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BMA Today for 13 SUNDAY Information About 2018 Programs THE B ALTIMORE M USEUM O F A RT SUMMER 2017 BMTOADAY 170645_BMATsum17.indd 1 4/26/17 9:56 AM DIRECTOR’S MESSAGE Looking Back to Our Future It is May, and Mark Bradford’s exhibition for the U.S. Pavilion at the Venice Biennale is finally upon us. For six months, the attention of the art world will be focused on Venice, and in no small part on Mark Bradford and the staggering body of new work he has produced for the occasion. It is only fitting then, that roughly concurrent with this event, we have the extraordinary honor of bringing into the BMA’s collection an exemplary painting by Mark Bradford’s Abstract Expressionist forebear, Norman Lewis. Born in Harlem in 1909, Lewis was one of the leading voices among the American Abstract Expressionists, yet, unsurprisingly, has not been recognized MAXIMILIAN FRANZ for his achievements to the same extent as his white male peers, nor has he been collected with the same vigor. Autumn Flight, 1956, is the first painting by Lewis to enter the BMA’s collection, giving our museum the chance, for the first time, to install that painting in its rightful position next to major works by Newman, Pollock, Hoffman, Kline, and Motherwell, as well as African American contemporaries like Alma Thomas and Sam Gilliam. Autumn Flight evokes a flock of birds moving through a mottled autumnal sky, referencing the natural world through the artist’s signature brand of abstraction. The paint was applied to the canvas in several layers by brush- ing and spraying, either directly or with the use of a sharp stencil. Among other things, Lewis is remembered for his capacity to blend abstraction and representation, allowing him to innovate formally just as he connected his painting to black urban life. Mark Bradford shares this convic- tion. His paintings are as much of the studio as they are of the world, a characteristic that makes his work very much about the future of abstraction, just as it is a bridge back to Lewis. The BMA is fortunate to own Bradford’s My Grandmother Felt the Color, 2016, and now Lewis’s Autumn Flight. These magnificent paintings represent the beginning of our commitment to become one of the greatest collections of Modern and Contemporary African American art anywhere. COVER: Mark Bradford. Detail, Go Tell it on the Mountain. 2016. Courtesy the artist and Hauser & Wirth. Photo by Joshua White RIGHT: Norman Lewis. Autumn Flight. 1956. The Baltimore Christopher Bedford Museum of Art: Purchased as the gift of Keith Lee; Edward Joseph BMA Dorothy Wagner Wallis Director Gallagher III Memorial Fund, Frederick R. Weisman Contempo- rary Art Acquisitions Endowment, Dr. Max Stern Trust Fund, and Anna Elizabeth Fehl Acquisitions Endowment, BMA 2017.38. © Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY EXECUTIVE COMMITTEE TRUSTEES F. Mackey Hughes BMA BOARD Clair Zamoiski Segal, Chair Virginia K. Adams Patricia H. Joseph OF TRUSTEES James D. Thornton, Vice Chair William Backstrom Barbara Katz Virginia K. Adams Alexander C. Baer Susan B. Katzenberg OFFICERS Ann Allston Boyce Ann Allston Boyce Frederick Singley Koontz Clair Zamoiski Segal, Chair Diane Cho Diane Cho Robyn Brenza Kress James D. Thornton, Vice Chair Stiles Tuttle Colwill Stiles Tuttle Colwill Madeline E. Lacovara Frederick Singley Koontz, Nancy L. Dorman Ellen R. Dame Daniel Leraris Immediate Past Chair Amy Elias Gwen Davidson Jennifer O’Hara Martin Alexander C. Baer, Vice President Nupur P. Flynn Nancy L. Dorman Amy Frenkil Meadows Stiles Tuttle Colwill, Vice President Susan B. Katzenberg Amy Elias John Meyerhoff Sandra Levi Gerstung, Vice President Frederick Singley Koontz Nupur Parekh Flynn Fiona Ong Michael Rosenbaum, Vice President Donald J. Peters Sandra Levi Gerstung Rhonda Overby Susan B. Katzenberg, Treasurer Michael Rosenbaum John A. Gilpin Donald J. Peters Ann Allston Boyce, Secretary Martha Glenn Michael Rosenbaum Amy Gould Kirsten Sandberg 2 170645_BMATsum17.indd 2 4/26/17 9:55 AM Alan Schwartz Margot W. M. Heller NATIONAL TRUSTEES The Honorable Allan H. Kittleman Clair Zamoiski Segal Louise P. Hoblitzell Bernice Barth The Honorable Joan M. Pratt Jean Silber J. Woodford Howard Jr. Sylvia de Cuevas The Honorable Catherine Pugh William Taylor IV Freeman A. Hrabowski III Monroe Denton The Honorable Steven R. Schuh James D. Thornton Mary B. Hyman Barbara Duthuit The Honorable Bernard C. “Jack” Young Mark Wagner Jeanette Kimmel Brenda Edelson David W. Wallace Jeffrey A. Legum Phillips Hathaway David Warnock Charles W. Newhall III Joseph Holtzman Leana S. Wen James S. Riepe Stephen Mazoh Frederica K. Saxon Edward S. Pantzer HONORARY TRUSTEES Louis B. Thalheimer Constance R. Caplan Ellen W.P. Wasserman EX-OFFICIO TRUSTEES Suzanne F. Cohen Calman J. Zamoiski Jr. The Honorable Barry Glassman Anthony W. Deering The Honorable Larry Hogan Janet E. Dunn The Honorable Doug Howard Katherine M. Hardiman The Honorable Kevin Kamenetz 3 170645_BMATsum17.indd 3 4/20/17 2:58 PM BMA NEWS TOMORROW IS ANOTHER DAY May 13–November 26, 2017 | United States Pavilion, Giardini della Biennale Artist Mark Bradford has created some of the most ambitious and compelling works of his career for the U.S. Pavilion at La Biennale di Venezia 57th International Art Exhibition. A WHITE JOSHU 4 170645_BMATsum17.indd 4 4/20/17 2:58 PM Tomorrow Is Another Day is presented by communities in America. Bradford takes an This project has been generously sup- The Baltimore Museum of Art and the Rose ambitious approach to the medium of paint- ported by The Bureau of Educational Art Museum at Brandeis University, in coop- ing for the Pavilion’s climax. This new suite and Cultural Affairs of the U.S. Depart- eration with the U.S. Department of State’s of monumental abstract canvases was ment of State; Henry Luce Foundation; Bureau of Education and Cultural Affairs. The created with commercial paper which the Hauser & Wirth; The Broad Art Fund; exhibition will be presented in the historic U.S. artist bleached, soaked, and molded by hand. Pamela J. Joyner and Alfred J. Giuffrida; Pavilion, a Palladian-style structure inspired These vast paintings suggest both biology Lizbeth and George Krupp; Cindy and by Thomas Jefferson’s Monticello and built and the heavens, as their circles and lines Howard Rachofsky; Maryland State Arts in 1930 by architects William Adams Delano evoke cells and the body as well as planets. Council, Part of Maryland Department and Chester Holmes Aldrich. It is prominently of Commerce; VIA Art Fund; Mafia located within the Castello Gardens that The exhibition concludes with Niagara Papers Studio; Jennifer and John Eagle; house all the national pavilions of the Venice (2005), a video that takes on new meaning Maurice and Paul Marciano Foundation; Biennale International Art Exhibition. This as Black identity continues to evolve and Lambent Foundation; and Solomon R. year, 81 countries, from Albania to Venezuela, “Black Lives Matter” is an ongoing national Guggenheim Foundation. are participating. conversation. The video depicts Melvin, the artist’s former neighbor, walking away from Tomorrow Is Another Day reflects Mark the camera, just as Marilyn Monroe did in the ANTE Bradford’s belief in art’s alchemical power to 1953 film of the same name. eW feel the V A GRA transform, his continuing experiments with abstracted, invisible violence that threatens T GA material abstraction, and his commitment to Melvin and also his agency in insisting on A marginalized populations. For the five galler- walking into another tomorrow. ies of the U.S. Pavilion, as well as its exterior, Bradford has developed a multilayered nar- The exhibition is co-curated by Christopher rative that intertwines personal experience Bedford, BMA Dorothy Wagner Wallis and social history, seeing today’s world as if Director and Commissioner of the U.S. it were the ancient past and raising individual Pavilion, and Katy Siegel, BMA Senior stories to the level of myth. Programming and Research Curator and in- augural Thaw Chair at Stony Brook University. Process Collettivo Visitors will first encounter these ideas Pop-Up Shop through Hephaestus, two large slabs of In conjunction with the U.S. Pavilion exhibi- marble positioned in niches of the Pavilion’s A WHITE tion, Bradford has embarked on a six-year exterior architecture and engraved with a collaboration with the Venice social coopera- JOSHU poem by Bradford that foreshadows the tive nonprofit Rio eràT dei Pensieri, which galleries inside. Inside the Pavilion, a sus- provides employment opportunities to men pended swollen mass with a black and red and women incarcerated in Venice and pockmarked surface bears down on visitors, supports their re-integration into society. pushing them to the periphery of the room. Titled Process Collettivo, the Rio Terà dei The work’s title, Spoiled Foot, also draws from Pensieri/Bradford collaboration aims to the story of Hephaestus, god of the forge, who launch a sustainable, long-term program that was cast from Mount Olympus for being born brings awareness to both the penal system lame. He is the god of artists and makers. and the success of the social cooperative model. A storefront with artisanal goods such Other works in the Pavilion include three as messenger bags, wallets, cosmetics and shimmering black-purple paintings made of other products created by the prisoners, permanent wave endpapers—a material located in the heart of Venice, will be the Bradford knew from his decades working initial manifestation of the collaboration, and with his mother in her beauty salon. They is open to the public in conjunction with La surround a new sculptural work, Medusa, Biennale di Venezia. BMA visitors will have an a tangle of bleached black paper locks, opportunity to purchase many of these same inspired by accounts of her as a beautiful and goods in a pop-up shop in the East Lobby powerful woman wronged by Poseidon.
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