Friday, July 13, 2018



WHEN: July 20th| 11:00 am
Charles Street and Mount Royal Avenue, Baltimore

America's largest free arts festival, attracting 350,000+ attendees over three days. Artscape features 150+ fine artists, fashion designers and craftspeople.

WHEN: July 21st | 9:00 am
Park Charles Patio, located at 218 N Charles Street

Please use the link below to sign up! Limited Space so DON'T wait!

Start your Saturday off right with a FREE Spin Class hosted by CorCycle Studio brought to you by Park Charles & Historic Charles Street Association. Come prepared to get your sweat on with a great workout, while jamming out to music, and hopefully meet other locals who live in the area while you're at it!

Baltimore's Birthday Bash 2018
WHEN: July 27th| 7:00 pm - 10:00 pm  hosted by Live Baltimore
The Assembly Room

Join hundreds of your neighbors as we celebrate Baltimore City's 289th birthday!

Enjoy open bars, light fare, birthday treat tastings and so many surprises. You won't want to miss this. All proceeds of this event benefit Live Baltimore's promotion of Baltimore City's residential neighborhoods.

2018 Summer in the Squares
Mount Vernon Place

Every Wednesday this summer, bring your snacks, a blanket, or folding chair to sit out on the grass and enjoy a FREE evening of music hosted by Mount Vernon Place.

Odyssey: Jack Whitten Sculpture
WHEN: Ending July 29th, 2018
Baltimore Museum of Art, 10 Art Museum Drive, Baltimore
TICKETS: $10 for adults, $8 for seniors, or drop in for Pay What You Want Wednesdays! BMA Members enjoy free tickets to the exhibition.

Tickets to Odyssey: Jack Whitten Sculpture, 1963–2017 are now on sale through July 29, 2018.

Saturday Morning Free Yoga moves outside
WHEN: July 14th|8:30 am
Mount Vernon Place

Join us for the summer in the east wing of the park at Mount Vernon Place starting in a week. BYO mat, water, hand wipes etc. If it's raining, we will continue in the church.

Year of the Market: A Table of Two Markets hosted by Baltimore Museum of Industry and The Walters Art Museum
WHEN: July 14th| 10:00 am - 12:00 pm
The Walters Museum

Experience Lexington Market—the oldest public market in America—and its neighbor Mount Vernon Marketplace on a sensory-rich tour to learn about the legacy and social context of public markets in Baltimore.

This walking tour is presented in partnership with The Walters Art Museum. Capacity for this event is limited; please register and arrive early to ensure a space.

Pratt Street Market Downtown Partnership Baltimore
WHEN: May-October Every Thursday| 11:00 am

The Pratt Street Market takes place Thursdays, May - October, because eating lunch at your desk is sad. Step out of the office for a bit each week and stock up on fresh produce, baked goods, flowers, pressed juices, etc. - and grab some delicious prepared foods for lunch.

Pints in the Park @ Center Plaza
WHEN: July 13th, Aug 10th, Sept 14th, Oct 12th| 5:00 pm - 8:00pm 
Hosted by Downtown Partnership of Baltimore

This popular outdoor happy hour features live music, corn hole, ping pong, and more. Local beer and wine will be sold for stellar happy hour prices - $3 each, or 2 for $5.
Enjoy food from Green Grass Tall Trees, LB Bakery, and Cream Cruiser!

Music Schedule:

  • July 13 - Shelby Blondell
  • August 10 - Joi Carter
  • September 14 - Janine Wilson Band
  • October 12 - beats by DJ Evan Wilder

Center Plaza is located off the Purple Circulator route at N. Charles & Fayette Street. Parking is available in the garage under the plaza, or along Liberty street. The plaza is bike, stroller, and pet friendly, and has free WiFi. There is a Baltimore Bike Share stop in the plaza for easy accessibility.

Blast from the Past: Charles Street looking south from Mt. Royal circa 1900s.


Historic Charles Street Association along with the Charles Street Development Corporation’s main goal is to promote growth and development within the Charles Street Corridor. This year, we are committed to improving marketing across both organizations so that we are able to support, promote, and collaborate with more businesses in a unique way. You may be wondering, “What is the Charles Street Corridor?” Historic Charles Street represents businesses along Charles Street from Pratt Street to 33rd Street and two blocks on either side of Charles Street. HCSA serves as a problem-solving and information resource for its members, as well as provides a forum for networking, communication and collaboration.

We are excited to introduce our newest campaign; #friendsofchuck! This campaign was developed to showcase the wonderful businesses, institutions, cultural attractions, & restaurants located within the Corridor. We hope that residents and visitors use the hashtag as they get out and explore Charles Street. We encourage you to share your photos with family, friends, and on social media. The first four #friendsofchuck ads are being displayed on the electronic billboard located at Charles and Lanvale streets and will run for two months. The first neighborhood to be featured is Mt. Vernon, and then we will continue to move along the corridor to highlight different businesses and attractions in other neighborhoods.

Join us by using #friendsofchuck
Visit us on Facebook and follow us on Instagram.

“Broadway Favorites: A Summer Cabaret” @ Everyman Theatre for 6 Performances Only!

Broadway Favorites: A Summer Cabaret

WHEN: Limited engagement! Six performances only: July 13-22
WHERE: Everyman Theatre, 315 West Fayette Street, Baltimore

You’ll be singing in the streets as Broadway’s Judy McLane (Mamma Mia!) and Philip Hernández (Les Misérables) bring dazzling musical entertainment to Baltimore’s Everyman Theatre—with the sweet-sounding summer sparkle that only the best of Broadway can provide! Broadway Favorites: A Summer Cabaret reunites the cast of Los Otros for two not-to-be-missed weekends of fun and adored show tunes in the intimate setting of Everyman Theatre’s rehearsal hall.


Laurie Berkner solo photo credit Jayme Thornton 72dpi


TICKETS: Tickets, which are free of charge, are required for admission.
TO RESERVE TICKETS: visit the Weinberg Center website.

"The undisputed queen of kindie rock" -- USA Today

"The queen of children's music" -- People Magazine

"The Adele of the preschool crowd" -- The New York Times

In celebration of the July release of her new Monster Boogie picture book, bestselling children's recording artist and preschool television favorite Laurie Berkner will present a rare, free show for families as part of her Greatest Hits Solo Tour. This concert, presented by Frederick County Public Libraries, is part of the library's summer-long "Radio Frederick" concert series.

A true pioneer in children's music, beloved by generations of children and parents for over twenty years, the legendary Laurie Berkner will, of course, perform her irresistibly fun "Monster Boogie" song at this concert, along with such well-loved hits as "Bumblebee (Buzz Buzz)," "Victor Vito," "We Are The Dinosaurs," and "Pig on Her Head." Laurie will showcase many fan favorites, including an array of tunes that encourage kids and grownups alike to get up and dance. Dancers from C & C Dance Company will be on hand to perform a choreographed number set to an EDM version of "Monster Boogie" from Laurie's new album, Laurie Berkner: The Dance Remixes. Kids should plan to bring their dancing shoes and a stuffed animal (for their heads).

At her solo shows, in addition to familiar hits, Laurie Berkner performs songs that don't always fit with a full-band performance: tunes with simpler arrangements, hand motions, and a cappella singing, like "Bottle Caps," "One Seed," "Telephone," and "Drive My Car."

After the show, Laurie will sign copies of Monster Boogie at a book signing sponsored by downtown Frederick's independent bookstore, Curious Iguana.

Says Laurie Berkner, "When we’re kids, monsters are scary things. But we all have feelings inside of ourselves that are kind of monstrous. We all want to be loud sometimes (even just to be heard), or get caught up in our big, angry feelings. I wrote the words to this song (that have now been so wonderfully illustrated by Ben Clanton) so that kids could have the opportunity to 'BE the monster' and enjoy it, even revel in it, in a safe way, and still feel loved."

Dubbed "one of children's music's biggest success stories" by USA Today, Laurie Berkner's original songs, albums, DVDs, music videos, and books leave no doubt: Laurie is the uncrowned queen of children's music and the power behind the progressive "kindie rock" movement.

Her secret? Laurie’s shows are interactive throughout; her songs get the kids (and adults) on their feet to sing, clap, and dance along. She keeps even the youngest audience members fully engaged with dynamic expressions of musical joy in active songs like "I'm Gonna Catch You" and "Rocketship Run," and gives everyone a chance to catch their breath between high-energy moments by including quieter interludes featuring songs such as Laurie's classic "Moon Moon Moon." Laurie displays an instinctive understanding of children's natural rhythms and energy in her shows, which keeps kids enraptured and brings parents happily along for the ride.

Laurie Berkner was the first artist to ever appear in music videos on Nick Jr. and was featured in nearly all the episodes of the channel's Jack's Big Music Show. Laurie's music videos now appear regularly on NBCUniversal's Universal Kids channel, and she is a familiar presence on SiriusXM's Kids Place Live. Laurie has released twelve award-winning albums, including her most recent, Laurie Berkner: The Dance Remixes.

Simon & Schuster Books for Young Readers is publishing a series of three picture books with Laurie Berkner. The first, We Are the Dinosaurs, illustrated by Ben Clanton, was released in March 2017, to coincide with the 20th anniversary of the release of Laurie's "We Are the Dinosaurs" song on her very first album, Whaddaya Think of That? November 2017 brought the release of Pillowland, based on Laurie's beloved song by that name, with beautiful illustrations by Camille Garoche. July 2018 will see the publication of Monster Boogie, illustrated by Ben Clanton.

A former preschool music teacher by day and indie rocker by night, Laurie Berkner started selling her music two decades ago out of her living room on her own label, Two Tomatoes Records. Laurie has received tremendous critical acclaim. Time Magazine lauded Laurie as "a kind of sippy-cup Sheryl Crow ... Berkner inhabits a kid's curious perspective in her lyrics and pens folk-pop melodies that bear repeated -- very repeated -- listenings." The Wall Street Journal called Laurie "one of the most popular children's performers in America ... her music is distinctive because it speaks to kids without talking down to them, charming youngsters without boring grown-ups."

Watch Laurie Berkner in action on her Youtube channel HERE



WHEN: July 15, 2018–June 2019, and August 19, 2018–January 20, 2019
Baltimore Museum of Art, 10 Art Museum Drive, Baltimore

The Baltimore Museum of Art (BMA) is opening two new exhibitions of African art this summer. Subverting Beauty: African Anti-Aesthetics presents nearly two dozen works from sub-Saharan Africa’s colonial period (c. 1880–c. 1960). This focus exhibition highlights how artists used unattractive or disturbing visual characteristics to give works social and spiritual power. It is presented in one of the galleries adjacent to the BMA’s African collection.

Kuba: Fabric of an Empire features 20 breathtaking textiles that show how art and design in central Africa’s Kuba Kingdom were used as a political and diplomatic tool to navigate the increasingly complex world of the 19th and 20th centuries. These works are presented in one of the Cone Collection galleries, surrounded by Matisse’s bold figures and patterns.

“The ingenuity of 18th-, 19th- and 20th-century African artists is superbly represented by the works in these two exhibitions,” said BMA Dorothy Wagner Wallis Director Christopher Bedford. “I am extremely pleased to present an exhibition of world-class Kuba art in the Cone Collection galleries to show the distinctive but parallel approaches to modernism on the African and European continents.”

Both exhibitions are curated by BMA Associate Curator of African Art Kevin Tervala.


clip_image002In the 19th and 20th centuries, artists across the African continent intentionally produced works that people found disagreeable, unnerving, or even frightening. These figures, masks, and adornments were designed to engage viewers and incite change in the world. From chasing away the forces of evil to memorializing the dead, each of the works in this exhibition played a critical role in the lives of the people who created them. The unidentified artists who created these objects are from Burkina Faso, Côte d’Ivoire, Democratic Republic of the Congo, Ghana, Guinea, Kenya, Liberia, Mali, and Nigeria.

The works in Subverting Beauty: African Anti-Aesthetics are grouped by visual characteristic to highlight the techniques used by the artists and the purposes behind them. “Composite” works merge the features of two or more animals to create frightening, otherworldly creatures designed to ward off evil forces. The early-20th-century Kòmòkun (Kòmò Society Helmet Mask), made of wood, animal horns, a bird skull, plant fibers, porcupine quills, earth, and glass, is one outstanding example of such composite sculpture. “Accumulative” objects radiate power with expensive and eye-catching adornments that speak to the spiritual and political authority of those who wear them. “Crude” objects privilege emotion over realistic representation of the human form and were created to memorialize the dead and heal the sick. “Uncanny” works mimic the human form, but do not have any facial features. These unsettling figures are meant to carry the spirit of a deceased or yet-to-be-born human. “Disproportionate” masks have exaggerated facial features such as wide, bulging eyes that refer to supernatural authority and the ability of those associated with the spirit world to see things that humans cannot. (Image: Unidentified Manding or Minianka Artist. Kómó Society Helmet Mask (Kómókum). Mali or Guinea. Early 20th century. The Baltimore Museum of Art: Gift of Robert and Mary Cumming, Baltimore, BMA 1983.79 )


clip_image004Founded in 1625, the Kuba Kingdom on the southern edge of the Congolese rainforest is the only central African empire to survive into the 20th century. These “people of the king” developed one of the greatest civilizations in the history of the continent. Art and design were central to life in the kingdom. In addition to developing an elaborate and varied masquerade tradition, Kuba men and women were prolific textile artists who created dazzling and eye-catching designs. (Left: Unidentified Kuba Artist. Overskirt. 1912-1950. Democratic Republic of the Congo. Private collection.)

The 20 textiles in Kuba: Fabric of an Empire were created for aristocrats and would have been worn or displayed during the kingdom’s important ceremonies. The creation of the finest textiles frequently involved the participation of an entire community. Men stripped palm fiber and wove the cloth, while women softened it and added embroidery. Works produced in the 18th and early 19th centuries are defined by repeating patterns and subtle details. As the kingdom grew richer and more powerful in the late 19th and early 20th centuries, the designs created by Kuba men and women became increasingly geometric and abstract so that they could be recognized from a distance and stand out in crowded state gatherings. Their rich colors and intricate designs convey the wealth and power of these high-status individuals, who were sometimes known as Bambala (people of the cloth).

Kuba: Fabric of an Empire explores the reasons motivating these aesthetic changes. Using state-of-the-art carbon dating analysis, it establishes a definitive timeline of Kuba artistic innovation. It also showcases how the increasing complexity of Kuba textile design was linked to the political and economic changes wrought by colonialism and globalized trade. 

Most of the works in the exhibition are loaned from one of the finest private collections of Kuba textiles in the United States.

The exhibition is generously sponsored by the Estate of Margaret Hammond Cooke. The Baltimore Museum of Art is proud to partner with the Historic Textile Research Foundation in researching and presenting this exhibition.

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WHEN: from July 18 to November 25, 2018
Baltimore Museum of Art, 10 Art Museum Drive, Baltimore

The Baltimore Museum of Art (BMA) and Art + Practice (A+P) present a solo exhibition by artist Maren Hassinger in Baltimore. Maren Hassinger: The Spirit of Things features a career-spanning selection of sculptures, drawings, photographs of performances, and videos that explore the emotional dynamics of relationships amongst different communities of people and the environments in which they live. The exhibition will be presented in the BMA’s contemporary wing.

“This is the third exhibition the BMA has co-organized with Art + Practice,” said BMA Dorothy Wagner Wallis Director Christopher Bedford. “With her Los Angeles roots, her ties to Baltimore through the Maryland Institute College of Art, and a distinguished and varied career, Maren Hassinger is the perfect subject for this bi-coastal presentation.”

Hassinger (b. 1947, Los Angeles) is the Emeritus Director of the Rinehart School of Sculpture at the Maryland Institute College of Art in Baltimore, which she led for 20 years. During a career that has spanned more than four decades, Hassinger has explored relationships between the industrial and natural worlds in a practice that is both meditative and critical. Since the 1970s, her sculpture has incorporated common materials associated with manufacturing, mass media, and commerce. In abstract compositions such as Interlock (1972-73), The Veil Between Us (2007/2018), and Embrace (2018), she transforms wire rope, newspapers, and plastic bags into evocations of the beauty found in conditions often dismissed as blighted or marginal.

Hassinger is also a formative practitioner of performance art and site-specific interventions, collaborating with Senga Nengudi and other Los Angeles-based artists during the 1970s. Her performances involve dance, as well as movements observed from everyday life, and investigate communal activity and commonalities amongst groups of people. This important body of work will be documented in photographs within the show. Additionally, Hassinger has produced moving videos that address race, gender, and other aspects of identity. Two of the videos show the artist exploring these themes through interactions with her family members. In Birthright (2005), she learns for the first time about aspects of her family’s history by interviewing her uncle. In Wind (2013), she engages in improvisational choreography with her daughter, artist Ava Hassinger, in a beautiful seaside setting.

“Maren’s profound work connects Los Angeles and Baltimore in vibrant and creative ways. We are delighted to provide communities in both cities with the opportunity to learn more about her art in this celebration of her multi-faceted career,” said BMA Senior Curator of Contemporary Art Kristen Hileman. “It was extraordinary to work closely with Maren on a project that has such deep personal resonance for her.”

Maren Hassinger: The Spirit of Things is curated by Kristen Hileman, BMA Senior Curator of Contemporary Art. This exhibition is presented by The Baltimore Museum of Art and Art + Practice.

Drums and Drones, High Zero Improvisors @ The Red Room This Saturday

Drums and Drones - Brian Chase and Ursula Scherrer  //  High Zero Improvisors

WHEN: Saturday, July 14th; doors at 8:30 with the show commencing at 9PM
: Normal’s Book Shop, 425 E31st St., Baltimore
ADMISSION: We ask a $5 to $10 donation, 100% of which is given to the this case, all to D and D, U.S.

This Saturday please join us at the Red Room at Normals Books to see and hear Brian Chase, drummer of esteemed band "Yeah Yeah Yeahs" bring a different view of the drum with Swiss video artist Ursula Scherrer.

"This stuff will put your brain into another space, and frankly, recordings that can reliably do that don't come down the pike every day." -Bruce Russell, The Wire Magazine, UK

Opening for D and D and U.S. will be 5 specially combined members of the High Zero collective playing, unusually, OUTSIDE the context of the High Zero Festival!  Jeff Carey, Rose Burt, Jamal Moore, C.K. Barlow and M.C. Schmidt.

Those are the basic facts, please join us! More details about the folks playing, and what they are playing, below.

Drums and Drones & Ursula Scherrer is a live sound and light performance featuring drummer Brian Chase and video artist Ursula Scherrer.
Drums and Drones, an approach to listening as an experiential process, began as Brian's solo venture and has since expanded to include the video projection of Ursula as a key component of the experience. The project takes its initial inspiration from La Monte Young and Marian Zazeela's Dream House, a legendary on-going sound and light installation in TriBeCa, NYC. With this, the notion came to investigate the subtle acoustic properties of drums and percussion as a medium for 'going inside the sound:’ expansive soundscapes are constructed, like aural snapshots of tone, uncovering the richness of sonic depth hidden within the resonance of these instruments. Similarly, the visual component investigates and reconstructs elements of found forms, whether in filmed objects or light itself. In the live video projections, an architectural abstraction continues to emerge and re-evolve, and layers stack to reveal shifting fields of depth and perception. The music and visuals function to bring on what La Monte has termed a "Drone State of Mind."

Presentations of Drums & Drones includethe X Avant Festival (Toronto), New Ear Festival (Fridman Gallery, NYC) REDCAT (Los Angeles), Broad Art Museum (Michigan), and Phill Niblock's Experimental Intermedia (NYC). On June 15th, 2018 marked the release of Drums and Drones: Decade, a 144 page book and triple album chronicling the project’s first 10 years in sound/image/text. For more info visit

"This stuff will put your brain into another space, and frankly, recordings that can reliably do that don't come down the pike every day." -Bruce Russell, The Wire

"All the videos share an oneiric feeling, visually relating to something in between abstraction and reality. What emerges then is the contemplative characteristics of the sounds, reinforced by their respective animations, creating a perfect symbiosis and reflecting the compositional qualities connected with visual and emotional consequences."

Brian Chase is a drummer and composer living in Brooklyn. His diverse range of work includes that with Grammy nominated rock band Yeah Yeah Yeahs, the community of the New York experimental music scene, and his solo project Drums and Drones.  Performances have taken him across the world to the Sydney Opera House (with Karen O's Stop the Virgens and Nick Zinner's 41 Strings), UK’s Reading and Leeds Festivals (with Yeah Yeah Yeahs), Toronto’s X Avant Festival (with Drums and Drones), and throughout NYC to such notable venues as The Stone, Pioneer Works, and The Metropolitan Museum of Art.  Recorded works include several with Yeah Yeah Yeahs, the 144 page book and triple album Drums and Drones: Decade, and albums with leading improvisors guitarist Alan Licht, clarinetist Jeremiah Cymerman, and accordionist/electronic musician Andrea Parkins, among more.  Brian has held a performance residency at John Zorn's venue The Stone in 2016 and an artist residency at the Headlands Center for the Arts in 2015. In 2017, Brian was a visiting professor at Bennington College. Spring 2018 saw the launch of Brian’s record label, Chaikin Records.

Ursula Scherrer is a Swiss artist living in New York City. Her aesthetic training began with dance, transitioned to choreography and expanded to photography, video, text, mixed media and performance art. Her work has been shown at REDCAT (Los Angeles), Ideas City Festival of the New Museum (New York), The Clocktower Gallery (New York), Chelsea Art Museum (New York), Brooklyn Museum (New York), Seoul Square/Gana Art Gallery (South Korea), Organhaus (Chongqing, China), LACE (Los Angeles), City Center (New York), LAB (San Francisco), Würtemburgischer Kunstverein, (Stuttgart, Germany), Kunstraum Walcheturm, (Zürich, Switzerland) Raum (Bologna, Italy), Kunstraum (Krems, Austria), O’artoteca (Milan, Italy), Gasometer (Liechtenstein), Espai Ubu (Barcelona, Spain), Centre d’Art La Panera, (Lleida, Spain) among others.

High Zero Improvisors and their tools this evening will be:
Jeff Carey  -  computer (self-written software, self-designed interface)
Rose Burt - reeds
Jamal Moore - reeds, Wind, Percussion
C.K. Barlow - iPad based sampling, real time and otherwise
M.C. Schmidt - synthesizer, sampler, microphone, balloon
It has not been decided whether the HZI will play in small combinatory sets, or as a group, but they will aim at 30 minutes duration.

Sunday, July 8, 2018



WHEN: Opens July 12th and Runs Through August 1, 2018
830 E. Pratt Street, Baltimore

Channel Heal: The Writer’s Room is a work intended to survey various metaphysical phenomena and explore their use as correctives to conflict and trauma. The phenomena engaged in this exhibition include: physicality (the physical attributes of a person); mysticality (relating to the spiritual or symbolic), egotism (excessive focus on the self), and transcendence (going beyond ordinary limits).

Wickerham & Lomax have transformed The Reginald F. Lewis lab space into a writer’s room, a stage, where themes will be discussed and collected as reference material for a future endeavor entitled Channel Heal – a video platform chronicling various Baltimore creatives in their transgressive acts – acts that may go beyond established limits or boundaries. On display are newly fabricated pieces that are aberrations of objects typically used by those in the film and television industry. Dry erase boards, clocks, and post-it notes are sample props of the televisual writer, and in this exhibition they crystallize or define moments that would either be provisional or serve to transform the thoughts, ideas, and gestures into an artwork.

The artists work in the space of complicating binary oppositions – virtual vs. real, individual vs. group, and narrative vs. nonsensical. In this exhibition the installation and subsequent programs work in tandem to present both platform and action as a way of externalizing thoughts on conflict and trauma. Ultimately they will be transitioned into form.

WHEN: February 1, 2018 to August 12, 2018


Reflections: Intimate Portraits of Iconic African Americans is a documentary-style series of photographs that differ from traditional portraiture. Instead of a single, close-up, posed portrait of the person, photographer Terrence A. Reese (TAR), takes black and white photographs of renowned Americans in their personal living spaces - environments which reflect their persona. The density of the living spaces sometimes makes it difficult to find the subject, but the viewer is rewarded by analyzing the photographs to imagine a life well-lived. Reese also strategically places mirrors or reflective surfaces in the photographs to reveal the subjects in rich and interesting ways.

These unusual portraits liberate the eye to move about within the boundaries of the image, not encompassing it all in one glance. The exercise reveals the unforeseen and true nature of the individual. It is the challenge of locating the subject's image in the mirror that becomes an intriguing and rewarding experience while exploring their space, their physical extension of self. Each image is accompanied by the photographer’s personal written memoir which reveals a creative collaboration of dialogue that culminates into an emergence of art.

Dive into the Permanent Collection with a Self-Guided Tour

Discover the story of Maryland with a self-guided tour "The Generations Tour: 400 Years, 12 Objects, 1 Hour." Follow the lives of two fictitious characters - Chima and Gladys - as they take you on a journey through the museum's permanent collection. Their stories lead you to 12 exhibits in the gallery that cover 400 years of African American history. Learn more about this self-guided tour.

"Museums on Us" Offers Free Admission to You
Are you a Bank of America or Merrill Lynch credit or debit holder? You can enjoy free admission to the Reginald F. Lewis Museum and cultural institutions around the country on the first full weekend of every month. Simply show your active card and an ID. Click here to learn more about the Museums on Us initiative.

Remnants of Hatred: Slavery Artifacts Today

WHEN: April 18, 2018 to September 4, 2018
LewisNow! Gallery, 1st Floor
ADMISSION: Included with museum admission

Showcases new additions of slave artifacts to the permanent collection of the museum. Nearly 20 new acquisitions reveal the harsh circumstances under which enslaved African Americans lived in the 19th century. Many make direct reference to Baltimore and Maryland. The items include: a branding iron used to identify enslaved people, an iron face mask with a protrusion into the mouth which made it difficult for enslaved persons to speak, a whip, slave restraints, a broadside advertising the public sale of negroes and a page from two newspapers published by Frederick Douglass.

Black Women: Image and Perception in Popular Culture

WHEN: August 2, 2018 to September 16, 2018
Included with museum admission

A collaboration between the Lewis and the University of Maryland, College Park, this exhibition will unpack the stereotypical imagery of black women that still exist in popular culture. Throughout American history there have been many stereotypical caricatures that have been placed on black women. Among the most recurring designations are the Mammy, Jezebel, and the Angry Black Woman. Each distortion has its own historical connotations and roots that can be traced to racial slavery in America and beyond. The exhibition, designed under the supervision of Audra Buck-Coleman, Associate Professor of Design, will also provide a timeline of black women's achievements throughout history.

Hateful Things

WHEN: September 1, 2018 - October 14, 2018
ADMISSION: Included with museum admission

Contains material culture from the late 19th century to the present, embodying the terrible effects of the Jim Crow legacy. In the early 1830s Thomas D. Rice created the antebellum character Jim Crow. "Daddy Rice," as he was called, was a white actor who performed in black face a song-and-dance whose exaggerations popularized racially demeaning minstrel shows. The name "Jim Crow" came to denote segregation in the 19th century when southern and border states passed Jim Crow laws; legitamizing a racial caste system. This exhibition contains examples of our segregated and racist past.

Friday, June 29, 2018

Guarantee Your Spot in the (Free) Women's Performance Workshop @ The Strand Theater

Women's Performance Workshop
WHEN: August 17th & 18th, 2018. Space is limited so please send your inquiry by July 1st to guarantee your spot. After July 1st, participants will be accepted on a rolling basis until the workshop is full.
Strand Theater, 5426 Harford Rd., Baltimore

Following the success of the Women’s Performance Workshop earlier this year, the Strand is pleased to again offer a FREE introductory Women’s Performance Workshop to women-identified Baltimore community members.

The workshop will be led by the Strand’s Founding Artistic Director (2007-2012), Jayme Kilburn, along with previous WPW participants.

The workshop is open to all women-identified, trans, and non-binary community members in Baltimore City and beyond. It is not necessary to have any prior performance experience to participate in the workshop.

By using collaborative performance-based techniques, community-engaged exercises, and narrative writing, the WPW creates a space where women can generate their own solo performance based on personal stories. The workshop culminates in a performance on Saturday, August 18th at 8pm.

If you are interested in participating, please email Jayme Kilburn (project organizer): with your reason for wanting to participate and any accommodations that would make participating easier.
*The WPW is made possible by Engaged Cornell.

Workshop Schedule:
Friday, August 17th from 7-9:30pm
Introductions, Performance Techniques, Story-Circles
Saturday, August 18th from 10:30am-9pm
Devising Techniques, Writing, Sharing, Devising (lunch provided)
6-8pm: Dinner break
7:30pm: Reception and Performance
Sunday, August 19th from 11am-1pm
Optional Post-Mortem


Image result for Sun Ra Arkestra

BMA Jazz Odyssey Concert with The Sun Ra Arkestra

WHEN: Saturday, July 7, at 7 p.m. (doors open at 6:30 p.m.) Ticket includes evening access to Odyssey: Jack Whitten Sculpture exhibition from 57 p.m.
The Baltimore Museum of Art, 10 Art Museum Drive at North Charles &
31st Streets, Baltimore
ADMISSION: A limited number of tickets are still available for purchase online or at the BMA Box Office.
If the skies are clear and the heat index is mild, the BMA will release more than 150 tickets at 1 p.m. for outdoor seating. Please call the BMA Box Office at 443-573-1701 for details on the day of the event.
In the event of inclement weather, concerts are held in the BMA Meyerhoff Auditorium.
Call 443-573-1701 after 1 p.m. for updates. Outdoor Jazz + Dinner reservations must be changed to indoor seating or rescheduled by calling Gertrude’s at 410-889-3399. No refunds or exchanges.

Founded by legendary experimental jazz pioneer, Sun Ra, the Arkestra now performs under the direction of long-time band member Marshall Allen. Their outer space-inspired music has been heard at the Melbourne International Jazz Festival, NYC Winter Jazzfest, Lincoln Center, and The John F. Kennedy Center for the Performing Arts.

General admission to the BMA is free. Special events and exhibitions may be ticketed. The BMA is open Wednesday through Sunday, 10 a.m. – 5 p.m. The museum is closed Monday, Tuesday, New Year’s Day, July 4, Thanksgiving, and Christmas. For general museum information, call 443-573-1700 or visit   

School 33 Presents “Omnibus Filing 2.0: Empathy Mirror” Opening on July 6

Films Opening Friday at the SNF Parkway

WHERE: SNF Parkway Theatre, 5 W North Ave, Baltimore,

Director: Kate Novack 2017, 93 minutes

André Leon Talley has been a fixture in the world of fashion for so long that it’s difficult to imagine a time when he wasn’t defining the boundaries of great style. Kate Novack’s intimate portrait, The Gospel According to André takes viewers on an emotional journey from André’s roots growing up in the segregated Jim Crow South to become one of the most influential tastemakers and fashion curators of our times.

Visit for showtimes.

Los Angeles Times: “It's a fascinating look at the self-invented André Leon Talley, a bold, daring creation who never let anything obstruct his passions, curiosities and whims.” —Katie Walsh

Hollywood Reporter: “The Gospel According to Andre should prove catnip for fashion buffs.”—Frank Scheck

Director: Christopher Dillon Quinn 2017, 94 minutes

Based on the bestselling book by Jonathan Safran Foer and narrated by co-producer Natalie Portman, Eating Animals is an urgent, eye-opening look at the environmental, economic, and public health consequences of factory farming. Tracing the history of food production in the United States, the film charts how farming has gone from local and sustainable to a corporate Frankenstein monster that offers cheap eggs, meat, and dairy at a steep cost: the exploitation of animals; the risky use of antibiotics and hormones; and the pollution of our air, soil, and water. Spotlighting farmers who have pushed backed against industrial agriculture with more humane practices, Eating Animals offers attainable, commonsense solutions to a growing crisis while making the case that ethical farming is not only an animal rights issue but one that affects every aspect of our lives.

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Los Angeles Times: “The message is clear, and memorably rendered: Care about where your meat comes from, because then you might eat less of it, feel better when you do eat it, and cause a little less suffering in the world.” —Robert Abele

Variety: “A movie like "Eating Animals," by making you think twice about what you're taking a bite of, has stood its ground and done its job.”—Owen Gleiberman

Nellie Killian and Sight Unseen present
1979 / 1985, 74 minutes, 16mm

WHEN: Thursday, July 5th - 7:30pm

SOFT FICTION, Chick Strand, 1979, 54 min, 16mm

“Chick Strand’s SOFT FICTION is a personal documentary that brilliantly portrays the survival power of female sensuality. It combines the documentary approach with a sensuous lyrical expressionism. Strand focuses her camera on people talking about their own experience, capturing subtle nuances in facial expressions and gestures that are rarely seen in cinema. The title SOFT FICTION works on several levels. It evokes the soft line between truth and fiction that characterizes Strand’s own approach to documentary, and suggests the idea of softcore fiction, which is appropriate to the film’s erotic content and style. It’s rare to find an erotic film with a female perspective dominating both the narrative discourse and the visual and audio rhythms with which the film is structured. Strand continues to celebrate in her brilliant, innovative personal documentaries her theme, the reaffirmation of the tough resilience of the human spirit.” – Marsha Kinder, Film Quarterly

FROM ROMANCE TO RITUAL, Peggy Ahwesh, 1985, 20 min
This film is formed around several scenes of women telling stories to the camera of their sexual history and experience. This material is intercut and juxtaposed with related footage concerning girls and their growing up, memory and the learning process and the received truth of history lessons. This film as a whole makes for an uncomfortable fit between women’s personal experience and the official dogma of our culture’s history. The filming style is of the ethno-graphic film without the expert observer and of the home movie without the father.

“Tell Me” celebrates female filmmakers who took the simple, radical step of allowing women space and time to talk about their lives. Working in idioms from cinema verite to essay film to agitprop, the assembled films all share a startling intimacy between camera and subject. Whether through the bonds of shared experience, or merely genuine interest, these portraits capture women talking about trauma and sexual identity; summoning new language to describe the long simmering injustices and frustrations we still face today; making jokes; admitting insecurities; and organizing for the future.

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Sweet Sweetback’s Baadasssss Song
Director: Melvin Van Peebles
1971, USA, 97 minutes, R
WHEN: Wed 7/4 - 7:00 PM; Fri 7/6 - 9:30 PM; Sat 7/7 - 9:30 PM 

Included in MoMA’s permanent collection and considered to be among the most significant features ever by an African-American filmmaker, SWEET SWEETBACK is a brutal and shocking story of survival and is credited as one of the first blaxploitation films.

Director/writer/producer/editor/composer Melvin Van Peebles stars as a black orphan raised in a brothel and groomed to be a sex show performer. Set up by his boss and two corrupt cops for a murder he didn’t commit, Sweetback escapes custody and is thrust into an increasingly hallucinogenic world of violence and bigotry where no one can be trusted, and the possibility of death lurks at every corner…

Featuring a rousing score from a nascent Earth, Wind, & Fire, as well as surrealist visuals from stalwart genre cinematographer Robert Maxwell (THE CANDY SNATCHERS), Van Peebles creates an unforgettable study of perseverance in the face of racism.

“Van Peebles’ celluloid classic shook up the world of cinema much as a brash young pugilist originally known as Cassius Clay had done in the boxing ring some years earlier. The film merged European modernism and the avant-garde with the urgent demands of black power, creating a cinematic document echoing sentiments articulated in the urban streets of 1970s America.”
— Todd Boyd, The Root

Film courtesy of Xenon Pictures, Vinegar Syndrome and the American Genre Film Archive

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