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Sol LeWitt: Drawings, 1958-1992 exhibition, Baltimore Museum of Art, February 12 – April 23, 1995
No full textPeople who know only LeWitt's wall works or sculpture may be amazed at his output of drawings on paper. Though the Baltimore Museum of Art has devoted four large rooms and then some to the show, its original checklist had to be pruned by 150-odd objects because of space constraints.
The retrospective, originated by the Haags Gemeentemuseum in the Hague, the Netherlands, encompasses everything from early copies of details in paintings by Velazquez and Piero della Francesca to notes and plans for sculpture to pieces in a range of media -- graphite, ink, gouache, folded paper -- that are complete works in themselves
Parallels and Precedents: Baltimore's George A. Lucas Collection in Context exhibition, Baltimore Museum of Art, August 23 – October 15, 1995
No full textBetween them, the BMA and the Walters possess extraordinary holdings in 19th- and early 20th-century art, especially French art. Lucas (1824-1909), who lived in Paris and served as an agent for the Walterses and other collectors, amassed a collection that included some 18,000 prints; several hundred paintings, drawings and watercolors; and a major collection of sculptures and other works by the French animalist sculptor Antoine-Louis Barye. This show’s juxtapositions show the interrelationships of the collections
Jewels of Fantasy: Costume Jewelry of the 20th Century exhibition, Baltimore Museum of Art, February 9 – April 24, 1994
No full textCostume jewelry is new to fashion history, only coming into its own in this century. The earliest pieces started as pretenders to royal jewels and heirlooms and were copies made to foil thieves. Even fine jewelers, such as the firm of Cartier, routinely turned their designs into copies which made the social rounds while the originals stayed safely in the safe.
At the turn of the century, the development of more efficient manufacturing techniques and refinements in stone-cutting made it possible to mass-produce the brooches and chokers of the very rich very inexpensively.
World War I saw social and stylistic changes, and ostentation gave way to art. Early 20th-century designs were marked by nature-based lines of art nouveau and the geometrics of art deco.
It was the Thoroughly Modern Coco, however, who made costume jewelry chic. Chanel called for clips and pearls which were bold and obviously fake. Since then, costume jewelry has followed fashion's social and seasonal fluctuations.
"Jewels of Fantasy" is a walk through those exuberant social occasions among cases alight with jewelry that was meant to be noticed
Roni Horn: Inner Geography exhibition, Baltimore Museum of Art, February 23 – April 17, 1994
No full textSince 1975 Roni Horn has made frequent solitary journeys to Iceland, and her experience of the island has profoundly influenced her work. Yet of the three primary arenas in which she works -- installations, drawings, and books -- only the book series, 'To Place' speaks directly about Iceland
Body and Soul General Idea: One Day of AZT and One Year of AZT; Body and Soul Ronald Jones: Petrarch's Air; Body and Soul Nayland Blake: Invisible Man; Body and Soul Cindy Sherman: Abstractions exhibition, Baltimore Museum of Art, June 22 – October 9, 1994
No full textBody and Soul is an exhibition that deals with issues from AIDS to pornography. The exhibition consists of four installations, one in each of the museum's main temporary exhibition galleries. The artists are nationally and internationally known. The sculptor Ronald Jones and the photographer Cindy Sherman are based in New York, the sculptor and installation artist Nayland Blake is based in San Francisco, and the three-artist collaborative General Idea is based in Toronto
Sweet Dreams: Quilts & Coverlets from the Collection exhibition, Baltimore Museum of Art, October 26 – December 31, 1994
No full textQuilts have long been admired by those who appreciate their dazzling patterns, their ability to enliven any room in which they appear, and the immense amount of work and skill that went into their making. But many have thought that they were the product of privation, made of leftover scraps of cloth.
The Baltimore Museum of Art has news for anybody who still thinks that. Its introductory text to “Sweet Dreams: Quilts and Coverlets from the Collection” informs us that, “In colonial America quilts were a luxury likely to be found only in wealthier households” because they were made of materials too expensive for the average person
Benin: Royal Art of Africa from the Museum für Völkerkunde, Vienna exhibition, Baltimore Museum of Art, September 7 – October 30, 1994
No full textExhibition held at the Museum of Fine Arts, Houston, February 20 - April 3, 1994; Cleveland Museum of Art, May 3 - July 21, 1994; Baltimore Museum of Art, September 7 - October 30, 1994; Seattle Art Museum, December 17, 1994 - February 12, 1995
Matisse Cut-Outs from the Musée National d'Art Moderne/Centre Georges Pompidou, Paris exhibition, Baltimore Museum of Art, May 25 – August 14, 1994
No full textThe BMA will display a visiting exhibit of 31 cutouts. The works cover the period from 1937, when Matisse was getting into the medium, to 1953, the year before his death. They include the maquettes for the great book “Jazz” and the “Blue Nudes” of 1952, with which the artist recalled one of his most famous works, the BMA’s “Blue Nude” of 1907.
In fact, the BMA’s “Blue Nude” is why the BMA is getting the cutouts, which are owned by the Musee national d’art moderne/Centre Georges Pompidou in Paris. The Pompidou is lending the works in return for the loan of “Blue Nude” to the Pompidou’s 1993 show of Matisse’s work
Three Drawings exhibition, Baltimore Museum of Art, October 5, 1994 – January 29, 1995
No full textThis show consists of Charles Sheeler’s “Rocks at Steichen’s” (1937), Vija Celmin’s “Galaxy (Cassiopeia)” (1973) and Brice Marden’s “Untitled” (1974). All very different at first glance, they begin to speak to one another if you let them. Marden’s abstract grid, for instance, shows elements of light and dark and of recession that echo Sheeler’s landscape drawing. And each can be enjoyed as a superb and painstaking example of its artist’s achievement
Major Modern Drawings from the Collection exhibition, Baltimore Museum of Art, October 8, 1994 – January 29, 1995
No full textThat the Baltimore Museum of Art has a major modern drawings collection is in large part due to Edward M. Benesch, who died last June at the age of 82.
A Baltimore-born interior designer who lived in New York, Mr. Benesch and his wife, Vivian, began collecting contemporary drawings in 1959. Their collection was subsequently given to the museum in memory of their son Thomas, killed in an automobile accident. But even after the gift, and his wife's death in 1969, Mr. Benesch went on giving art to the museum. Evidence of the quality of the collection is to be found in the current exhibit "Major Modern Drawings," shown in conjunction with the opening of the new wing for modern art. More than a third of the show's 36 drawings are from the Benesch collection.
This exhibit is both distinguished in its own right and complements the paintings and sculpture installed in the new wing