Tag: baltimore museum of art

Women Are Taking Over Baltimore’s Art Institutions



This week, the Walters Art Museum welcomed its new director, Julia Marciari-Alexander. Marciari-Alexander replaces Gary Vikan, a 27-year veteran of the institution, and joins Doreen Bolger (director of the Baltimore Museum of Art) and Rebecca Hoffberger (director of the American Visionary Art Museum) to make a trifecta of badass women in charge of the city’s largest art institutions.

Baltimore’s Coolest Summer Internships — Start Readying Your Applications Now!



We hate to hassle you right after winter break, but now’s the time to start looking. According to internship.com, the best time to apply for summer internships is before spring break — and some of Baltimore’s coolest and most interesting companies are just starting to post their 2013 internship listings. The details on a few of our favorites are below:

Under Armour:  The sportswear company clothes Olympians, Ravens, and even Batman. Prospective interns will be happy to hear that the company lists 39 summer internship possibilities, including apparel designers, graphic designers, retail strategizers, and logistics analysts. Internships run from May 28 to August 9, and are based in Baltimore. Applicants should have at least a 3.2 GPA.

Flea Market Renoir Reignites Family’s Feud with BMA


The story of the flea market Renoir — the small painting by the Impressionist master that was bought at a West Virginia flea market for $7 — at first seemed so happy, like something out of a romantic comedy. But of course, things are much more complicated than that… and it seems that the discovery that the painting was stolen from the Baltimore Museum of Art has re-opened all sorts of old wounds, including tales of filched Rembrandts and a Goucher College dean’s thefts from the BMA. It’s also reignited the feud between heiress/art collector/BMA benefactor Saidie May and her major benefactee, the Baltimore Museum of Art.

Sondheim Prize Moves from the BMA to the Walters


The Baltimore Office of Promotion & The Arts announced yesterday the relocation of the Janet & Walter Sondheim Artscape Prize.  The finalists’ exhibition and award ceremony for the competition will be held at theWalters Art Museum in 2013 rather than the Baltimore Museum of Art, where the show of the finalists’ work has been held for the past several years. 

Flea Market Renoir Was Stolen from Baltimore Museum of Art — And the BMA Wants it Back


When a story is too good to be true, alas, it often is. Earlier this month, we told you about the Baltimore native who bought a painting at a West Virginia flea market that turned out to be an authentic Renoir. The painting, “On the Shore of the Seine,” was authentic all right — and also authentically stolen from the Baltimore Museum of Art back in 1951.

Poetry Outloud


Poetry Out Loud, a program of the Maryland State Arts Council, will hold tomorrow afternoon the Maryland State Poetry Outloud Finals at the Baltimore Museum of Art. Co-sponsored by the National Endowment for the Arts and the Poetry Foundation, the program helps students master public speaking skills, build self-confidence, and learn about their literary heritage.   

Aaron Henkin of WYPR’s “The Signal” will host the competition featuring poetry recitation performances from the nine Maryland high school students vying for a spot at the Poetry Out Loud national competition in Washington, D.C. this May.    

The free event will also feature a performance by Emmy-nominated singer/songwriter, ellen cherry.  

After successful pilot programs in Washington, DC, and Chicago, Poetry Out Loud was launched in high schools nationwide in 2006 and now involves more than 365,000 students annually. This year, Poetry Out Loud in Maryland reached more than 15,000 students, grades 9-12, in 17 counties and 500 schools across the state.  

Maryland State Poetry Out Loud Finals

1:00 p.m., Saturday, March 3, 2012

Joseph and Rebecca Meyerhoff Auditorium,   

Baltimore Museum of Art   



Resident Artist Tremain Smith: Grids upon Grids Give Way to Spiritual Mystery


As a child, painting talent Tremain Smith, a Baltimore native and Bryn Mawr alum who now lives in Philadelphia, took Saturday art classes at the BMA. Today, her work hangs in the Metropolitan Museum of Art as well as corporate and private collections around the country. We’re pleased to present Tremain as our latest Baltimore Fishbowl resident artist, a dreamy, visionary maker and meditator, who layers abstract shapes dictated by an intuitive geometry, generating planes of glossy and gauzy color and form that make a hidden world momentarily accessible, a place of spirit and of Tremain’s own brand of beauty. Each grid is a ready-made departure point. Her more recent work, pictured right, puts me in strange mind of a psychedelic quilt, sewn by Kandinsky, doubling as a silk magic carpet, or maybe a kaleidoscopic construction site. Whichever metaphor I choose, the images feel happily fresh and challenging.

A seasoned craftsman and instructor in the ancient skill of encaustic painting, also known as hot-wax painting, which involves adding colored pigments to heated beeswax, Tremain applies “a mixed-media technique composed of layers of oil glazes, collaged elements and transparent beeswax fused by an open flame or an iron.”

In her larger creative life, Tremain passionately pursues another specialized practice, as quaint and rare as encaustic painting, the close-reading of sacred texts, a ritual she performs daily before entering her studio, for an hour or more. She describes this scholarly and meditative focus as the embrace of certain “systems,” which build upon one another to form a collage-like whole, a result much like her painting style, and definitely informative to her art’s creation.

“These spiritual disciplines deeply impact my life and my art. They include forms of divination — ways of discerning invisible influences,” Tremain explains. “I see painting as a pathway to discovering larger understandings using the elements of line and shape, color and texture. It is a tangible means of getting to the intangible.”

For now, Tremain works with abstract geometric forms as a way to ponder and depict abstract spiritual meaning, symbolic of life force, she says, and endless, intricate possibility.

“This direction began when I saw a geometric diagram made up of circles and connecting lines in an old alchemical text — I was immediately drawn to its visual impact and began to study the tradition behind it,” Tremain says. “This tradition depicts the tree of life as a system of spheres and connecting pathways, and assigns numbers, letters, colors, sounds, and other symbols to these paths. The shapes themselves provide unlimited possibilities in art-making and open whole new possibilities of visual and spiritual discoveries as I apply my technique of painting to them.”

Early in her career, Tremain was greatly influenced by the abstract-expressionist painter Joan Snyder, whose works she describes as emotional, raw and free.

“I admire artists like Snyder, who take risks and point out the beauty in ‘ugly’ things,” Tremain says. “I allow order to emerge from seeming chaos, point out the patterns found in deteriorating things, and am attracted to the sometimes frightening aspects of birth and death. These things are reflections of the inner mysteries that I’m after when I paint.”

More recent influences include Swedish artist Hilma af Klint, Swiss artist Emma Kunz, and Agnes Martin, whose words, Tremain says, embody her mission: “If you live by inspiration then you do what comes to you.”  

The artist has had solo exhibitions in New York, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, Maine, Delaware, Florida and Hawaii. Group exhibitions include SOFA Chicago, Art Miami, the Painted Bride, the Philadelphia Art Alliance, and the USArtists American Fine Art Show. Tremain was awarded a residency in 2004 at the McColl Center for Visual Art in Charlotte, North Carolina. In 2006, she served as an instructor in encaustic painting at the Penland School of Crafts in Penland, NC.

Tremain has been reviewed widely, including critiques in The Philadelphia Inquirer, The Chicago Tribune and LA Weekly. Her work is included in The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax published by Watson-Guptill, and in the art journal New American Paintings. She studied at the Pennsylvania Academy of Fine Arts, Tyler School of Art, Carnegie-Mellon University and the University of Pennsylvania. Tremain balances her studio work with lectures; she leads community workshops and teaches art through various venues.


To learn more about Tremain’s work, contact Oriet Milmoe: www.orietsfineart.com; [email protected]

What Hath Rachel Rotenberg Wrought?


Rachel Rotenberg thinks of her sculptures as stories told with wood. Frequently augmenting the wood with vines, Rotenberg creates an aesthetic world populated by sensually curving surfaces, intriguingly formed negative spaces, and forceful volumes.

The artist begins her process by drawing shapes in a sketchbook. She then builds from those drawings using sticks of cedar lumber. With a variety of machinery—hand and power tools—the wood is cut, glued, clamped and sanded. She then applies stains and colors to the finished pieces.

As abstract as they are, Rotenberg’s sculptures have a classical quality: They achieve humanist textures and contours that overcome their materials. The inviting curvaceousness of the final product belies the intensity of a process that has Rotenberg cutting, gluing, clamping, and sanding.

Though it would be difficult to extract a literal narrative from the pieces, the pieces do suggest the existence of a story beyond the sculptures themselves. It stays just beyond the viewer’s reach as he attempts to understand the inexplicable forms.

Rachel Rotenberg was a 2011 Sondheim Prize finalist. Her sculptures are on exhibition at the BMA until August 7.