Baltimore Museum of Art announces 175 acquisitions, new commission, and additional gifts
Tschabalala Self, Two Women 3, 2021. The Baltimore Museum of Art: Purchase with exchange funds from the Pearlstone Family Fund and partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. BMA 2021.164. © Tschabalala Self.
BALTIMORE, MD
.-The Baltimore Museum of Art announced today that it has received a significant promised gift of 90 works of art by nearly 70 artists from long-standing museum supporters Nancy Dorman and Stanley Mazaroff. The gift is particularly strong in photographs and works on paper, including those created by acclaimed artists Hans Hofmann, Helen Frankenthaler, Grace Hartigan, Alfredo Jaar, Christopher James, Louise Lawler, Andres Serrano, Gary Simmons, Wolfgang Tillmans, Sze Tsung Leong, and Fred Tomaselli. The collection also includes important works by artists based in or with strong ties to Baltimore such as Larry Cook, Roland Freeman, Connie Imboden, So
The Big Review | Working Together: the Photographers of the Kamoinge Workshop
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The Big Review | Working Together: the photographers of the Kamoinge Workshop
theartnewspaper.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theartnewspaper.com Daily Mail and Mail on Sunday newspapers.
Adger Cowans,
Footsteps, 1960. (Courtesy of Virginia Museum of Fine Arts, Aldine S. Hartman Endowment Fund / The Whitney Museum of American Art)
When the Kamoinge Workshop began in 1963, taking its name from a Kikuyu word meaning “a group of people acting together,” a few Black photographers had already gained some prominence. Gordon Parks was probably chief among them. After starting as a portraitist in Chicago, he had gone on to work during the war years with the renowned photography program of the Farm Security Administration, best known for sending the likes of Walker Evans and Dorothea Lange to document everyday rural life during the Depression; in postwar Harlem he went to work for
Reviews - January 14, 2021
In 2016, on the occasion of an exhibition of the photographs of Louis Draper at Steven Kasher Gallery, Hyperallergic critic John Yau asked, “Does the Museum of Modern Art Even Know about This Great Photographer?” Apparently, they didn’t. Although Draper, who had died in 2002, was a prominent Black photographer and one-time president of the Kamoinge Workshop, there was little evidence that New York’s august Museum of Modern Art (MoMA) had paid much attention. MoMA’s communications director tersely informed Yau that the museum did, indeed, own photographs by Draper and other members of the Kamoinge Workshop. But they had been consigned to what was unceremoniously called the “study collection” work deemed “not appropriate for acquisition to the Collection.”