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Fay's Fairy Tales: William Wegman's "Cinderella" and "Little Red Riding Hood" exhibition, Baltimore Museum of Art, September 15 – December 5, 1993
No full textWegman has recently produced two books based on famous fairy tales (or one should say directed, since he directs a crew of up to 10 dogs in front of the camera and up to 10 people behind it): "Cinderella" appeared earlier in the year and "Little Red Riding Hood" gets published this fall. Meanwhile, the Baltimore Museum of Art has organized an exhibit of the full-sized (20-by-24 inches) photographs for both books
Northern Lights: Inuit Textile Art from the Canadian Arctic exhibition, Baltimore Museum of Art, November 17, 1993 – January 30, 1994
No full textExhibition held at the Baltimore Museum of Art, November 17, 1993 – January 30, 1994, Macdonald Stewart Centre, Guelph, Ontario, June 11 – July 18, 1994, and the Winnipeg Art Gallery, Winnipeg, Manitoba, August 17 – October 19, 1994
Opening, Classical Taste in America exhibition, Baltimore Museum of Art, June 26, 1993
No full textJoel Woldman, Murray Woldman, Wendy Cooper, Leigh Keno, and Leslie Keno at the opening of the exhibition, Classical Taste in America, at The Baltimore Museum of Art, June 26, 1993
Maryland by Invitation: Jeff Gates and Lisa Lewenz exhibition, Baltimore Museum of Art, March 11 – May 24, 1992
No full textMaryland By Invitation is a series of curator's choice exhibitions to be scheduled at periodic intervals. Maryland by Invitation begins with an effective show that brings together the work of Jeff Gates and Lisa Lewenz, two artists who combine photography with text, but with quite different results
American Handcrafted Rugs exhibition, Baltimore Museum of Art, July 29 – December 13, 1992
No full textA selection of more than 30 handcrafted rugs daring from the 18th to 20th century. The rugs illustrate four basic techniques of rug-making: yarn-sewn, embroidered, shirred and hooked (The Evening Sun, page 21, Jun 13, 1985)
Friends and Neighbors: The Art of John Ahearn and Rigoberto Torres exhibition, Baltimore Museum of Art, November 4, 1992 – March 14, 1993
No full textBack in 1978 John Ahearn met Rigoberto Torres. Ahearn was an artist who lived in New York's East Village and made busts of some of his friends. Torres lived in the South Bronx and made religious statues in his uncle's workshop. The two met at Fashion Moda, a Bronx art center engaged in reaching out to the community. Eventually, Ahearn moved to the Bronx and he and Torres began collaborating on making sculptures of neighborhood people.
Their sessions became neighborhood events, sometimes taking place right out on the street. The subject submitted to being coated with plaster as friends and neighbors looked on. When the plaster hardened, in 20 minutes or so, it was removed and the resulting negative mold used to make a positive cast that was then painted to make a remarkably lifelike sculpture.
Generally, there would be two of these, one for the subject to keep and one for the artists. Many of these sculptures have been exhibited on South Bronx walls, as a culmination of the whole process of bringing art to the people
Design 1935-1965: What Modern Was exhibition, installation in progress, Baltimore Museum of Art, June 7 – August 2, 1992
No full textPhotographs documenting the installation of the "Design 1935-1965: What Modern Was" exhibition
Colorful Impressions: Printed and Surface-Patterned Cloth exhibition, Baltimore Museum of Art, February 19 – July 5, 1992
No full text"Colorful Impressions" amounts to a kind of mini-history of printed cloth in the modern era, 17th to 20th century, including where printed textiles came from, how they were made, what sort of designs were used, even laws that pertained to them.
All of this information is accompanied by photographs, printing blocks, and about two dozen examples of printed cloths, primarily from France an England in the 18th and 19th centuries. Some were made as recently as 1951; some go back as far as 4th century Egypt. There are examples from India, Japan, Java, the famous Viennese modernist studio Wiener Werkstatte of the early 20th century, and the great British 19th century designer William Morris
Born of Fire and Earth: Seven Thousand Years of Chinese Ceramics: The Peter and Irene Scheinman Collection exhibition, Baltimore Museum of Art, September 9 – November 8, 1992
No full textBorn of earth and fire: Chinese ceramics from the Schneinman Collection is the result of felicitous collaboration between The Baltimore Museum of Art and the University of Maryland at College Park. This catalogue and exhibition represent the most ambitious of several collaborative endeavors by these two institutions, including loans of works of art from the Museum to the University's Art Gallery for exhibitions and symposia such as Pen to Press: illustrated manuscripts and printed books from the first century of printing
Service in Style: Soup Tureens from the Campbell Museum Collection exhibition, Baltimore Museum of Art, March 18 – May 10, 1992
No full textThe exhibit consists of 75 tureens on loan from the collection owned by the Campbell Soup Company and housed in a museum at the company headquarters in Camden, N.J. The Campbell Museum, which opened 22 years ago, contains an internationally renowned collection of nearly 400 soup tureens plus bowls and ladles.
The BMA exhibit includes items made of ornate porcelain and silver during the 18th century and used at royal tables in Russia, Poland, France, England and the Netherlands. Craftsmen were not content to make tureens in the traditional round shapes, but went on to make them in the shapes of swans, roosters, hens and rabbits