ART of TRANSFORMATION: Reworking Baltimore’s Stories
Baltimore Stories: Womb Works, the IRC’s Lee Boot and UMBC Theatre Department’s Alan Kreizenbeck
Baltimoreans are telling their own stories to counteract misleading narratives about life in our city. Scholars are working to set the record straight on history and policy. Activists are organizing. Artists are engaging like never before. Still, questions remain about inclusiveness, public space and public media for deliberating and consensus building, and the potential of the arts and media to transform culture and impact policy.
WombWork Productions founders and co-directors, Kay Lawal-Muhammad and Mama Rashida Forman-Bey; writer/director and UMBC Professor, Alan Kreizenbeck; and UMBC media artist and researcher, Lee Boot have been collaborating on public engagement, an online community, and short films. The first film, may be seen in this excerpt.
Chesapeake Arts Center Gallery
June 4-June 30
Reception June 24, 6:00 – 8:00 PM
As an inter-media artist who lives and works in Xiamen, China, Linlin’s work incorporates new media elements, such as photography, ceramic installation, animation, video, and drawing. She is Associate Professor and the Director of Teaching and Research in Digital Media Art Major of Art College in Xiamen University. Since 2009, Professor Lin has collaborated with animation and film organizations and has received Chinese Animation and Design Awards including a Silver Award for “the best mobile phone animation” at the International Animation Festival in Xiamen. She was the art director of a 26-episode animated television series, “Yongchun Baihe Boxing.” In 2012, this series received the National excellence animation award. A 26-episode animated television series, “Beauty and Happiness,” of which she was general director, received the National excellence animation award in 2011. Also in 2011, she won honorable mention for “Huihuang Art center Design” in the International Nest competition.
Linlin has received numerous solo commissions, awards and fellowships including: National Endowment for the Arts; China Scholarship Council; Culture industry development special fund of the Chinese Ministry of Education; Xiamen Culture and Art Center; De Appel (Contemporary Art Center), Amsterdam; Rijk Museum, Enschede, the Netherlands; Gallery , Toronto, Canada; and the Embassy of Holland.
THE GLASS KNIFE
Exhibition till June 30, 2016
Albin O. Kuhn Library Gallery
“If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
— William Blake
The Albin O. Kuhn Library Gallery presents The Glass Knife, curated by artists Stephen Bradley and Kathy Marmor, on display April 25 through June 30. The exhibition reflects on the work of Keith Porter, known as the “father of cell biology,” the title referring to the sharp wedged-shaped glass tool used by Porter to prepare tissue samples.
Dr. Keith Porter was the chair of the UMBC Department of Biology from 1984 to 1988, and was one of the first scientists to study whole cells with the electron microscope. At the Rockefeller Institute, he produced the first image of an intact cell, made possible by his development of an innovative slicing technique and specimen preparation for viewing and photographing with the electron microscope. His in-depth experience in experimental embryology and histology, along with his talent to interpret these highly magnified images, enabled him to infer the functional activities of cell organelles such as the endoplasmic reticulum (which he discovered and named) and microtubules. Porter was awarded the National Medal of Science in 1977.
Media artists Bradley and Marmor have structured their installation to illuminate Keith Porter’s life-long relationship with the micro world of cells. The Glass Knife integrates select elements from Porter’s archive to build a unified series of sculptures that allude to Porter’s workstation that “sees” the cell and its organelles and the potential applications that Porter imagined. With The Glass Knife, Bradley and Marmor propose a model of imagination that embraces a vision mediated by technology that extends our seeing. The artists as curators offer metaphoric insight into Porter’s scientific inquiry made possible with his ground-breaking use of the electron microscope that changed the world of cellular science.
“He had an almost uncanny ability to look at static electron monographs of cells and ‘see’ what the cell was doing, or at least what it was equipped to do.”
— Dr. Lee D. Peachey
The CIRCA banner photo portrays Baltimore Dance Project in performance of Light Fields. Choreography by Carol Hess; sound score by CIRCA Director Timothy Nohe; dancers portrayed in the image Jeffrey Mensah and Rachel Lum. Documentation photograph by Marlayna Demond.