Highlights from the 2014 Commencement Exhibition at MICA.
BrightStARTS is accepting applications for art teachers and teaching assistants for “Read to Succeed,” a summer reading academy in Baltimore City!
For more information on how to apply, visit http://bit.do/nfV5
Resumes and work experience must be submitted by June 2, 2014.
This is the twenty-sixth in a series of interviews with each of the Sondheim Award Semifinalists. Kyle is one of seven finalists, whose work will be on exhibit at the Walters Art Museum June 21 to August 17; remaining semifinalists with be exhibited at the Decker, Meyerhoff and Pinkard Galleries at MICA July 17 to August 3, 2014.
Name: Kyle Tata
Current Location: Charles Village
School: Maryland Institute College of Art, BFA
Current favorite artists or artwork: Too many to list… Constant all time favorites:Christopher Williams, Paul Sietsema, Joachim Koester, Jill Magid, Michael Asher, Allen Sekula, Dan Graham, Tom Burr, Lewis Baltz, James Welling. Artists I am currently really into: Carl Gunhouse, Daniel Shea, Christopher Rodriguez, Sam Falls, Alex De Corte. Some of my awesome friends from Baltimore that inspire me every day: James Bouché, John Bohl, Andrew Liang, Ryan Syrell, Ginevra Shay, Elle Perez, Val Karuskevich.
What is your day job? How do you manage balancing work with studio time with your life? I currently work part time as the photography instructor at Baltimore School for the Arts teaching high school classes in darkroom and digital photography, as well as a few other part time jobs. I am lucky to have a job that allows me to constantly think about art and photography. It is also great to be able to teach analog darkroom photography on a high school level to students who have never had the experience before of printing their own work in a darkroom. Film photography is such a great medium and I’m so thankful that Baltimore School for the Arts continues to have a functioning darkroom.
How would you describe your work, and your studio practice? My work is often conceptually based projects that result in a photographic series, sometimes the end product of that series will be a book, a photographic installation, or both. As of late I have been trying to create work that does not have a true end product but instead can simultaneously exist in many different formats. My photography recently has becoming more abstract but is based on specific materials that relate to 20th century Modernism and its relation to architecture. I am very interested in the role that abstraction plays in everyday domestic life.
What part of artmaking to you like or enjoy the most? The least? I often get too caught up in theory and concept before I even start a piece and sometimes that hinders me from actually creating a physical object. The part I enjoy the most has to be the grey area after the series of work has transitioned from simply being an idea in my sketchbook to something that occupies real space but before the series is complete. I have a hard time finishing a series completely, I am constantly going back into past work and revising it.
What research do you do for your art practice? A lot of my projects deal with some sort of cultural history, so I do tend to do lot of time looking up specific historical events and topics in libraries and online before I actually start making a work. I consider artistic research to be a very important aspect of my practice.
What books have you read lately you would recommend? Movies? Television? Music? I’ve recently read “Draw it with your Eyes Closed: The Art of the Art Assignment” and it definitely has made me think more critically about my approach as an art teacher. As for music, I’ve had the new St. Vincent and Future Islands albums in heavy rotation lately. I have an addiction to buying artist books and exhibition catalogues, I recently got Sara Cwynar’s Encyclopedia of Kitsch which is a fantastic photography/artist’s book with a completely unique design.
Do you ever get in creative dry spells, and if so, how do you get out of them? I feel that I constantly shift between phases of complete stagnation to periods of intense work and production. When I get in a dry spell I try to force myself simply work on anything to keep my hands busy even if that work doesn’t actually lead to a complete finish project, it helps me to start something new.
How do you challenge yourself in your work? Lately I’ve been trying to force myself to incorporate new media in my artwork and not simply continue a formula. My newest work is probably the least traditional photographic work that I’ve done in a long time and visually is much more aligned with abstract painting than straight forward photography. One of the hardest things to do as an artist is to constantly push your practice and not get not let the work become too predictable .
What is your dream project? I know this isn’t what is meant by this question, but lately I have been having dreams about making artwork that doesn’t actually exist in real life. It has been weird to visualize what artwork my subconscious wants to make compared to my actual work. Sometimes the work in the dreams is pretty close to real life but other times it has been really strange and unlike anything I’ve done before.
GUTSY: Taking the Fear Factor Out of Feminism
GUTSY: very tough or brave : showing courage
marked by courage, pluck, or determination
a: expressing or characterized by basic physical senses or passions
b: rough or plain in style : not bland or sophisticated
Feminism, much like art, is about perception. You may consider your participation in this call for entry a radical feminist act against the mainstream misogyny of the art system, you might not. Either way, your participation in this exhibition will help support women in Baltimore. The Feminist Art Project – Baltimore and Gallery CA invite artists to submit artwork to GUTSY: Taking the Fear Factor Out of Feminism, an exhibition which seeks to highlight the work of female artists and artists dealing with feminist issues, themes, and aesthetics.
As part of TFAP-B’s mission to support female artists and local organizations working to support women, 20% of each work of art that is sold will go to Power Inside.* Power Inside is a human rights and harm reduction organization that serves women and girls who are survivors of gender-based violence and oppression. Power Inside serves women impacted by incarceration, street life and abuse. They offer direct services, advocacy, leadership development and public education to help women build self-sufficiency, heal from violence, and avoid future criminal justice contact.
This call for entry is open to artists in the Mid-Atlantic region that recognize the aesthetic, intellectual and political impact of women, regardless of race, class, or creed, on visual arts and culture. *Please note, the artist retains 80% of sale. Neither Gallery CA nor The Feminist Art Project – Baltimore will take commission on the sale of artwork during this exhibition.
The Feminist Art Project – Baltimore recognizes the aesthetic, intellectual and political impact of women on visual arts and culture. We are a grassroots, non-profit arts organization which aims to be inclusive; supporting local, self-identified female artists, as well as men who recognize and promote Baltimore area women in the arts.
Deadline: Deadline for Application is Monday June 2nd
Exhibition Run: July 18th thru August 8th
Notification: Artists will be notified Monday June 16th
Reception: Closing Reception August 8th 6-9 pm
Delivery dates: July 1st and 2nd
Pick up dates: August 9th-10th
Artists should attach their statement and/or CV, no more than 3 images in JPEG formation (sound and video artists may submit links), a 2-5 sentence description of the work and why you want to participate in GUTSY: Taking the Fear Factor out of Feminism. Please submit materials in an email sent to firstname.lastname@example.org with subject heading GUTSY_Lastnameofartist. Artists are solely responsible for delivery and pick up of accepted work. Two dimensional pieces should not exceed 60” x 60” and must be ready to hang/display. Three dimensional works should not be taller than 72” and wider than 48”, unless previously approved by TFAP-B and Gallery CA. Sound and video artists are responsible for supplying their own technology for exhibition. Artworks considered unsuitable for hanging/presentation will be refused. TFAP-B and Gallery CA reserve the right to refuse any artwork that is misrepresented through documentation or is not the piece selected by the jurors.
The Baltimore Office of Promotion & The Arts, Inc. (BOPA) is a non-profit arts and events organization charged with making Baltimore a more creative and vibrant city. The organization’s programs include city-wide special events and festivals (Artscape, Baltimore Book Festival, parades, fireworks) as well as management of historic sites and cultural facilities (School 33 Art Center, Top of the World Observation Level, Bromo Seltzer Arts Tower, The Cloisters). As the City’s designated arts council, BOPA administers arts education and cultural programs, awards grants, and coordinates the 1% Public Art Program.
BOPA is now accepting proposals for exhibitions in gallery spaces at the BOPA main office, Bromo Arts Tower and Top of the World Observation Floor at the World Trade Center. Each exhibition will be approximately two months long during the FY15 exhibition season, September, 2014 to June, 2015.
The BOPA office at 10 E. Baltimore Street, 10th Floor, has exhibition space in the lobby and conference room. The office is open M – F, 9am – 5pm, for viewing the spaces.
Bromo Seltzer Arts Tower is located at 21 South Eutaw Street and has space available on two floors. The building is open to the public for viewing every Saturday 11-5pm. This historic building houses 15 floors of artist studios and has two small rooms on the lobby level and a larger gallery space on the mezzanine (2nd floor) level. Due to its historic nature, the Bromo galleries have some limitations. A site visit is recommended. www.bromoseltzerartstower.com
Top of the World Observation Level, located on the 27th floor of the World Trade Center at 401 East Pratt Street, is open to the public 7 days a week during the summer and 5 days a week during the winter (see website www.viewbaltimore.org for details). There are two walls each 37 1/3 ft. long dedicated to exhibitions. The windows at Top of the World offer a 360° view of Baltimore, which attracts visitors from all over the world.
Call 443-874-3596 or email email@example.com to schedule a visit to view the exhibition spaces.
This is the twenty-fifth in a series of interviews with each of the Sondheim Award Semifinalists. Finalists have been announced, and will be on exhibit at the Walters Art Museum June 21 to August 17; those not selected as finalists with be exhibited at the Decker, Meyerhoff and Pinkard Galleries at MICA July 17 to August 3, 2014.
Name: Trevor Young
Current Location: My studio is in downtown Silver Spring.
Hometown: Takoma Park, MD
School: University of the Arts, Philadelphia (BFA)
Current favorite artists or artwork: Valeri larko, Stepehn Magsig, Glenn Barr, Joe Deal, Olivia Rodriguez, Lewis Baltz, Michael Massaia
What is your day job? How do you manage balancing work with studio time with your life? I am a full-time artist. I get the pleasure and challenge of working every day. I work with a two fantastic gallery’s. J.Cacciola gallery, NY and David Klein gallery in Birmingham MI.
How would you describe your work, and your studio practice? My work focuses on “non-places” such as ATMs, gas stations, airports, highways, and factories that appear to me as minimal architectural forms. I am drawn to the spatial relationships and specific light found in these places. The geometry can be really dramatic.
What part of art making to you like or enjoy the most? The least? I like all the aspects and the challenges that painting and spatial relating imposes on me.
What research do you do for your art practice? My research starts with my grabbing my camera and getting into my car. I photograph on road trips and in my own neighborhood. I rarely don’t have my camera and sketchbook with me. I consider photography to be part of the drawing stage of a painting that allows me to collect images from either my vehicle or from my tripod.
What books have you read lately you would recommend? Movies? Television? Music?Wayne Thiebaud talking about Giorgio Morandi.on the Morandi Museum website.
Do you ever get in creative dry spells, and if so, how do you get out of them? Rarely do I dry out creatively. I am worker not a dreamer. If I slow I get busy adjusting my process. I might slow but I have never had a dry spell thankfully.
How do you challenge yourself in your work? I create new problems to solve in each painting. I sometimes choose difficult compositions that I don’t fully understand and have to find a way to make them work.
What is your dream project? My dream project would be producing a large series of panoramic view of airports from above. I have always loved DFW airport. It’s grand place that’s void of the short comings of natural space.
Time is running out to sign up for School 33’s new art classes! For more information about these classes, please visit http://bit.do/k5Ug. Call 443-263-4350 to register.
Let’s FACE It – a portrait painting class taught by Cameron Shojaei
Let’s face it, the most difficult challenge for any painter is the portrait. To catch a likeness in paint is to earn immediate respect as an artist. I will show you all the tricks. No prior training necessary. I guarantee after I show you the moves you will feel confident enough to take on a portrait commission. It’s time to unlock your inner Rembrandt. Let’s go.
Four Saturdays from 11:30am to 1:00pm. May 17th, May 24th, May 31st, and June 7th.
Introduction to Digital Photography – a photo class taught by Randall Gornowich
So you have now purchased a digital (DSLR) camera, but are overwhelmed with all the features? Or perhaps you were hoping your images could look a little more creative or visually interesting? Professional photographer and artist Randall Gornowich brings over 18 years of teaching experience to this series of classes in basic digital photography which he designed for the beginner and intermediate student. In this class you will learn camera basics, simple technical ins and outs and elements of design as you take on weekly creative assignments. By the end you will understand how to create more interesting compositions and solve many photographic challenges. Class will include short lectures, handouts, projected presentations, demos and critiques.
Four Saturdays from 11:30am to 1:00pm. May 17th, May 24th, May 31st, and June 7th.
Precious Metal Clay Medallions – a jewelry class taught by Sheri Collins
Students will learn to create one-of-a-kind FINE SILVER (99.9% solid silver) medallions using Art Clay Precious Metal Clay. They will learn rolling, texturing, finishing, stone embedding and firing techniques using a portable, hand-held Propylene torch. All techniques of decoration, polishing, firing and finishing their medallions will be covered. They will also have multiple choices on how to wear them – as a pendant, brooch, or bracelet. These make fantastic gifts!
This class will be offered three times:
May 17th from 1:30-4:30pm, June 14th from 1:00pm-4:00pm, and June 21st from 1:00pm-4:00pm.