This diverse, four-person group exhibition highlights the vibrant and unique character of the contemporary art scene in Baltimore County. By displaying various visual disciplines, these artists - selected by curator, educator and fellow artist Schroeder Cherry - give a vibrant and dynamic visual definition of Baltimore's unique flavor, cementing the area's nationally renowned reputation as a groundbreaking nexus for the arts.

Now, more than 70 years later, the artist has created powerful new work that calls attention to today’s pressing issues ─ saving the planet and protecting the environment. "My creation of art has always been based on nature, but now I am more dedicated to ecology and saving the planet. We are all in a terrible dilemma now; the planet is suffering and is in danger. People need to be aware of the danger that is threatening all of us, and we have to work together to reverse this situation," saysLehr.

NAWA’s recent exhibition at One Art Space in the heart of New York City’s Tribeca district was a testament to their tenacity and truly something to celebrate. The diversity, originality and sheer excellence of artworks on display were a stunning achievement. Although a sizable number of awards are given out every year, it’s a daunting responsibility for the highly professional curators chosen for each annual. 

Combining the quirky, the vibrant and the storytelling aspects of art, Gallery 30 South has set up an exhibit of hundreds of artful coasters displayed in a storyboard fashion along the walls of the gallery. Beer coasters (like those you can find at your local bar or restaurant) have been transformed from a disposal, functionary object into a canvas for one-of-a-kind art pieces.The show, founded by Gallery 30 South owner Matt Kennedy in 2013, features the works of some of the most important, young artists of today.

A three-dimensional sensibility is at work at the Guggenheim’s first ever artist-curated exhibition, Artistic License: Six Takes on the Guggenheim Collection.  The first dimension is the initial shock of the viewer confronting the artworks; the second is the awareness as you move from one selection to the next, that there’s another mind, the curator’s, at work.  The third dimension as you move through the six levels of the rotunda, is the merging of the viewer’s take along with the curator’s own into a rich, sometimes disorienting, dizzying impression.

The film is strongest when it focuses on the individual artist, in some instances a long-overlooked glimpse into lives we often didn’t know existed.  Take, for instance, Edmonia Lewis, whose sculpture “Forever Free” from 1867 is an artistic marvel in white marble.  It portrays a black man and child, sculpted in a classical style that could stand beside any Greek sculpture in a major museum.  Lewis eventually went into exile in Rome, undoubtedly seeking out a more accepting environment for her inspiration. 

While the CSFA cultivated its own, unique school of abstract art, it also exposed its students to New York abstract artists like Mark Rothko and Ad Reinhardt through summer sessions from 1947 to 1949. For students like Hultberg, Rothko's guest lectures about the New York art scene were inspiring enough to convince them to continue their studies on the East Coast. Briggs, Calcagno, and Schueler followed suit after 1950, a migration catalyzed by Still's decision to move to New York and the subsequent firing of MacAgy.