emerging voices, creating dialogues across generations. The exhibition also captures an expansive range of approaches to making, developed through both self-taught and academic training.
For more information on Now Is The Time, visit artbma.org.
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.