The BMA plans to sell three works by Brice Marden, Clyfford Still, and Andy Warhol. It will funnel $10 million of the proceeds into a fund to acquire works by women and artists of color.
Starting this June, the BMA will provide resources as well as financial support to local artists, galleries, and communities.
Few artists have reinvented themselves in their prime the way Jo Smail has; few have had to.
Most shows can’t or don’t hold these very separate aspects in synchronous rotation: sober assessment of an art historical lineage and a feeling of intimacy. This one does.
Considering that only 4% of the 95,000 artworks in the BMA’s permanent collection were created by women, it makes the decision practical as well as political.
Two exhibitions at the Baltimore Museum of Art revel in the unique strangeness of one’s mind.
The individual visual narratives in Time Frames make up our collective human history.
Maren Hassinger’s retrospective The Spirit of Things at the Baltimore Museum of Art not only validates her career but indicates something about our current political moment.
Deaccessioning — the permanent removal of objects and art from a museum’s collection — has been at the forefront of many discussions around public and private collections of late.
For the first time, those who have followed Jack Whitten’s career can see two different sides of the artist through two fully developed bodies of work designed for radically different purposes.
The Baltimore Museum of Art will deepen its holdings of works by women and artists of color using funds from sales of seven redundant works.
Stephen Towns’s exhibition at the Baltimore Museum of Art honors black women and Nat Turner, meditates on labor, and makes room for nuance in debates on depictions of historical violence.