DOCSLIB.ORG

TMS Vol3no1 Schmidt.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TMS Vol3no1 Schmidt.Pdf The Enslaved Image: A Contemporary Visualization of Gender & Race JULIANNE SCHMIDT Johns Hopkins University The Museum Scholar www.TheMuseumScholar.org Rogers Publishing Corporation NFP 5558 S. Kimbark Ave, Suite 2, Chicago, IL 60637 www.rogerspublishing.org Cover photo: Restoring the exterior of the Cincinnati Museum Center, Ohio, as part of the two-year renovation. Reopened 2018. Photo by Maria Dehne – Cincinnati Museum Center. ©2019 The Museum Scholar The Museum Scholar is a peer reviewed Open Access Gold journal, permitting free online access to all articles, multi-media material, and scholarly research. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Enslaved Image: A Contemporary Visualization of Gender & Race JULIANNE SCHMIDT Johns Hopkins University Keywords Interpretation; Kara Walker; Historic House Museums; Slavery; Race; Gender Abstract The reluctance to address difficult history results in its erasure from the dialogue of historic sites. This paper analyzes the use of artwork in historic house museums as a method of confronting the legacy of slavery and racism in the United States. First it discusses the legacy of the African American image in artwork. Next, it considers the structure and impact of The Enslaved Image, an exhibition at Johns Hopkins University’s Homewood Museum in Baltimore, Maryland, that pairs Kara Walker’s silhouette artworks with the social history of enslaved individuals who had lived at the site. Following this analysis is the conclusion on the importance of art in communicating the realities of persisting racial tensions throughout American history. About the Author Julianne M. Schmidt is a rising junior majoring in Art History and International Studies with a minor in Museums and Society at Johns Hopkins University. She serves as a Woodrow Wilson Research Fellow, analyzing Western-Arab relations through modern artistic exchange and a cultural diplomacy lens. Since 2017, she has worked alongside museum experts as an intern at the Baltimore Museum of Art as well as Johns Hopkins University’s Homewood Museum. She concurrently serves as an intern for the Smithsonian Cultural Rescue Initiative developing reports to create a data map of cultural heritage sites at risk across the globe. Samples of her academic research to date have been published by the Culture Conflict Research Network and the Johns Hopkins Foreign Affairs Review. This article was published on April 10, 2019 at www.themuseumscholar.org The legacy of slavery in the United States is a starkly invisible one in terms of the history of American art. The majority of artwork from the past three centuries illustrates the strong racial biases with which the predominantly white, patriarchal society has addressed African Americans throughout U.S. history. While a look at past art history reveals the tradition of a white-imposed inferiority on African Americans, contemporary artwork finds strength in its power to challenge this preconceived narrative. The ability to address the legacy of slavery and the ongoing effects of racism is a crucial aspect of contemporary art. It serves as a retrospective rooted in the racial context of the present. This process of looking back and reanalyzing artistic tradition is echoed in the current reconstruction of a more inclusive narrative on the lives of the enslaved individuals of the Homewood House. This article will present the history of four enslaved individuals who lived and worked at the Homewood House through an art historical lens. It will begin with a discussion of the Black Image1 in Western art, focusing on the tradition of representation as well as the role of the African American artist throughout the history of art. Subsequently, it will address the recent trend among plantation museums and historic sites to coordinate artwork with the representation of slavery as part of their historical narrative. Thereafter the link between the research of four enslaved individuals who lived at the Homewood House—Rebecca Ross, William Ross, Anna, and Charity Castle—and four cut paper silhouette panels by contemporary artist Kara Walker will be considered. It will conclude with an assessment of art as a necessary tool for confronting difficult history. The Black Image in Art History The legacy of the Black Image in art history reaches all the way back to the arts of the ancient empires. Concentrating on the representation of African Americans in the timeline of American art, it is evident that the history of art since the founding of the colonies is reflective of a persistent underlying racist attitude revealed through the frequently demeaning portrayal of blacks. The majority of American artwork depicting African Americans perpetuates Eurocentric stereotypes of the men as being “servile…comic…or threatening.”2 Figure 1: Justus Engelhardt Kühn, Portrait of Henry Darnall III (1702-1788?), ca. 1710. Oil on canvas, 44 x 53 7/8 in. Baltimore, MD. Maryland Historical Society, Bequest of Miss Ellen C. Daingerfield, Acc. no.: 12.1.3. This bias is exemplified in Justus Engelhardt Kühn’s 1710 work, Henry Darnall III as a Child, (figure 1) the earliest American artwork to include an African American figure.3 The white aristocratic child commands the center of the work, grandly dressed and positioned in front of the vast estate complex—a marker of his future inherited wealth. His obvious upper-class status is buttressed by the docile figure kneeling behind him. The slave is depicted in a silver collar, an overt reminder of his forced bondage. His subservience is conveyed through his lesser positioning in the artwork as well as his meek facial expression, upturned to his white, wealthy child-master.4 Specifically in regards to works of the antebellum era, commissioned art incorporating African American figures serves primarily to depict them as “objects whose The Museum Scholar, Volume 3, Number 1 (2019) SCHMIDT function was not only to serve their owners, but to enhance their self-image.”5 This role of the enslaved image in early American art reinforces the treatment of African Americans not as equal human beings but as forms of wealth and property during the antebellum period. A prominent departure from this tendency to marginalize the depiction of blacks can be seen in the artwork of John Singleton Copley. His famous 1778 work, Watson and the Shark, (figure 2) contains possibly the most equitable and dynamic portrayal of an African American of his time.6 The black figure is positioned on equal footing with the white man at the apex of a pyramidal composition that links the flailing white man Watson, the menacing shark, and the slave. With the slave looking down on the white man’s risk of death at the mouth of a shark, Copley is painting a reversal of the frequent tragedy that befell slaves forced on the Middle Passage—the dead and dying were often thrown overboard.7 The black man reaches out a hand in aid that lays on a linear plane that connects to Watson’s outstretched white hand. This compositional decision forms a crucial link between the white man and the black man, speaking to the equal humanity and individuality of the figures portrayed, regardless of race. Figure 2: John Singleton Copley, Watson and the Shark, 1778. Oil on canvas, 72 ¼ x 90 3/8 in. Washington, D.C. National Gallery of Art. This interest in portraying the personhood rather than the stereotypes of the African American figure is echoed a century later in the artwork of Winslow Homer. The Watermelon Boys (figure 3) illustrates Homer’s wish to depict a realistic portrayal of the black identity in the aftermath of the Civil War.8 Finished in 1876 amidst the Reconstruction years in the South, the artwork paints an equality and relaxed contentment between the black and white children. The figures all rest on the same plane, participating in the same mundane action together with nothing divisive in their representation. This work is illustrative of the pervasive democratizing theme to Homer’s Reconstruction period oeuvre.9 Copley and Homer were, however, exceptions to the general trend of painting an inferior rendering of the Black Image that has crossed the millennia of the history of art. Although these two American artists paint a deviation from the The Museum Scholar, Volume 3, Number 1 (2019) SCHMIDT white-male dominated artistic society of eighteenth and nineteenth-century America, it is important to note that the population of American artists at this time were susceptible to racial bias and as a whole lacked a dominant non-white perspective among their ranks. Figure 3: Winslow Homer, The Watermelon Boys, 1876. Oil on canvas, 38 1/8 x 24 1/8 in. New York, Cooper-Hewitt Museum. In terms of African American art history, there is little historical record on black artists until we reach the Harlem Renaissance beginning in the 1920s. Before this movement, art historical study tends to isolate African American contributions to the timeline of American art to a handful of influential figures. These include Joshua Johnson (1763-1824), regarded as the first professional African American painter who spent the majority of his artistic career in the Baltimore area, and Henry Ossawa Tanner (1859-1937), a Pennsylvania-born artist known for his work depicting the daily lives of African American families.10 Much like current research processes uncovering the histories of the enslaved who had lived and worked at historic sites across the United States, the expansion of art historical scholarship on African American artists is an ongoing process—a comprehensive analysis of Joshua Johnson’s life and art was recently undertaken by academics in the 1990s.11 A look at contemporary art, however, reveals the diverse spectrum of identities that has recently disrupted the whitewash of American art history.
Load more

Recommended publications
  • Bma Presents 2019 Jazz in the Sculpture Garden Concerts
    BMA PRESENTS 2019 JAZZ IN THE SCULPTURE GARDEN CONCERTS Tickets on sale June 5 for Vijay Iyer, Matana Roberts, and Wendel Patrick Quartet BALTIMORE, MD (May 2, 2018)—The Baltimore Museum of Art’s (BMA) popular summer jazz series returns with three concerts featuring national and regional talent in the museum’s lush gardens. Featured performers are Vijay Iyer (June 29), Matana Roberts (July 13), and the Wendel Patrick Quartet (July 27). General admission tickets are $50 for a single concert or $135 for the three-concert series. BMA Member tickets are $35 for a single concert or $90 for the three-concert series. Tickets are on sale Wednesday, June 5, and will sell out quickly, so reservations are highly recommended. Tickets for BMA Members are available beginning Wednesday, May 29. Saturday, June 29 – Vijay Iyer, jazz piano Grammy-nominated composer-pianist Vijay Iyer sees jazz as “creating beauty and changing the world” (NPR) and is recognized as “one of the best in the world at what he does.” (Pitchfork). Saturday, July 13 – Matana Roberts, experimental jazz saxophonist As “the spokeswoman for a new, politically conscious and refractory music scene” (Jazzthetik), Matana Roberts’ music has been praised for its “originality and … historic and social power” (music critic Peter Margasak). Saturday, July 27 – Wendel Patrick Quartet Wendel Patrick is the “wildly talented” (Baltimore Sun) alter ego of acclaimed classical and jazz pianist Kevin Gift. The Baltimore-based musician creates a unique blend of jazz, electronica, and hip hop. The BMA’s beautiful Janet and Alan Wurtzburger Sculpture Garden presents 19 early modernist works by artists such as Alexander Calder, Isamu Noguchi, and Auguste Rodin amidst a flagstone terrace and fountain.
    [Show full text]
  • 2003 Annual Report of the Walters Art Museum
    THE YEAR IN REVIEWTHE WALTERS ART MUSEUM ANNUAL REPORT 2003 France, France, Ms.M.638, folio 23 verso, 1244–1254, The Pierpont Morgan Library, New York Dear Friends: After more than three intense years renovating and reinstalling our Centre Street Building, which con- cluded in June 2002 with the opening of our transformed 19th-century galleries, we stepped back in fiscal year 2002–2003 to refocus attention on our Charles Street Building, with its Renaissance, baroque, and rococo collections, in preparation for its complete reinstallation for a fall 2005 opening. For the Walters, as for cultural institutions nationwide, this was more generally a time of reflection and retrenchment in the wake of lingering uncertainty after the terrorist attack of 9/11, the general economic downturn, and significant loss of public funds. Nevertheless, thanks to Mellon Foundation funding, we were able to make three new mid-level curatorial hires, in the departments of ancient, medieval, and Renaissance and baroque art. Those three endowed positions will have lasting impact on the museum, as will a major addition to our galleries: in September 2002, we opened a comprehensive display of the arts of the ancient Americas, thanks to a long-term loan from the Austen-Stokes Foundation. Now, for the first time, we are able to expand on a collecting area Henry Walters entered nearly a century ago, to match our renowned ancient and medieval holdings in quality and range with more than four millennia of works from the western hemisphere. The 2002–2003 season was marked by three major exhibitions organized by the Walters, and by the continued international tour of a fourth Walters show, Desire and Devotion.
    [Show full text]
  • Bma's Imagining Home Exhibition Explores
    MEDIA CONTACTS: Anne Brown Sarah Pedroni Jessica Novak 443-573-1870 BMA’S IMAGINING HOME EXHIBITION EXPLORES DIFFERENT ASPECTS OF HOME THROUGH ART FROM AROUND THE WORLD Visitor participation encouraged through interactive experiences woven into the exhibition BALTIMORE, MD (UPDATED September 25, 2015)—The Baltimore Museum of Art (BMA) presents an innovative thematic exhibition, Imagining Home, in conjunction with the opening of the Center for People & Art, a new education area of the museum. On view October 25, 2015 through August 1, 2018, this extraordinary exhibition presents more than 30 artworks from across the collection in a lively space that incorporates video, audio, and other experiences that encourage visitor participation. More than a third of the objects in the exhibition are light sensitive and will change every six months so there will always be something new to experience. The artworks in Imagining Home represent different ideas and aspects of the places in which we live—whether decorative or functional, real or ideal, celebratory or critical. Visitors can explore objects from many times and places as nearly every area of the BMA’s collection is included: paintings, sculptures, decorative arts, textiles, prints, and photographs, along with works from the Americas, Europe, Africa, and Asia, as well as four of the museum’s popular miniature rooms. Each object reveals something about the cultural values of its makers and users. Visitors have three thematic areas to explore in the exhibition: • Façades & Thresholds: Visitors will enter the exhibition through a designed threshold to see objects that reflect how we mediate public and private spaces such as Emile-Antoine Bourdelle’s sinister bronze Medusa Door Knocker (1925), Walter Henry Williams’ painting A Quick Nap (1952), and a colorful early 20th- century Suzani prayer rug from Central Asia.
    [Show full text]
  • Charm of the Baltimore Region HOST COMMITTEE’S GUIDE
    DISCOVER THE Charm of the Baltimore Region HOST COMMITTEE’S GUIDE The Maryland City/County Management Association and ICMA’s 2018 Conference Host Committee are excited to welcome you to Baltimore for ICMA’s 104th Annual Conference. From the bustling Inner Harbor, where the Baltimore Convention Center is located, to the city’s many historical sites, renowned museums, inspiring architecture, and diverse neighborhoods, Baltimore has something for everyone. So get out and discover the many reasons why Baltimore is known as Charm City! wrote some of the early stories that would make him the father of the modern short story, creating and Historical Sites defining the modern genres of mystery, horror, and History abounds in Baltimore. A must-see stop while science fiction. you’re in town is Fort McHenry. During the War of 1812, Westminster Hall is a beautiful building troops at Fort McHenry stopped a British advance into located at the intersection of Fayette and the city, inspiring Francis Scott Key to pen our national Greene Streets in downtown Baltimore. anthem. Administered by the National Park Service since This restored historic church features 1933, Fort McHenry is the only area of the National Park stained glass windows, an 1882 pipe System to be designated as both a national monument organ, cathedral ceilings, and raised and a historic shrine. balconies. The Westminster Burying History enthusiasts may also want to visit the Star-Spangled Grounds, one of Baltimore’s Banner Flag House, Mary Pickersgill’s 1793 home where oldest cemeteries, features the she made the 30-by-42-foot flag that flew over Fort gravesite of Edgar Allan Poe.
    [Show full text]
  • In Response to the Letter from Former Trustees, the Baltimore Museum of Art (BMA) Has Released the Following Statement
    In response to the letter from former trustees, The Baltimore Museum of Art (BMA) has released the following statement: We are confident that there are no legal issues relating to the BMA’s deaccession of works by Brice Marden, Clyfford Still, and Andy Warhol, or to the intended use of the proceeds of the sale. We have reached out to Secretary of State John C. Wobensmith and Maryland Attorney General Brian E. Frosh to provide them with information regarding our actions, and we look forward to working with them to answer any questions that they may have, and to sharing any necessary documents or additional details. Deaccessioning artworks from a museum’s collection is a standard practice, and these decisions are guided by curatorial vision and then ultimately validated by a museum’s Board of Trustees. That is the process that the BMA followed. The selection of works was determined through a rigorous collection review process led by the museum’s senior curators, who proposed the artworks for deaccession, in accordance with AAMD’s criteria. The selection was then reviewed and approved by the museum’s leadership team, accessions committee, executive committee, and full board. Furthermore, the history of deaccessions at the BMA is such that Andy Warhol’s The Last Supper was itself purchased through funds made possible by the deaccessioning of a painting by the Abstract Expressionist master Mark Rothko. That history, from a Rothko to a Warhol, demonstrates that collections management—which includes both accessioning and deaccessioning—is a critical aspect of curatorial practice and is not one that is purely additive.
    [Show full text]
  • Bma Appoints Nine New Members to Board of Trustees
    Media Contacts: Anne Mannix-Brown Jessica Novak Sarah Pedroni 443-573-1870 FOR IMMEDIATE RELEASE BMA APPOINTS NINE NEW MEMBERS TO BOARD OF TRUSTEES BALTIMORE, MD (September 15, 2016)—The Baltimore Museum of Art (BMA) announced today nine new trustees: Ellen R. Dame, John A. Gilpin, Robyn Brenza Kress, Daniel Leraris, Rhonda Overby, William Taylor IV, Kenneth Ulman, David W. Wallace, and Leana S. Wen. These prominent Baltimore community leaders were elected to the board in June 2016, joining Board Chair Clair Zamoiski Segal and the recently appointed Dorothy Wagner Wallis Director Christopher Bedford in leading the BMA. The Board of Trustees is responsible for the governance and oversight of the Museum, fostering ongoing support for the BMA’s ambitious mission and vision. This group is comprised of a diverse group of regional and national leaders in art, philanthropy, and business who are deeply engaged and deeply committed to ensuring the long- term strength of the BMA. “We are delighted to welcome these new trustees to the BMA’s board and we are extremely grateful to have their professional expertise and passion for art with us,” said Board Chair Clair Zamoiski Segal. “This is a particularly exciting time to be involved with the BMA as we work with Christopher Bedford to envision the future of this great museum.” NEW TRUSTEES Ellen R. Dame Ellen Dame is a founder, partner, and vice president of the Dame Company, a restaurant and catering operation established in 1988. Prior to this, Ellen was a general assignment and state political reporter for WXEX-TV (now WRIC-TV) in Richmond, VA and reporter/morning anchor for WHSV-TV in Harrisonburg, VA.
    [Show full text]
  • National Endowment for the Arts Annual Report 1989
    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
    [Show full text]
  • Norman F. Strike 7333 New Hampshire Ave. Takoma Park, MD 20912
    Norman F. Strike 7333 New Hampshire Ave. Takoma Park, MD 20912 Education 1972 B.A. Sociology, Wartburg College, Waverly, IA, magna cum laude 1979-1980 Etching & Lithography Workshops, Washington Women’s Art Center, Washington, DC 1981 Etching Workshop, Zahn Studios, Bethesda, MD 1979-1981 Portrait Drawing Workshops, Washington Women’s Art Center, Washington, DC 1984 Political Cartooning Workshop, Institute for Policy Studies, Washington, DC 1990 Woodcut Workshop with Sydney Chafetz, Pyramid Atlantic, Washington, DC Selected Solo Exhibitions Sep 1985 George Meany Labor Center, Silver Spring, MD Jun 1987 “The Bite of the Print”, Washington Printmakers’ Gallery, Washington, DC Jun 1989 “The Bite of the Print II”, Washington Printmakers’ Gallery, Washington, DC Jan-Feb 1994 “At the Crossroads”, Newman Gallery, Washington, DC Aug-Sep 1999 “Crossroads”, Paint Branch Unitarian Church, Adelphi, MD Nov 2001 “Retrospective”, Savory Café, Takoma Park, MD Mar 2002 “Portraits in Pencil, Print & Water”, Municipal Center, Takoma Park, MD Oct 2002 Solo Exhibition, Global Fine Arts, Washington, DC Jul 2003 Solo Exhibition, Barnes & Noble Bookstore, Rockville, MD Feb-Mar 2004 Solo Exhibition, Montpelier Art Center, Laurel, MD Apr-Jun 2004 Solo Exhibition, National Institutes of Health, Bethesda, MD Selected Group Exhibitions Apr 1987 “Other Horizons” juried by Derek Guthrie, Strathmore Hall, Rockville, MD Sep 1987 “Grabados, U.S.A.” Instituto de Arte Moderno, Buenos Aires, Brazil Dec 1987 “Printmakers IX Show” juried by Tad Lapinski, New Art Center, Washington,
    [Show full text]
  • MA-25-19-0173-19 Peale Center for Baltimore History and Architecture
    Inspire! Grants for Small Museums Sample Application MA-25-19-0173-19 Project Category: Community Anchors and Catalysts Peale Center for Baltimore History and Architecture Amount awarded by IMLS: $50,000 Amount of cost share: $40,000 Attached are the following components excerpted from the original application. Abstract . Narrative . Schedule of Completion Please note that the instructions for preparing applications for the FY2020 Inspire! Grants for Small Museums grant program differ from those that guided the preparation of FY2019 applications. Be sure to use the instructions in the FY2020 Notice of Funding Opportunity for the grant program and project category to which you are applying. The Peale Center for History and Architecture IMLS INSPIRE! Grants for Small Museums ABSTRACT The Peale Center for Baltimore History and Architecture (Peale) seeks funding to support its core program, Be Here: Baltimore (BHB), which is a cultural storytelling program offering an innovative way of gathering and stewarding Baltimore’s heritage, and, in particular, shedding light on its deep, rich, and historically significant African American story and culture. (The Peale is a proud member of the Association of African American Museums in light of its history as home to Male and Female Colored School No. 1—the first African American school in Baltimore, 1878-1887.) Support is being sought to help the Peale continue its trajectory of effectiveness during a time of final, major building renovations wherein the Peale will take its programming even more deeply into the community as opposed to being based primarily “at home, on- site.” The BHB program—piloted in summer 2016 by the Peale’s Executive Director with the aim of helping create a more inclusive cultural record of Baltimore—resulted in the creation of 250 stories of Baltimore by a diverse range of “citizen storytellers” in just two months.
    [Show full text]
  • Circumambulation Ada Pinkston, Danielle Rosen
    Circumambulation Ada Pinkston, Danielle Rosen, Liz Roberts, Santina Amato Curated by Ann Meisinger and Nathan Florsheim December 7th - 25th, 2018 Opening Reception: December 7th, 6-9pm Opening Night Performance/Reading: December 7th, 7pm Sonia Louise Davis and Patrica Rose (Catherine Feliz, Luan Sherman, and Danielle Rosen) Open Hours: Sundays, Noon-4pm and by appointment To circumambulate is to complete a circuit all the way around an object. In many devotional practices, the object circumambulated is an idol or otherwise sacred item. The lap or laps can represent the passage of time, a spiritual journey or a funerary or other ritual procession. In the same breath, this walk is a revolution with no beginning and no end and a linear evolution of an event. Each of the artists in Circumambulation investigates an aspect of time whether it is the collapsing of distant timelines into one moment through video, the fabrication of an object made from a daily performative interaction or a reach back into the past from the present. The works in this show don’t just present a transformation as a frozen, crystallized moment in time but they interrogate the process of metamorphosis and that moment’s structure, functioning as performative documents. These artists connect viewers with the past, present, and future, inviting a consideration of how the passage of time shapes and reshapes all things. *** Ada Pinkston is a multimedia artist, educator, and organizer living and working in Washington DC as a fellow of the Halcyon Arts Lab. Born in New York, her artistic research interest spans the breadth of Social Science, American Studies, African - American Studies and socially engaged community art practices.
    [Show full text]
  • View Amanda's Resume
    Amanda Leigh Burnham 416 Southway, Baltimore, MD 21218 (646) 244-9717 [email protected] www.amandaburnham.com Education 2007 MFA, Painting and Printmaking, Yale University 2001 BA, Visual and Environmental Studies, Harvard University (magna cum laude) Areas of Specialization: Drawing, Painting Organizations: The Harvard Lampoon (Art Director), The Harvard Crimson (Graphics Chair), Berkeley College at Yale University (Non-resident Tutor) Current Position 2007- Professor (promoted and tenured 2013, promoted to full professor 2018) and Foundations Coordi- nator, Department of Art+Design, Art History, Art Education; Towson University, Towson, MD (Drawing, Painting, Design, Contemporary Theory and Practice). Solo Exhibitions 2018 Amanda Burnham, Gershman Y Gallery, Philadelphia, PA (upcoming). Block Watch, Cultural DC’s Mobile Gallery at the Smithsonian Anacostia Community Museum, Washington, DC. 2017 Superblock, Greenbelt Community Center, Greenbelt, MD. Amanda Burnham, University of Baltimore. Civic Body, VisArts Rockville, Rockville, MD. 1 Amanda Burnham: Recent Work, Saint Alban’s School, Washington, DC. Word on the Street, Elon University, Elon, NC. 2016 Fall Solos, Arlington Art Center, Arlington, VA. In the Weeds, Berman Museum of Art. 2015 Stomping Grounds, Sewanee: the University of the South, Sewanee, TN. Capsule 1.22, Halle Nord, Geneva, Switzerland. RFP, EMP Collective, Baltimore, MD. 2014 Hub, Dittmar Gallery, Northwestern University, Evanston, IL. Drift, Olin Art Gallery, Washington and Jefferson University, Washington, PA. 2013 Pump Fake, Washington Project for the Arts, NoMA Lobby Project, Washington, DC. Loop, Maryland Art Place IMPACT Public Art Series, Towson Town Center, Towson, MD. Pascagoula, Governor’s Island Art Fair, New York, NY. Edge City, Conard Gallery, Ohio State University, Mansfield, OH.
    [Show full text]
  • BETH MALONEY, MS Ed Museum Education Consultant
    BETH MALONEY, MS Ed Museum Education Consultant www.bethmaloney.com Providing educational expertise to museums, historic sites and cultural organizations for 15 years with a focus on promoting access to cultural resources and developing engaging programs for visitors of all ages. Services include curriculum and program development, interpretation and visitor experience planning and professional development. INTERPRETATIVE AND STRATEGIC PLANNING Winterthur Museum, Gardens & Library November 2018 - present Partner with staff and consultant team to develop plans for an environmentally, financially and socially sustainable model of collection management. Design and facilitate initial kick off meeting, lead envisioning workshops with staff, support efforts to evaluate and engage new audiences and lay the groundwork for growth in interpretive techniques that increase collections accessibility. Heart of the Civil War Heritage Area January 2015 – present Research educational programming and content at historic sites, museums, and parks within the Heritage Area. Assess the potential strengths and focus to highlight in an online portal serving teachers and student youth travel market. Develop recommendations and educational activities for leveraging connections between Heritage Area sites and Maryland’s Heart of the Civil War PBS documentary and www.crossroadsofwar.org website. Train staff at 10 historic sites throughout the region through grant funded professional development workshop series. National Park Service/Captain John Smith National Historic Trail May – September 2016, September 2017 - present Develop interpretive plan for Susquehanna Heritage, a Visitor Contact Station for the Captain John Smith Historic Trail, including thematic framework, target audience and programming recommendations. Collaborate with larger project team to create a Master plan, including some exhibition elements, for the surrounding region of the lower Susquehanna River, region including historic houses, park lands and recreational areas.
    [Show full text]