Like the National Labor Union in 1866, the Walters Art Museum union lit a fuse that ignited a labor movement boom across Baltimore’s cultural institutions.
“Quilt” is an insufficient description for the extraordinary fabric pieces Scott began to construct in the 1970s.
Rap Research Lab continues what hip hop has been doing for the past half century: playfully rearranging the words, sounds, and textures of postwar American pop music.
Asma Naeem’s appointment comes in the wake of a tumultuous period for the institution.
The ideal candidate will be a painter engaged with contemporary issues who can develop a vision and set the future direction of this program at the Maryland Institute College of Art.
Ito’s rubbings and multimedia works are traces of a global tragedy still imprinted in the memories of Americans more than two decades later.
The museum refused a Freedom of Information request, stating that it is a private entity and therefore not subject to the MPIA.
The only East Coast presentation of this exhibition includes 70 artworks and rarely seen photographs, letters, poems, and other archival materials from the Joan Mitchell Foundation.
Richard Yarde’s watercolors make a historical document into something personal, wistful, more a vision than a visual fact.
Unlike the more celebrated painters around her, she didn’t resolve herself to working the same issues over and over; she kept asking herself other questions, pushing the paint to do what it had not quite done before.
“We want livable wages and to be able to live well,” said Rob Kempton, a security guard. “I think our efforts are warranted, and we aren’t going to go down without a fight.”
Over 160 artworks, including rarely seen works on paper, illuminate Etta Cone’s vision and her role in creating the Baltimore Museum of Art’s mammoth Matisse collection.