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Paul Klee Drawings and Prints exhibition, Baltimore Museum of Art, September 9 – November 8, 1992
No full textPaul Klee Drawings and Prints," which presents the museum's strong holding of 17 works plus three loans, two of which are promised gifts. They range from the early, satirical etching "Aged Phoenix" (1905) to the somber humor and Samuel Beckett-like "going on" of the late painting "Traveling Circus" (1937). According to curator of prints, drawings and photography Jay M. Fisher, this may be the first time all of the museum's Klees have been shown at once, so this exhibit offers the rarest of local opportunities to see the artist in depth
Picture Perfect: Icons of Modernism from the Museum of Modern Art, New York exhibition, Baltimore Museum of Art, November 22, 1992 – January 17, 1993
No full textAs Brenda Richardson tells it, "The Blue Nude" has a lot of clout. Matisse's famous 1907 painting was one of 15 works the Baltimore Museum of Art lent to the Museum of Modern Art in New York for its current Matisse retrospective. In return, Ms. Richardson, BMA deputy director for art, wanted a show of masterpieces from MOMA's collection.
"I wanted to borrow as many as I could get away with of significant icons, pictures that are famous both as works of the artists and as works in MOMA's collection."
The result is the seven paintings and 10 drawings of "Picture Perfect: Icons of Modernism from the Museum of Modern Art, New York," opening at the BMA today. Among them are some of MOMA's best-known works, including Vincent van Gogh's "Starry Night," Henri Rousseau's "Sleeping Gypsy," Marc Chagall's "I and the Village" and Jackson Pollock's "Number 1, 1948," plus three drawings by Pollock, a painting and three drawings by Picasso and works by Cezanne, Edward Hopper, Georgia O'Keeffe and Charles Sheeler
Brice Marden: Prints 1961-1991 exhibition, Baltimore Museum of Art, October 25, 1992 – January 3, 1993
No full textBrice Marden, a former creative figure in New York, embodies a modernist ethos rooted in abstract expressionism. His prints feature fluid, effortless lines and geometric shapes, intuitively composed to evoke a sense of ambiguity for the viewer. Marden masterfully merges minimalism with intricate layering, inviting a realm of inteperative possibilties between the human experience and monochromatic design
Anne Truitt: A Life in Art exhibition, Baltimore Museum of Art, February 5 – April 19, 1992
No full textAn exhibition of Anne Truitt's collection, including paintings, painted sculptures and drawings
Design 1935-1965: What Modern Was exhibition, Baltimore Museum of Art, June 7 – August 2, 1992
No full textCirculated by the Decorative Arts Museum of Montreal, which may have the most extensive collection of modern design in the world, this traveling show and its catalog are divided into eight categories that propose to trace the rise, the stylistic diversity and the decline of modern design. Along the way it makes some points that may cause surprise and disagreement; but its clarity in putting its views across and its assemblage of beautiful and important works are never in question.
Some may consider the art nouveau of the late 19th century and the art deco of the early 20th as belonging to the modern period, but "What Modern Was" chooses to regard them as retaining too much of handcrafting and surface decoration to qualify as truly modern.
Instead it identifies the opening of the Bauhaus, the great German design school founded in 1919, as the true birth of the modern era, for it espoused principles that broke significantly with the past. As the show enunciates them, these included simplicity of design, utilitarian values, use of new technology and new materials, lack of surface ornament, mass production rather than handcrafting -- all these elements being in accord with the ideals of a democratic society. Good design was no longer to be the option of only the wealthy and privileged; it was to be for the people
Marking the Decades: Drawings 1960-1990 exhibition, Baltimore Museum of Art, February 5 – April 19, 1992
No full textAlthough Robert Rauschenberg was convinced that 'the second half of the twentieth century was no time to start writing on rocks' (referring to lithography, which involves literally drawing with a greasy substance on limestone), he was the first American to achieve international success with his lithographs. Through sheer persistence, Tatyana Grosman persuaded some of the leading artists of the 1960's -- including Rauschenberg, Jasper Johns, Robert Motherwell, and Barnett Newman -- to explore the artistic possibilities of lithography in her Long Island workshop, Universal Limited Art Editions (ULAE). At nearly the same moment, in 1959, June Wayne set up the Tamarind Lithography Workshop in Los Angeles to revive the technique so that more trained printers would be available to collaborate with artists. Their combined efforts made possible in the United States the now well-established tradition of collaboration between painters and master printers. A new generation of collectors took an interest in the innovative and dynamic prints that resulted, and the wave of American printmaking which followed which followed has not yet subsided
Signs of the Time: Turn-of-the-Century French Posters exhibition, Baltimore Museum of Art, May 13 – August 9, 1992
No full textThis show of 52 works by 19 artists; including Henri Toulouse-Lautrec, Edouard Vuillard, Pierre Bonnard; highlights the glamorous world of 1890's Paris. Parisians enjoyed such entertainers as Yvette Guilbert and Loie Fuller, the carefree pastimes of bicyling and ice skating, the heady fascination with progress. It must have been a fine time to be alive, and that spirit comes through in the attractive "Signs of the Time:Turn-of-the-Century French Posters" at the Baltimore Museum of Art
Design 1935-1965: What Modern Was exhibition, opening, Baltimore Museum of Art, June 1992
No full textThis collection captures real-time moments from the opening of "Design 1935–1965: What Modern Was" exhibition at The Baltimore Museum of Art in June 1992. The event welcomed visitors with an immersive experience featuring a vibrant blend of modern art, dynamic celebratory dances, and live instrumental performances
Pleasures and Terrors of Domestic Comfort exhibition, Baltimore Museum of Art, August 26 – October 4, 1992
No full textFeaturing works by photographers from the baby boomer generation, each image invites viewers to construct a narrative through a range of moods and domestic activities. The collection explores the complexities of American comfort, examining the expectations and anxieties that characterize suburban life in the 1980s. Each image confronts the tension between the nostalgic ideals of the American Dream and the unsettling realities lurking beneath the surface, offering a dual lens on the era’s domesticity—where comfort coexisted with fear, and the familiar often masked deeper uncertainties
Peter Goin: The Land as Witness exhibition, Baltimore Museum of Art, April 9 – July 14, 1991
No full text"The Land As Witness," a show of Peter Goin's contemporary landscape photographs (The Evening Sun, page 30, April 04, 1991)