This is the fifth in a series of interviews with each of the Sondheim Award Semifinalists. Finalists will be announced in mid-April, 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: Terence Hannum
Age: 34
Current Location: Parkville, MD
Hometown: Chicago, IL
School: MFA, School of the Art Institute of Chicago

Current favorite artists or artwork: Anoka Faruquee (moiré pattern paintings are very exciting), Peter Kubelka (the installation of his film for Arnulf Rainer really was an inspiration for this work) and Scott Short’s weird xerox paintings at the moment.  But I could easily add William Anastasi or Jennie C. Jones to the list.

What is your day job? I am an Assistant Professor in the Art Department at Stevenson University, who coordinates the Foundations Program.

How do you manage balancing work with studio time with your life? By not sleeping and keeping a calendar.

How would you describe your work, and your studio practice? I would describe my work as primarily concerned with the relationship between sound and vision. This body of work is really about this found obsolescent object, the commercial cassette tape.  It is slightly anachronistic in the west, appearing in some subcultures like experimental noise or black metal, but is more widely in use in certain countries in Africa – if you haven’t bookmarked Awesome Tapes from Africa you must (  My studio practice is more of a laboratory where I try out a lot of ideas, I tend to generate sets of formal explorations and then edit them down.  This body of work came from repairing a Roland Space Echo, an original tape delay, and realizing how beautiful the surface of the tape was.

What part of artmaking to you like or enjoy the most? The least?  The part I enjoy the most is the focus.  It is probably the closest I can get to meditating with my hectic life.  The least, is all the applications, deadlines, etc. and trying to get the work out there.  I always hate that feeling that I lost good studio time to just push paper.  But it is part of the beast.

What research do you do for your art practice? I listen a lot.  Right now I listen to a lot of records that used magnetic tape as a composition element so a lot of Musique Concrete and Acousmatic works, Eliane Radigue, Ivo Malec to David Tudor or early Steve Reich.  I also look at a lot of artists who use hard edge abstraction like Ellsworth Kelley or Frederick Hammersley.  Just try and pay attention and be sensitive to what people have done before you.

What books have you read lately you would recommend? I make a lot of art zines and have really been intrigued by The Photo Book: A History Vol 1-3 by Martin Parr and Gerry Badger.  It’s really comprehensive.

Movies? Derek Jarman’s “Blue” – I love the monochromatic picture, and the poetic intimate story.  I think it is a masterpiece by relying on audio over image, “Our life will pass like traces of a cloud.”

Television? “True Detective” (HBO), Kind of wound the audience up into a quasi-mythic possible Lovecraftian furor at first but ended like some nightmare SVU by way of David Lynch – with some excellent acting.

Music? Outside of the reissues Editions Mego is doing with the GRM studio of people like Luc Ferrari and Bernard Parmegiani, I am really into groups like Rainer Veil’s last LP on Modern Love, the recent collaboration between Sunn O))) and Ulver, the recent Kangding Ray “Solens Arc” and the LP Kevin Drumm just did “Crowded” is so harsh and intense.

Do you ever get in creative dry spells, and if so, how do you get out of them? I did when I was younger.  But now not really.  I just work through them, I just keep trying ideas and making failures.  For me art has this way of solving itself, I’ll go and make some music or read, or do research about a material and then I’ll return to something.  Just because it gets made doesn’t mean it has to be shown.

How do you challenge yourself in your work? Not to be afraid to make a wrong move, just make it and step back and be honest.  Editing is so important, so often its so easy to not know what is essential to the idea or experience.  So I always start asking what is necessary and what isn’t?  The other thing is to find people whose vision you respect when it gets tricky and who know more than you do.  And then actually listen to them.

What is your dream project? I really am interested in experiences, so one of my dream projects is to combine audio installations using analog tape players extended across large architectural spaces.  To use multiple reel to reel tape players to generate delays of original audio.  I would combine this with large cassette tape collages, to allow a slip between the media on a larger scale and make something immersive and push toward the sublime.

This is the fourth in a series of interviews with each of the Sondheim Award Semifinalists. Finalists will be announced in mid-April, 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: Diane Szczepaniak
Age: 57
Current Location: Potomac, Maryland
Hometown: Detroit, Michigan
School: BA, Economics, University of Michigan, Ann Arbor, MI
Studio 70, Sculpture Studio of Michael Skop, (assistant to Ivan Mestrovic)
BFA, Sculpture & Drawing, Northern Kentucky University, Highland Heights, KY
Welding Certification, Northern Kentucky Vocational-Technical School, Covington, KY
MA, Art Education, University of Cincinnati, Cincinnati, Ohio

From Behind the Stars, 2013, watercolor on paper, 42”W X 45”H

From Behind the Stars, 2013, watercolor on paper, 42”W X 45”H

Current favorite artists or artwork: Aristide Maillol, Paul Klee, Isamu Noguchi, Martin Puryear, Deborah Ehrlich, Julie Hedrick, Martin Creed

What is your day job? How do you manage balancing work with studio time with your life? I am a substitute teacher for MCPS. I can easily work five days a week, but also have flexibility to arrange my schedule to fit my financial needs and art-related commitments and endeavors. I often substitute for art classes. In addition to the fresh ideas my daily interactions with young people inspire, I’m finding the challenge of communicating quickly and effectively the goals and processes of artists to be helpful in approaching my own new projects.

For example, recently I talked to very receptive elementary school students about space and its usefulness for movement, breathing and holding light and also when designing patterns. I so appreciated their attentiveness, but more important was that the artwork they did next was to my eye both spatial and bold. It appeared to me that space became meaningful to them and the meaning translated into drawings with a lot of dimension. Observing young minds at work adds to my understanding of how we learn and see. I also teach drawing and color workshops about space and the senses. These workshops have attracted a wide range of adults involved in a variety of disciplines, including a fair number of neuroscientists.

How would you describe your work, and your studio practice? I am an abstract painter whose training in drawing and sculpting the figure has led me to create work driven by the dynamics of form. One could almost say that the subject matter of my artwork is form itself, an attempt to capture the essence of an object as I see it in space. I play with light, contrast, scale and how movement and color fill space. Rather than try to reproduce a thing, I work to make visible that which the thing expresses, the natural energy within it that manifests itself in space.

The paintings being shown to the Sondheim Prize committee for this year are watercolors. The paintings are compositions where form emerges from layers of color. I paint with a wide brush and a lot of water. The colors of paint are mixed and then applied one on top of another, red on top of blue, blue on top of red, sometimes yellow over everything. I turn the painting to allow the colors to run and to work from all vantage points. I see relationships among elements of color, space and objects that surround me and fill my thoughts. I translate my sensory experiences into color and space. I use my senses to look through color to content and find links between idea and form.

I work on multiple paintings at once. I paint with watercolor paint on paper and on absorbent ground canvas and also with oil paint and oil/wax sticks on canvas and board. My sculptures range from cast figures to constructed boxes with metal to presently playing with layering colored sheets of glass.

The studio I paint in is a room in my house. I also use the basement, garage, and sometimes the living and dining room to work on sculpture projects or to frame. I like having my studio in my home because I work all odd hours. I work most days or nights of the week. I try to think about my art all the time. I also design frames out of steel and aluminum for my paintings. Formerly I welded them myself, but now I hire someone to weld for me.

Pillow of Winds, 2013, watercolor on paper, 42”W X 50”H

Pillow of Winds, 2013, watercolor on paper, 42”W X 50”H

What part of art making do you like or enjoy the most? The least? I enjoy working toward ideas that have to do with creating space, and/or changing the feeling of a space. I like doing things with my hands, this includes painting, sculpture, welding and sewing my own clothes.

I like walking through open doors so probably the thing I like the least is approaching galleries. I have not had good luck with cold calls. All the galleries that sell my work approached me first.

What research do you do for your art practice? I began my art career in the late 1970s with sculpture, and how objects fill space and be space continues as a predominant theme in my work. Early on, I noticed changes in the way my mind and body feels after spending time looking at space. To heighten this sense experience, I felt I needed to achieve a level of focus that was new to me. My goal became to eliminate the clutter, what people often refer to as “noise,” in my consciousness. To explore my theme, I try to let go of all preconceived ideas and socialization when having a new sense experience. I practice witnessing my thoughts when I see, taste, smell, hear, or feel something for the first time and then work to recreate this first-time sense experience in the studio. It is a practice akin to meditation. I find it is a nice place to be. It is freeing. So I enjoy the work it takes to get there.

Incorporating mindfulness into the creative process is a goal shared by many. Part of my research is to discover and study the writers, musicians, and artists that succeed in inspiring the kind of sense experience I’ve described. Another source of this experience is the natural world. So I garden–an activity that parallels sculpture–and observe how trees grow and flowers bloom. Walking in forests and observing insects and wildlife always feels like time well spent to awaken the senses and clear any mental debris. As I read, listen, and watch, I try to put myself in the writer’s, musician’s or flower’s space to experience their way of being.

For ten years, 14 years ago, I sold my paintings at street art fairs in the Midwest and on the East coast. I was often able to anonymously watch and see how folks reacted to my work. I could see the amount of time they spent looking and hear comments they made to their friends and I noticed that many had a physical reaction to the work. It was then that I realized that the feeling I had while making the art could be transferred to the viewer.

What books have you read lately you would recommend? Movies? Television? Music? Most recently, I have been listening to music by Pink Floyd, Chopin’s Nocturnes and Chick Corea, the words, rhythm, drums chords and the tempo have a way that lulls me into a wonderful state of contentment. I listen to music to preoccupy me enough to drive out conscious thought.

Books that have helped me reach my goal are…

  • Open Focus Brain, by Les Fehmi, PhD, and Jim Robbins
  • The Poetics of Space Gaston Bachelard
  • Hidden Dimension by Edward T. Hall
  • The Seven Taoist Masters, A folktale of China translated by Eva Wong
  • Color, A Natural History of the Palette by Victoria Findlay
  • Poetry written by Wallace Stevens, George Trakl, Freidrich Holderlin, Basho, Wislawa
  • Szymborska
Behind the Night, 2013, watercolor on paper, 24.25”W X 38”H

Behind the Night, 2013, watercolor on paper, 24.25”W X 38”H

Do you ever get in creative dry spells, and if so, how do you get out of them? I think of any state of mind as part of the process; dry spells force me to try something new. Of course, my productivity varies and if I find that I just can’t work or the work I am doing is empty, I put it aside. Sometimes, I just need to go for a walk in the woods. Of course, there are “non-creative” art related things to do. At my worst, I throw the I Ching and I usually get something positive to think about.

How do you challenge yourself in your work? When I was starting out, the challenge was to not give up entirely on art as a professional pursuit. Now I know I will work at it as long as I am able. Watercolor painting can challenge me because it has a memory of the water and paint that came before, and the paper is not forgiving. And as the paper gets larger the problems get more challenging too. I try to use problems to my advantage. I never, or almost never give up. I have done paintings that have more layers than is rational but I work until each sheet of paper holds a painting that passes my test. A few paintings happen quickly, most take a while. Years back, I had one series I called Struggle I, II and III. I knew I had to get through them, that I would learn something from them, though I couldn’t tell you in words what that was and after I finally finished them, something changed in me. I answered some questions for myself but those answers lie in something difficult to define or explain.

Another challenge has been working to change my medium to canvas so as to eliminate expensive framing. It has not been easy for me. I have finished a few small canvases that I think are successful. I know that if I had more space to have different workstations I would switch between different media more often.

What is your dream project? To create a room where the paintings, each one setting off the next one, hung 360 degrees around the room. I would also like to experience other cultures and make rooms based on my experience of each culture, land, and people.

This is the third in a series of interviews with each of the Sondheim Award Semifinalists. Finalists will be announced in mid-April, and will be on exhibit at the Walters Art Museum June 21 to August 17; those not selcected as finalists with be exhibited at the Decker, Meyerhoff and Pinkard Galleries at MICA  July 17 to August 3, 2014.

Name:  Ding Ren
Age:  30
Current Location: Amsterdam, NL and Columbia, MD
Hometown: Columbia, MD
School: George Washington University, MFA (2009)


studies on becoming a closet formalist: smoke
Hand-Printed Analogue Chromogenic Print on Expired Kodak Endura Paper
11″ x 8.5″
Trying to capture the essence of Duchamp’s definition of Infrathn: “When the tobacco smoke smells also of the mouth which exhales it.” Painterly gestures, romanticism and a turn towards the sublime are channeled through analogue photographic processes in this ongoing series.

Current favorite artists or artwork :  Joachim Koester (Danish Conceptual Artist), Ciarán Murphy (Irish Painter), Robert Kinmont (American Conceptual Artist), Daido Moriyama (Japanese Photographer)

How would you describe your work, and your studio practice? My work is field-driven, as in I gather my inspiration from direct experiences and observations from my day to day life.  Currently, I have returned to analogue photographic practices.  I allow external factors attributed to the geography and environment to directly influence how and what I photograph.

What part of art making to you like or enjoy the most? The least? I enjoy the unknown of wandering and photographing both foreign and familiar places.  I also enjoy planning and producing, especially if it is specifically for an exhibition, project, or residency.  I am fortunate to be part of a “doka collectif” in Amsterdam where we maintain the last remaining independent analogue color darkroom in Holland.  I can spend endless hours printing and enjoy the slow, hands-on quality of analogue photography.


Shifting Between (Portal Studies)
Hand-printed Analogue Chromogenic Print on Expired Kodak Endura
11” x 14”
Photo: 2012, Printing: 2013
For the past year I have been moving around, never staying in one place for more than 2 months. The experience has been exciting and fulfilling, but has taken a toll on my health. I started this series as a means of therapy and it is helping me get through the discomforts. I am trying to capture the very essence of transience and what it might look like through the use of analogue photography. This is a portal opening, it is a means of transport from a foreign place to a familiar place. I have begun to search for these familiar places within the foreign, so that I am able to find stability and balance once again, to find lightness to take me out of the darkness.

What research do you do for your art practice? I usually come across small fragments for ideas through taking walks, reading books (especially classics), and seeing exhibits.  I find looking at early landscape paintings from the 1600s to be quite poignant, especially the way in which light is captured and in the way the skies are painted.  I like to go to the Rijksmuseum and look at the Dutch Master paintings.

What books have you read lately you would recommend? Movies? Television? Music?  After spending 2 months in Cork, Ireland at a residency, I have been in the mood to read Irish writers like Samuel Beckett.  I especially like his writing style for his “Texts on Nothing.”  I also enjoy reading poetry, recently I discovered Cuban poet, Heberto Padilla, who often writes about the ever-changing qualities of water and the sea.  The band I can’t stop listening to these days is Woods and singer, Ashley Eriksson.


the waves would welcome it beneath the sea (rock frottage studies)
C-prints: unique, Rock frottage drawings: graph paper, crayon
8.5” x 11”
Created while in residence at The Guesthouse in Cork, Ireland. I traveled to Ireland to search for the sublime feeling of both beauty and fear that comes with standing on the edge of a cliff, overlooking something. I wanted to investigate geo-cultural patterns and phenomena within the landscape. To prove that these coincidental patterns exist, I made rubbings of the rocks along the coast of Nohoval Cove while also photographing the cliffs and rocks. By chance, the rock rubbings echoed the photographs I took and vise versa.

Do you ever get in creative dry spells, and if so, how do you get out of them? Yes of course, but I try to think of it all as nature’s way of balancing itself out and make the most out of all phases and stages.  There can be months where I am only doing administrative things like editing and organizing and applying to opportunities while other times I take a break from any art-related things and other times I am out photographing everyday.

How do you challenge yourself in your work? It is all about comfort zones and pushing beyond them.  This is the way in which I approach my work and all facets of life.

What is your dream project? I would love to shoot several 16mm films in various locations around the world with dramatic landscapes: think cliffs, lush green mountains, waves crashing, swaying trees, flickering light.  It would be an extended visual poem and I would project the films layered over one another.

This is the first in a series of interviews with each of the Sondheim Award Semifinalists. Finalists will be announced in mid-April, and will be on exhibit at the Walters Art Museum June 21 to August 17; those not selcected as finalists with be exhibited at the Decker, Meyerhoff and Pinkard Galleries at MICA  July 17 to August 3, 2014.

Name: Elena Johnston
Age: 29
Current Location: Baltimore, MD.
Hometown: Havertown, PA.
School: MICA BFA in Illustration, Towson BA in Art Education.


Current favorite artists or artwork: Joan Miro, Esther Malaghu and Ndebele art, Alexander Calder, The Maeght Foundation, John Cocteau, Erik Satie, Brian Eno, Sonic Youth, Jordan Bernier, John Bohl, Molly O’Connell, Russell Hite, Beth Hoeckel, Demetrius Rice, Future Islands, Beach House, Floristree, Odwalla 88, Noel Friebert, Miyazaki, Fauvists, Color Field Painters, Baltimore.

What is your day job? How do you manage balancing work with studio time with your life? My focus at the moment is my studio practice as well as pursuing a degree in Art Education. I am student teaching at the moment and my work is mutually as inspired by teaching as teaching is by my practice.


How would you describe your work, and your studio practice? How do you challenge yourself in your work? My process right now is trying to combine unlikely combinations of media and try to play as much as possibly with different media, design, sound, and other elements. I have always been inspired by and focused on the idea of play as an approach to creating or curating, and this can take many forms. It is challenging sometimes to remain so open to the element of chance, but is also a driving force in my creative process. Surprises happen if you let them. It is important to change up your approach every so often so as to not get too comfortable with any one way of doing something. I can write a song and then get really excited by a painting. When I make something, the process happens really quickly. I am challenging myself to see what happens if I spend more time on things and push them really far.

What part of artmaking to you like or enjoy the most? The least? I enjoy making art from the initial thought or inspiration, to the actual process and exploration of materials and ideas, to the post-production work such as uploading a photo to my website, designing, printing, documenting, framing, and exhibiting. It is all fun, exciting, and productive for me. The art process is both very intimate and private to wildly public. This push and pull is exciting.

What research do you do for your art practice? I am consistently inspired by the work of my peers and the past. I enjoy working solo and collaborating with my contemporaries. I try to see as much art being made now as possible, by going to art openings in Baltimore and museums, elsewhere, etc. I look at some art blogs or go to the library to look at art books old and new. I am mostly inspired by music, as most of my work comes from a thought or idea or feeling from hearing a song or melody.

I read this quote recently and really loved it: “I have come to the conclusion that, thanks to geometry, the simplest shapes- the square, the triangle, and the circle- I’ve been able to construct a world of my own.” – Juan Stoppani


What books have you read lately you would recommend? Movies? Television? Music? Right now I love Apartamento magazine and Haruki Murakami.

Do you ever get in creative dry spells, and if so, how do you get out of them? If I ever feel like I am uninspired, I take a break to get perspective, which is necessary for all artists. There is time to play and time to think about ideas and both are equally as important. I find that if I exhaust one medium for myself at any given moment, I try to approach an idea from another direction such as making a song, animation, or having a conversation. Having conversations with other artists is important. Sometimes the work itself is a conversation as well.

What is your dream project? I want to make a music album, I want to continue to curate shows and make more paintings. My dream right now is to collaborate more, make books of my own work and others. To be able to dedicate more time to my art process is a dream.

For 2014, 38 individual artists and one artist duo have been selected as semifinalists. Congratulations, and good luck with the next round!

Lauren Adams, Baltimore, MD
Kyle Bauer, Baltimore, MD
Stephanie Benassi, Baltimore, MD
Tommy Bobo, Baltimore, MD
Aharon Bumi, Baltimore, MD
Amanda Burnham, Baltimore, MD
Dustin Carlson, Baltimore, MD
Shannon Collis, Baltimore, MD
Jim Condron, Owings Mills, MD
Leah Cooper, Baltimore, MD
Elizabeth Crisman, Baltimore, MD
Marley Dawson, Washington, DC
Adam Farcus, Baltimore, MD
Neil Feather, Baltimore, MD
Terence Hanum, Parkville, MD
Joshua Haycraft, Washington, DC
Nora Howell, Baltimore, MD
Elena Johnston, Baltimore, MD
Benjamin Kelley, Baltimore, MD
Dean Kessmann, Washington, DC
Ru Kuwahata & Max Porter (Tiny Inventions), Baltimore, MD
Christopher LaVoie, Baltimore, MD
Jon Malis, Washington, DC
Sebastian Martorana, Baltimore, MD
Cara Ober, Baltimore, MD
Ding Ren, Columbia, MD
Fred Scharmen, Baltimore, MD
Paul Shortt, Baltimore, MD
Ally Silberkleit, Baltimore, MD
Nora Sturges, Baltimore, MD
Diane Szczepaniak, Potomac, MD
Kyle Tata, Baltimore, MD
Chad Tyler, Baltimore, MD
Elena Volkova, Baltimore, MD
Stewart Watson, Baltimore, MD
Martine Workman, Washington, DC
Trevor Young, Takoma Park, MD
Lu Zhang, Baltimore, MD
John Zimmerman, Baltimore, MD


Claire Gilman is currently the curator at The Drawing Center in New York where she has organized several exhibitions, including: Drawing Time, Reading Time (2013), Dickinson/Walser: Pencil Sketches (2013), Giosetta Fioroni: L’Argento (2013), Alexandre Singh: The Pledge (2013), Ishmael Randall Weeks: Cuts, Burns, Punctures (2013), José Antonio Suarez Londoño: The Yearbooks (2012) and Drawn from Photography (2011). Years prior to her tenure at The Drawing Center, Gilman was the Janice H. Levin Curatorial Fellow at the Museum of Modern Art in New York, where she worked on exhibitions such as Edvard Munch: The Modern Life of the Soul and Greater New York 2005. Gilman has taught art history and critical theory at Columbia University; The Center for Curatorial Studies, Bard College; The Corcoran College for Art and Design and the Museum of Modern Art. She has written for Art Journal, CAA Reviews, Documents, Frieze and October and has authored numerous essays for art books and museum exhibitions. She received her PhD in Art History from Columbia University in 2006.

Sarah Oppenheimer is a New York based artist whose art installations commonly pierce the architecture of the institutions hosting her work, creating experimental places that challenge a viewer’s perception of the exhibition space. Her first permanent commission, W-120301, was included in the 2012 renovation of the Contemporary Wing at the Baltimore Museum of Art. Oppenheimer has exhibited extensively both nationally and internationally, including solo exhibitions at The Drawing Center, New York (2002); Youkobo Art Space, Toyko, Japan (2004); the Saint Louis Art Museum, St. Louis, Missouri (2008); Art Basel, Basel, Switzerland (2009); Annely Juda Fine Arts, London, England (2009) and an upcoming exhibition, among several, at Mass MoCA, North Adams, MA (2017). She has been featured in many group exhibitions as well, including Odd Lots, White Columns and the Queens Museum of Art, New York (2005); Inner and Outer Space, The Mattress Factory, Pittsburgh, PA (2008); Automatic Cites, Museum of Contemporary Art San Diego, San Diego, CA (2009); Factory Direct, The Warhol Museum, Pittsburgh, PA (2012) and the forthcoming Site Santa Fe, Santa Fe, NM (2015). Her work has been reviewed dozens of times, including several articles in The New York Times, Artforum, Art in America and the Wall Street Journal. She was awarded a Joan Mitchell Foundation Painters and Sculptuors Grant in 2011, a Louis Comfort Tiffany Foundation Award in 2009 and a John Simon Guggenheim Memorial Foundation Fellowship in 2007. She received her MFA from Yale University in 1999, where she is now a visiting critic.

Olivia Shao is an artist and independent curator based in New York. Her artwork has been featured in exhibitions at Real Fine Arts, New York (2010); White Columns, New York (2008); Feigen Contemporary, New York (2005); Clementine Gallery, New York (2005); and 96 Gillespie, London, England (2004). Her curatorial work includes La Poussière de Soleils (The Dust of Suns) at Real Fine Arts, New York (2013); Exquisite Corpse Pose at Elisabeth Ivers Gallery, New York (2011); The Evryali Score at David Zwirner, New York (2010); The Baghdad batteries at MoMA P.S.1, New York (2010) and Doyers Plant Shop at Doyer Space, New York (2009). Shao is a 1998 graduate of the Parsons The New School for Design in New York.

Janet & Walter Sondheim Artscape Prize
The Artscape prize is named in honor of Janet and Walter Sondheim who have been instrumental in creating the Baltimore City that exists today. Walter Sondheim, Jr. had been one of Baltimore’s most important civic leaders for over 50 years. His accomplishments included oversight of the desegregation of the Baltimore City Public Schools in 1954 when he was president of the Board of School Commissioners of Baltimore City. Later, he was deeply involved in the development of Charles Center and the Inner Harbor. He continued to be active in civic and educational activities in the city and state and served as the senior advisor to the Greater Baltimore Committee until his death in February 2007.

The Baltimore Office of Promotion & The Arts announces the finalists for the eighth annual Janet & Walter Sondheim Artscape Prize. The finalists are Gabriela Bulisova, Larry Cook, Caitlin Cunningham, Nate Larson, Louie Palu and Dan Steinhilber. The competition awards a $25,000 fellowship to assist in furthering the career of a visual artist or visual artist collaborators living and working in the Greater Baltimore region. The Janet & Walter Sondheim Artscape Prize is held in conjunction with the annual Artscape juried exhibition and produced by the Baltimore Office of Promotion & The Arts in partnership with the Walters Art Museum and the Maryland Institute College of Art (MICA). The competition winner is announced during an award ceremony and reception on Saturday, July 13, 2013 at 7pm at the Walters Art Museum, located at 600 North Charles Street.

Learn more about the finalists.