BMA Today - Fall 2023

THE BALTIMORE MUSEUM OF ART

Making Her Mark: A History of Women Artists in Europe, 1400–1800 October 1, 2023 through January 7, 2024

Cover

Clara Peeters. A Still Life of Lilies, Roses, Iris, Pansies, Columbine, Love-in-a-Mist, Larkspur and Other Flowers in a Glass Vase on a Table Top, Flanked by a Rose and a Carnation. c. 1610. National Museum of Women in the Arts, Washington, D.C., Gift of Wallace and Wilhelmina Holladay

Board of Trustees

OFFICERS

James D. Thornton, Chair

Clair Zamoiski Segal, Immediate Past Chair

Darius Graham, Vice Chair

Elizabeth Hurwitz, Vice Chair

John Gilpin, Vice President & Treasurer

Fiona Ong, Secretary

David Wallace, Vice President

John Meyerhoff, Vice President

Ellen Dame, Vice President

Virginia Adams, Assistant Vice President

Amy Gould, Assistant Vice President

EXECUTIVE COMMITTEE

James D. Thornton, Chair

Clair Zamoiski Segal, Immediate Past Chair

Darius Graham, Vice Chair

Elizabeth Hurwitz, Vice Chair

John Gilpin, Vice President & Treasurer

Fiona Ong, Secretary

David Wallace, Vice President

John Meyerhoff, Vice President

Ellen Dame, Vice President

Virginia Adams, Assistant Vice President

Amy Gould, Assistant Vice President

Patricia Lasher

Kwame Webb

Sam Callard

Amy Elias

Katherine Schulze

TRUSTEES

Virginia K. Adams

Michael Brown

Adam Burch

Sharon Butler

Sam Callard

Beverly Bentley Carroll

Ellen R. Dame

Amy Elias

Nupur Parekh Flynn

Denise Galambos

John A. Gilpin

Joanne Gold

Amy Gould

Darius Graham

Kim Mumby Green

Nancy Hackerman

Pamela Hoehn-Saric

Elizabeth Hurwitz

Sherrilyn Ifill

Lori N. Johnson

Patricia Lasher

George McCulloch

John Meyerhoff

Sheela Murthy

Fiona Ong

Antoinette Peele

George Petrocheilos

Steven Pulimood

Paul Oostburg Sanz

Katherine Schulze

Clair Zamoiski Segal

Lynn Selby

Michael Sherman

Stuart O. Simms

Anne L. Stone

James D. Thornton

David W. Wallace

John Waters

Kwame Webb

HONORARY TRUSTEES

Alexander C. Baer

Constance R. Caplan

Kathryn (Lynn) Deering

Nancy L. Dorman

Janet E. Dunn

Sandra Levi Gerstung

Katherine M. Hardiman

Margot W.M. Heller

Louise P. Hoblitzell

Freeman A. Hrabowski III

Mary B. Hyman

Patricia H. Joseph

Susan B. Katzenberg

Jeanette Kimmel

Frederick Singley Koontz

Jeffrey A. Legum

Amy Frenkil Meadows

James S. Riepe

Frederica K. Saxon

Jean Silber

Louis B. Thalheimer

David Warnock

Ellen W.P. Wasserman

EX-OFFICIO TRUSTEES

The Honorable Bob Cassilly

The Honorable Edward Rothstein

The Honorable John Olszewski

The Honorable Steuart Pittman

The Honorable Wes Moore

The Honorable Bill Henry

The Honorable Calvin Ball

The Honorable Brandon M. Scott

The Honorable Nick Mosby

Editors COLLEEN KENNEDY JESSICA NOVAK

Contributors ANDREA BOSTON

ANNE BROWN

Design and Production LINDSEY LANG

NICOLE MILLER

Image Services & Rights MEGHAN GROSS COLLEEN HOLLISTER

Images of BMA Staff CHRISTOPHER MYERS

BMA Today

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BMA Today is published three times a year for Members of the Baltimore Museum of Art. ©2023 Baltimore Museum of Art

Black Control

Irene Rice Pereira, 1943

A peachy warm background incorporates blocks in varying shades of gray, green, red, and a range of blues from cobalt to cerulean to teal. Thin architectural lines undergird the rectilinear composition. Irene Rice Pereira’s Black Control (1943) is an abstract study of line, color, and texture. The artist has stamped, combed, and splattered paint onto the canvas, creating a subdued texture only appreciated up close. Altogether, the central geometric shapes almost appear to rise from the canvas, only framed by the thick black horizontal and diagonal lines crisscrossing the work.

One of the great modernist artists of the 20th century, Pereira was a founding member of the Design Laboratory in New York, a school of industrial design established in 1935 and initially funded by the Works Progress Administration. Its approach was similar to the influential Bauhaus school (1919–1933) in Germany. Pereira was deeply inspired by modern technological and architectural innovations. She established correspondence with scientists and manufacturers of glass, paint, plastic, and other materials. A poet and philosopher as well as a painter, Pereira

developed her own space–time theories on human perception in science and art while recovering from a mastectomy in 1943.

The three paintings and works on paper created by Pereira and held at the BMA both highlight her importance to modern art history and also create a continuum with two current BMA exhibitions focused on women artists: Making Her Mark: A History of Women Artists in Europe, 1400–1800 and Art/Work: Women Printmakers of the WPA Black Control is on view in

American Wing

Gallery.

the

in the Zamoiski Foundation

Irene Rice Pereira. Black Control 1943. The Baltimore Museum of Art: Frederic W. Cone Fund, BMA 1951.38. © Estate of Irene Rice Pereira / permission courtesy Djelloul Marbrook

The Persistence of Women Artists

Three years ago, the BMA launched the 2020 Vision initiative to highlight the achievements of women artists and leaders through exhibitions, acquisitions, and programs. We knew that one year wasn’t enough time to correct decades of gender bias, but it was an important first step toward a more just and equitable representation of women in our male-dominated understandings of artmaking, genius, and museums.

I am thrilled to share that on October 1, the BMA is advancing this effort further by debuting a major exhibition that upends art historical narratives about female creativity. Featuring rarely seen works lent from major European collections, and co-organized by the BMA and the Art Gallery of Ontario (AGO), Making Her Mark: A History of Women Artists in Europe, 1400–1800 is the most comprehensive exhibition of women artists and makers from this period. Works by known painters like Artemisia Gentileschi are placed alongside those by women who led workshops and businesses or excelled in what were dismissed as handicrafts—demonstrating that women artists were just as talented as their male counterparts, even though they were rarely educated and often responsible for providing for their households. This “sure-to-be-historic show” (to quote The New York Times) is followed by Art/Work: Women Printmakers of the WPA and Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott. There is an undeniable thread between these women artists persisting to express beauty and ideas from the everyday.

For those of you who have enjoyed our family experiences, we are delighted that the newly renovated, multi-sensorial, and interactive Patricia and Mark Joseph Education Center will open in early December. Thus, along with our second Robert E. Meyerhoff and Rheda Becker Biennial Commission by Raúl de Nieves, and our newly installed Asian collection, our first-floor presentations may require several visits. I do hope you will join us for the September 30 Making Her Mark Member Preview Party or any of the upcoming opening community celebrations: October 1 (Making Her Mark), November 19 (Raúl de Nieves: and imagine you are here), and December 3 (Joseph Education Center). As all of this suggests, there is much to celebrate!

Dorothy Wagner Wallis Director

Anne Gueret. Portrait of an artist with a portfolio (Self-Portrait?) (Detail) c. 1793. Katrin Bellinger Collection

Making Her Mark: A History Of Women Artists In Europe, 1400–1800

For centuries, women artists in Europe were considered rare and less talented than their male counterparts. Making Her Mark corrects this common misconception by examining the numerous ways in which women contributed to artistic production in pre-modern Europe through professional and entrepreneurial channels.

Representing Artists from 15 Countries

Making Her Mark presents 237 works of art from national and international public and private collections, many of which have never before been on view or identified as creative expressions by women.

1 Question

Making Her Mark co-curators tackled the enormous question:

How do we locate and discuss the woman maker who was never meant to be included in the history of European art?

“If we want to include women in the visual history of humanity, we must look beyond the categories and narratives created by and for the exaltation of male artists that still shape our vision of what qualifies as worthy artistic expression today.”

Badiee Banta

Senior Curator and Department Head, Prints, Drawings & Photographs

Countless Roles

The exhibition explores the varied and often overlooked roles that women played in artistic accomplishment. Some women artists achieved celebrity by producing luxury works for ruling class patrons, while others—whose names remain undocumented—worked in convents and workshops, producing objects to be sold. For many women, their creativity occurred at home, making objects for their families’ use or for their own enjoyment. Women were also involved in scientific circles, expanding our understanding of the natural world through discoveries and illustrations, while others were leaders in the business of arts production, promotion, and education.

Over 20 Media Categories

Curatorial research conducted throughout the United States, Canada, and Europe over four years revealed women makers active in nearly every means of artistic production, from painting, printmaking, manuscript illumination, sculpture and drawing to glass, tapestry, silver, ceramics, textiles, cabinetry, scientific illustrations, embroidery, paper rolling, wax, and hair work.

Andaleeb

Play Me Home

Through May 12, 2024

Tiona Nekkia McClodden’s genre-defying work, Play Me Home (2021), is a four-channel video installation with sound and sculptural objects (two horns, a leather-bound script, and seeds) blending narrative fiction and nonfiction. Play Me Home reflects the Philadelphia-based artist’s three-year journey researching her family history and funerary traditions in the South. The work beautifully captures McClodden’s distinct approach, and was recently acquired by the BMA as part of the Museum’s effort to expand its canon of American art and time-based media, while amplifying the BMA’s Contemporary art reinstallation, How Do We Know the World?

The new BMA Lexington Market will begin presenting time-based media works from the BMA’s collection beginning this fall with Mark Bradford’s Niagara (2005), a 3-minute color video that was displayed as part of the artist’s exhibition for the U.S. Pavilion at the 2017 Venice Biennale. Referencing a famous saunter by Marilyn Monroe in the 1953 film noir Niagara, it shows Melvin, Bradford’s former neighbor, walking confidently and purposefully down a Los Angeles street. The artist reflects on his experience as a vulnerable Black, queer youth in this video, illuminating how people’s identities allow them to hold space and move freely.

Mark Bradford. Niagara (still). 2005. The Baltimore Museum of Art: Purchased as the gift of Pamela J. Joyner and Alfred J. Giuffrida, BMA 2017.36. © Mark Bradford

Tiona Nekkia McClodden: Play Me Home is curated by Jessica Bell Brown, Curator and Department Head of Contemporary Art.

This exhibition is generously supported by Michael Sherman and Carrie Tivador.

Play Me Home is located in the Contemporary Wing, in the Howard & Martha Head Gallery.

Tiona Nekkia McClodden. Play Me Home (still). 2021. The Baltimore Museum of Art: Gift of the Artist and VIA Art Fund, BMA 2022.221.

© Tiona Nekkia McClodden

Making Her Mark: A History of Women Artists in Europe, 1400–1800

October 1, 2023–January 7, 2024

Ticketed exhibition, FREE for BMA Members

This groundbreaking exhibition rewrites Western art history through more than 200 objects that reveal the extensive contributions and achievements of women artists and makers during the pre-modern era.

As the most comprehensive exhibition of European women artists from this period, Making Her Mark presents accomplished paintings by Sofonisba Anguissola, Artemisia Gentileschi, Elisabeth Vigée-LeBrun, and Angelica Kauffmann alongside exquisite objects by lesser-known artists, as well as talented but often unnamed makers in collectives, workshops, and manufactories. Sublime examples of ceramics, metalwork, and cabinetmaking demonstrate that women were engaged with every manner of historical artistic production—from design and execution to the sourcing and processing of materials.

The BMA is the only U.S. venue of this exhibition, making this a rare opportunity to see the breadth of creativity by European women artists. Tickets are available at artbma.org/mhm.

Asian Collection Reinstallation

Opening October 1, 2023

A new perspective on the BMA’s Asian art collection debuts this fall with the addition of works from India, Indonesia, Iran, and Türkiye displayed alongside works from East Asia, resulting in new insights into materials, cultural and technological influences, and exchange and trade. From feasting to writing, the traditions associated with daily life are explored in the first gallery’s variety of ceramics, prints, and textiles.

The Museum’s strong holdings in Chinese works of art are showcased in the second gallery with metal and earthenware objects, as well as export porcelain that reveal China’s importance in world trade, its place within Asia’s diverse philosophical and religious systems, and its belief in continued existence beyond a human lifetime.

Curated by Frances Klapthor, Associate Curator of Asian Art

This installation is made possible by the Victor J. Schenk Trust, the E. Rhodes and Leona B. Carpenter Foundation, and Amy L. Gould and Matthew S. Polk, Jr. The Asian collection is located in the Julius Levy Memorial Gallery.

Below: Unidentified Artists. Sake Bottle Decorated with Floral Roundels, Swallows and Blossoms on Waves. Hasami kiln, Hizen Province, Kyushu, Japan. Early 19th century. The Baltimore Museum of Art: The George A. Lucas Collection, purchased with funds from the State of Maryland, Laurence and Stella Bendann Fund, and contributions from individuals, foundations, and corporations throughout the Baltimore community, BMA 1996.47.28

Making Her Mark: A History of Women Artists in Europe, 1400–1800 is co-organized by the Baltimore Museum of Art and the Art Gallery of Ontario and co-curated by Andaleeb Badiee Banta, Senior Curator and Department Head, Prints, Drawings & Photographs at the BMA, and Alexa Greist, Curator and R. Fraser Elliott Chair, Prints & Drawings at the AGO.

This exhibition is generously supported by Nancy Dorman and Stanley Mazaroff, the National Endowment for the Humanities, Anne L. Stone, Laura Freedlander, PNC Foundation, The Gladys Krieble Delmas Foundation, Dutch Culture USA program by the Consulate General of the Netherlands in New York, Samuel H. Kress Foundation, The Stoneridge Fund of Amy and Marc Meadows, Sheela Murthy/MurthyNAYAK Foundation, Susan B. Katzenberg, and Joseph and Rachel Rabinowitz.

Any views, findings, conclusions, or recommendations expressed in this project do not necessarily represent those of the National Endowment for the Humanities.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

This exhibition is located in the Alvin and Fanny B. Thalheimer Galleries and The Saidie A. May Wing.

Art/Work: Women Printmakers of the WPA

November 5, 2023–June 30, 2024

Women printmakers employed by the Works Progress Administration’s Federal Art Project (WPA/FAP) gave visual form to the fraught state of American society throughout the 1930s and early 1940s. Through approximately 50 works created during this period encompassing both the Great Depression and the lead-up to World War II, this exhibition demonstrates how these artists focused their print production on the human faces of labor and poverty in alignment with swelling communist and socialist movements in the United States—calling out racial, gendered, and class-based inequities exacerbated by the temporary collapse of a capitalist economy. Reexamining the contributions of WPA women artists offers fresh insight into both their moment and the ways these challenges still manifest today.

Etched in Memory: Matisse’s Early Portraits

November 5, 2023–April 21, 2024

Henri Matisse’s experimentation with etching started during the tumultuous year that World War I began, when the Matisse home served as a meeting point and respite for friends, neighbors, and refugees. The artist had recently acquired a small second-hand printing press that allowed him to produce rapid etchings that gave the immediacy of snapshots. During a significant period beginning in 1914, Matisse made dozens of intimate portraits of family and friends in his inner circle and 14 of these etchings are presented in this exhibition with images of Madame Matisse, Josette Gris, Walter Pach, and others.

This exhibition is

supported by

On view in The Nancy Dorman

of Prints, Drawings and Photographs.

Curated by Katy Rothkopf, The Anne and Ben Cone Memorial Director of the Ruth R. Marder Center for Matisse Studies in consultation with Thomas Primeau, The Charles K. Williams, II, Senior Conservator of Works of Art on Paper, Philadelphia Museum of Art

On view in the Jay McKean Fisher Gallery in The Ruth R. Marder Center for Matisse Studies

Curated by Virginia Anderson, Curator of American Art and Department Head of American Painting & Sculpture and Decorative Arts; and Robin Owen Joyce, Getty Paper Project Fellow

generously

the Sigmund M. and Mary B. Hyman Fund for American Art.

and Stanley Mazaroff Center for the Study

Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott

November 12, 2023–April 28, 2024

Twenty innovative mixed-media fiber works demonstrate Elizabeth Talford Scott’s belief in artmaking’s ability to offer people an opportunity to break free of social limitations, evolve new ways of communicating, and nurture dreams. Her works innovate the practice of quilting by incorporating unconventional objects such as stones, buttons, and sequins in heavily layered surfaces. Among the highlights of this exhibition is Grandfather’s Cabin/Noah’s Ark (1993–96), an exquisite story quilt that recalls memories of the cabin Talford Scott’s grandfather built on Blackstock Plantation in South Carolina. A community celebration of the artist’s work with eight other exhibitions at Baltimore museums and colleges will be presented from February to May 2024.

Guest-curated by MICA Curator-in-Residence Emeritus George Ciscle and organized by BMA Associate Curator of Contemporary Art Cecilia Wichmann in dialogue with MICA Exhibition Development Seminar students.

This exhibition and accompanying programs are generously supported by Lorraine Whittlesey & Markell Whittlesey and Robbye & Kevin Apperson.

Printed and digital materials supported by the William G. Baker, Jr. Memorial Fund. Music commission supported by Doreen Bolger, Retired BMA Director, and Amy Raehse, Goya Contemporary Gallery, in honor of George Ciscle, an extraordinary curator and creator of MICA’s transformative Curatorial Practice program and Exhibition Development Seminar.

In-kind support is provided by the Estate of Elizabeth Talford Scott at Goya Contemporary This exhibition is located in the Contemporary Wing, 3rd floor.

Raúl de Nieves: and imagine you are here

November 19, 2023–May 2025

Raúl de Nieves often creates joyful, interactive installations drawn from Mexican craft traditions, religious iconography, mythology, queer club culture, and folktales to investigate notions of beauty and transformation. For the BMA’s Robert E. Meyerhoff and Rheda Becker Biennial Commission, he is creating a new work that engages with ideas of metamorphosis in the natural world. The centerpiece is a 27-pane faux stained-glass window with symbolic imagery that evokes wild transformation inspired by a crested caracara falcon, the life cycle of cicadas, and the migratory patterns of monarch butterflies. The engaging installation also includes a multi-tiered chandelier, and figurative sculptures decorated with beads, vintage fabrics, and sequins, and designed for direct visitor interaction.

Curated by Leila Grothe, Associate Curator of Contemporary Art with support from MeyerhoffBecker Curatorial Fellow Cynthia Hodge-Thorne.

This exhibition is sponsored by the Robert E. Meyerhoff and Rheda Becker Biennial Commission.

This exhibition is located in the Clair Zamoiski Segal and Thomas H. Segal East Lobby.

Right: Installation view of Comunidades Visibles: The Materiality of Migration at Albright-Knox Art Gallery, Buffalo, 2021. Photo by Brenda Bieger and Amanda Smith, courtesy of the artist and Albright-Knox

Left: Elizabeth Talford Scott. Grandfather’s Cabin / Noah’s Ark. 1993-1996. Delaware Art Museum, Gift of the Alberta du Pont Bonsal Foundation, 2000. © Estate of Elizabeth Talford Scott at Goya Contemporary Gallery | TALP

Joyce J. Scott: Walk a Mile in My Dreams

March 24–July 14, 2024

This fifty-year retrospective co-organized by the BMA and the Seattle Art Museum celebrates the career of the prolific, genre-defying artist Joyce J. Scott, one of the most significant artists of our time. Best known for her virtuosic use of beads and glass, Scott has upended hierarchies of art and craft across a spectrum of media—from her woven tapestries and soft sculpture of the 1970s to audacious performances and wearable art in the 1980s, while sculptures of astonishing formal ingenuity and social force have defined her work from the late 1970s to the present moment. Scott’s works often beguile viewers with beauty and humor while confronting racism, sexism, ecological devastation, and complex family dynamics.

Joyce J. Scott: Walk a Mile in My Dreams was developed in close dialogue with the Baltimore-based artist and her collaborators to reveal the full breadth of Scott’s singular vision through more than 120 objects from public and private collections across the United States. The exhibition will encompass significant examples of the artist’s sculpture—both stand-alone and wearable pieces—alongside performance footage, garments, prints, and materials from Scott’s personal archive. This special ticketed exhibition will also feature a newly commissioned installation and an expansive scholarly catalog with new scholarship, artist reflections, and a selection of out-of-print source materials.

A companion exhibition of works by Scott’s mother, the artist Elizabeth Talford Scott, will be presented at the BMA as part of a broader community initiative organized by the BMA, MICA, and the Estate of Elizabeth Talford Scott at Goya Contemporary. Eight partner sites across Baltimore City will present events and artworks from February through May 2024 in celebration of the late Talford Scott.

Co-curated by Cecilia Wichmann, BMA Associate Curator of Contemporary Art, and Catharina Manchanda, Seattle Art Museum Jon and Mary Shirley Curator of Modern and Contemporary Art.

Joyce J. Scott: Walk a Mile in My Dreams is generously supported by the Suzanne F. Cohen Exhibition Fund, the Andy Warhol Foundation for the Visual Arts, and the Clair Zamoiski Segal and Thomas H. Segal Contemporary Art Endowment Fund.

Joyce J. Scott. Melon Medusa 1986. Paul Daniel and Linda DePalma © Joyce J. Scott

For centuries, art historians have accepted the characterization of European women artists from the pre-modern era as rare and comparatively less talented than their male counterparts. This assumption is now being turned on its head with a groundbreaking exhibition that presents a more accurate and expansive presentation of women’s creative accomplishments. A team of women curators led by Andaleeb Badiee Banta, Senior Curator and Department Head of Prints, Drawings & Photographs at the Baltimore Museum of Art, and Alexa Greist, Curator & R. Fraser Elliott Chair of Prints and Drawings at the Art Gallery of Ontario, spent four years researching collections throughout the United States, Canada, and Europe, studying an astonishing number of works by women artists. “By expanding our focus beyond painting, we were able to include extraordinary works by less recognized women who worked collaboratively or in domestic settings—resulting in a much more inclusive view of European women artists and makers,” said Banta.

In the following pages, preview six of the more than 200 works featured in Making Her Mark. Visit artbma.org/mhm for tickets.

Named a “must-see” exhibition by Vogue and a “sure-to-be-historic show” by The New York Times

Anna Maria Vaiani. Vase of Flowers, in Giovanni Battista Ferrari’s Flora overo culture di fiori…. (Detail). 1638. Oak Spring Garden Foundation, Upperville, VA

Artemisia Gentileschi

Judith and Her Maidservant with the Head of Holofernes , c. 1623–1625

Oil on canvas

One of the most famous female painters of the 17th century, Artemisia Gentileschi (Italian, 1593–after 1654) was known for her ability to convey intense drama through use of shadow, color, and light, earning her commissions from major patrons in Italy and England. This talent is on display in her portrayal of the popular biblical story of the Jewish heroine Judith beheading Holofernes, an Assyrian general. Gentileschi highlights the tense moment when Judith and her maidservant attempt to escape with the decapitated head in a sack. Deep shadows cast by a single candle’s flame obscure the violent beheading committed by the fashionably dressed heroine.

Sarah Biffin

Self-Portrait, 1842

Watercolor and opaque watercolor on paper

Sarah Biffin (British, 1784–1850) was born with phocomelia, or as described on her baptism record, “born without arms and legs.” She taught herself to use her mouth to write, sew, and paint professionally, and achieved significant fame as a miniaturist in her lifetime. In this self-portrait, she presents herself as past generations of professional male artists had—wearing fine clothes, displaying an awarded medal—and with her miniaturist’s brush pinned to her cloak. Biffin took portrait commissions across England, strategically promoting her talents and her physical condition on circulated posters and flyers, presenting herself not only as an accomplished artist but an adept businesswoman.

Sarah Biffin. Self-Portrait. 1842. The Baltimore Museum of Art: Rhoda M. Oakley Prints, Drawings & Photographs Acquisitions Fund, Contemporary Deaccessions Endowment, and The John Dorsey and Robert W. Armacost Acquisition Endowment, BMA 2022.199

Artemisia Gentileschi. Judith and Her Maidservant with the Head of Holofernes. c. 1623-25. Detroit Institute of Arts, Gift of Mr. Leslie H. Green

Luisa Roldán

The Education of the Virgin, 1680s Polychrome paint, wood

Luisa Roldán (Spanish, 1652–1706) was one of the most famous and accomplished women artists from Spain. She was the first woman to hold the position of court sculptor in Madrid and the first woman given the title of Academician, at the time of her death, from the prestigious Accademia di San Luca in Rome, Italy. Roldán created work for public settings and processions as well as private devotional works. For this sculpture, she depicts the biblical figure Anne teaching her daughter Mary to read. The act of teaching and learning between women would have been deeply familiar during this period when mothers were responsible for educating their children.

Luisa Roldán. The Education of the Virgin (Detail). 1680s. Los Angeles County Museum of Art, Gift of the 2019 Collectors Committee with additional funds from Linda Borick and Bill Davidson on behalf of the Louis L. Borick Foundation

Maria Sibylla Merian

and Metamorphosis of

Maria Sibylla Merian (German, 1647–1717) was a leading botanical artist who created one of the most important natural history publications of her time. Her illustrations innovatively presented insects situated within their habitats and the broader ecological dynamic. This engaging illustration of the lifecycle of the convolvulus hawk moth is the result of Merian’s sustained observations of caterpillars over

a decade. By creating a narrative vignette of insect and plant life as an intertwined phenomenon, she constructed a lifecycle image that became a standard in scientific illustration and shaped the field of entomology.

Maria Sibylla Merian. Convolvulus and Metamorphosis of the Convolvulus Hawk Moth c. 1670-83. The Cleveland Museum of Art, John L. Severance Fund 2019.9

Convolvulus

the Convolvulus Hawk Moth, c. 1670–1683 Watercolor with touches of opaque watercolor over black chalk or graphite on vellum

Marie Victoire Lemoine

Portrait of a Youth in an Embroidered Vest, 1785

Oil on canvas

Marie Victoire Lemoine (French, 1754–1820) was known for her skills in portraiture, exhibiting her work in the official Salon, or state-sponsored exhibition of France. She remained unmarried and supported herself through her painting, not an easy status for a woman to maintain at that time. Despite efforts to identify the sitter, his name remains unknown. Proposed identifications have included the Jacobin revolutionary Zamor, trafficked as a child from Bangladesh and enslaved in the household of Comtesse du Barry, the official mistress of King Louis XV (r. 1710–1744), as well as Scipio or Narcisse, enslaved members of the household of the Duchess d’Orleans, who was a patron of Lemoine. During this period, wealthy Europeans commonly dressed their enslaved servants in finery, presenting the wearer and their clothes as indicators of the owner’s wealth.

Marie Victoire Lemoine. Portrait of a Youth in an Embroidered Vest (Detail). 1785. Purchased with funds from the Cummer Council, Cummer Museum of Art & Gardens, Jacksonville, Florida, AP.1994.3.1

Photography by Douglas J. Eng

Decorator: Marie-Victoire Jaquotot

Manufacturer: Manufacture Nationale de Sèvres

Tea Service of Famous Women, 1811–1812

Hard-paste porcelain

Marie-Victoire Jaquotot (French, 1772–1855) gained prominence as a painter for the Sèvres porcelain manufactory, and educated numerous other artists. After her 1816 appointment as porcelain painter to the French King Louis XVIII (1755–1824), many powerful and influential figures became her patrons. This tea service was purchased by Napoleon Bonaparte (1769–1821) as a gift for his wife Josephine (1763–1814). It presents portraits of prominent female historical

figures, including Queen Elizabeth I of England (1533–1603), Queen Christina of Sweden (1626–1689), Catherine the Great, Empress of Russia (1729–1796), Saint Joan of Arc (c. 1412–1431), and the author Madame de Sévigné (1626–1696). The saucers are decorated with trophies and instruments, echoing the portraits’ themes of power and talent.

The richly illustrated Making Her Mark exhibition catalog is now available at the BMA Shop.

BMA Members save 10%

Marie-Victoire Jaquotot. Tea Service of Famous Women (Cabaret des femmes célèbres). 1811-12. Clark Art Institute, Williamstown, Massachusetts USA

This exhibition is generously supported by Nancy Dorman and Stanley Mazaroff, the National Endowment for the Humanities, Anne L. Stone, Laura Freedlander, PNC Foundation, The Gladys Krieble Delmas Foundation, Dutch Culture USA program by the Consulate General of the Netherlands in New York, Samuel H. Kress Foundation, The Stoneridge Fund of Amy and Marc Meadows, Sheela Murthy/MurthyNAYAK Foundation, Susan B. Katzenberg, and Joseph and Rachel Rabinowitz.

Any views, findings, conclusions, or recommendations expressed in this project do not necessarily represent those of the National Endowment for the Humanities. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Co-organized by the Baltimore Museum of Art and the Art Gallery of Ontario.

Serious Play

“Museums can be sort of intimidating for people, and most of our students are here for the first time,” shares Susan Witmer Wolffe, Manager of Tour Experiences. “Now there’s a place they can enter that is brightly colored, a place for excitement and conversation that is designed for students and teachers.”

“Play is foundational to not just making art but making culture,” explains Verónica Betancourt, Interim Chief Education Officer. “The Joseph Education Center takes play seriously, drawing from scholars such as Johan Huizinga, in the 20th century, to 21st century thinkers dedicated to the creation of spaces for free, undirected play and games as agents for social change. For people of all ages, especially children, play is one of the most powerful ways of learning, being, and imagining other possibilities for the world.”

Welcoming Learners Through Wonder

From the very moment that students and teachers enter at the Wurtzburger School Entrance, the new space has been lightened and brightened to make the entry inviting and engaging for the 4,500 pre-K–12th grade students and their teachers from all Maryland counties and out-of-state students who visit the Museum annually.

All visitors entering the new space will encounter the Wall of Wonder, a touchable, multisensory, interactive entry point for learning. Visitors may not be able to run their hands over Auguste Rodin’s The Thinker in the Antioch Court, but here they can touch the cool, smoothness of a bronze replica sculpture, seeing how repeated wear creates a lighter amber patina, and then look for bronze works across the BMA’s collections. The drawers in the Wall of Wonder will hold many examples of artistic media and materials, also appealing to visitors who are tactile-oriented learners, including those with vision loss. The Wall of Wonder will engage with other senses, too, from the sounds of glass beads tinkling to videos of artists discussing the materiality of their work.

“Visitors have shared that they want more sensory experiences as a way to learn about art,” says Kaitlyn Garbarino, Manager of Interpretation. “Their feedback has greatly guided our approach in

With the reopening of the Patricia and Mark Joseph Education Center on December 3, the BMA’s space dedicated to arts education has been reconceptualized with an emphasis on curiosity, play, and interactivity.

reconceptualizing the Joseph Education Center, and I am excited to see how visitors connect a hands-on experience of a material with collection objects.”

Critical Play and Creative Spaces

Three internationally recognized artists, who are all renowned arts and museum educators, have programmatically activated spaces that interweave the whimsical, physical, and educational in a 2,416 square-foot gallery within the center. Mary Flanagan, who pioneered the field of game research with her ideas on critical play, has designed a historically inflected game of hopscotch that looks at the rich history and possibility of landmark sites in Baltimore. Museum educator and artist Pablo Helguera is considering how gameplay is something that has defined humanity for millennia and has created a space where visitors may play different historical games from around the world that are evoked by the BMA’s collections. This opens new points of inquiry and connection to other cultures and across collections. Derrick Adams, who was formerly an art teacher, has designed an immersive environment that engages students to learn about art through play.

“One of the really exciting aspects is this is a space of invitation,” shares Betancourt. “There will be embodied learning and play, and when students see each other engaging, it invites collaborative play and learning, especially because kids are a little more daring than adults are.”

Double the Artmaking

The renovated Joseph Education Center will feature separate wet and dry studio spaces, doubling capacity and allowing two classes to visit and create works at the same time. The wet studio will allow for artistic exploration with materials such as paints, glues, and clays, while the dry space will be reserved for activities such as sketching with pencil on paper or digital artmaking. The new spaces will allow for more varied teacher workshops and opportunities for art teachers to meet with each other and use the maker space. In Professional Identity Transformation, a four-week pre-med course taught in a collaboration between the BMA and Johns Hopkins University, the new space allows the busy medical students the opportunity to find a moment of quiet and reflection after each session while also creating a class space for drawing exercises.

“The enhanced center will allow us to provide more robust Free Family Sundays programming,” shares Tracey Beale, Director of Public Programs. “The addition of touch samples will allow families

and children to explore materials on their own.”

The Joseph Education Center will have several other new spaces and innovations, too. The Insight Lab will have a new home, continuing to engage with visitor research and evaluation about museum practices through guided prompts and responses. There will be a quiet room for anyone who needs a sensory break or for family needs–such as nursing children. While children are a key audience, the spaces have been thoughtfully reimagined for all

BMA visitors and designed for all ages.

Witmer Wolffe is excited to invite visitors into the new Joseph Education Center: “The sky’s the limit. We have so many opportunities in this new Center.”

On Sunday, December 3 from 1–5 p.m., bring the family for this opening celebration and enjoy art-making and interactive activities.

PHOTO BY MAXIMILIAN FRANZ

Community Day: Making Her Mark

Sunday, October 1, 1–5 p.m.

Celebrate the opening of Making Her Mark: A History of Women Artists in Europe, 1400–1800. Join us for tastings, hands-on artmaking, gallery talks, and free admission to Making Her Mark!

Art After Hours: Making Her Mark

Friday, October 13, 8–11 p.m.

$25: Members

$30: Non-Members

Baltimore’s best late-night art party is back celebrating local women artists in response to the exhibition Making Her Mark: A History of Women Artists in Europe, 1400–1800. Enjoy specialty cocktails, music, interactive activities, delicious appetizers, evening access to galleries, and free admission to Making Her Mark

Free Family Sundays

October 8, 2–5 p.m. November 12, 2–5 p.m.

Join us on the second Sunday of the month in beautiful Fox Court for free artist-led artmaking workshops for children and families. Workshops are designed to encourage young people to think like artists and explore materials through hands-on making.

Opening Celebration: Raúl de Nieves: and imagine you are here

Sunday, November 19, 1–5 p.m. Bring the family and experience a day of beauty, exploration, and artmaking inspired by the Robert E. Meyerhoff and Rheda Becker Biennial Commission: Raúl de Nieves. Enjoy family art-making and interactive activities for all ages.

Opening Celebration: Joseph Education Center

Sunday, December 3, 1–5 p.m.

It’s time for play! Gather the family and join us in celebrating the public opening of the Joseph Education Center. Explore hands-on, play-inspired installations made by internationally acclaimed artists Derrick Adams, Mary Flanagan, and Pablo Helguera. Enjoy family art-making and interactive activities for all ages, and free admission to Making Her Mark. Visit artbma.org/mhm to reserve your timed-entry pass to the exhibition.

All programs and events are free and open to the public unless otherwise noted.

BMA Lexington Market

Join us at the BMA’s newly reopened branch location inside America’s oldest market and enjoy free art experiences and opportunities for connection.

During open hours, visitors are invited to make art, read from our non-circulating library, find community with others, or simply just be.

The first and third Saturdays of the month, visitors can take part in a wide-range of programs, from artist talks, workshops, film screenings, and much more.

In addition, Mondays–Wednesdays, 6 a.m–5 p.m., and Thursdays–Saturdays, 6 a.m–10 a.m., stop by BMA Lexington Market to view Mark Bradford’s Niagara (2005). The 3-minute video debuted at the 2017 Venice Biennale U.S. Pavilion, co-commissioned by the BMA.

Hours Thursday–Saturday, 10 a.m.–6 p.m.

Location

BMA Lexington Market Stall 55, Upper Market-level 112 N. Eutaw Street Baltimore, MD, 21201

For more information, including how to get involved, visit: artbma.org/bmalexingtonmarket.

Membership offers exciting opportunities to celebrate and explore the arts at the BMA. Members enjoy invitations to select exhibition openings and other special events, discounts on programs and concerts, and access to digital programming offered throughout the year. Be sure to continue to check our website for a current schedule and event details.

Members Shopping Days

Friday, December 1–Sunday, December 3

Double your Member discount at the BMA Shop to save up to 20%!

No RSVP required.

Contributors Evening: Joseph Education Center Opening Celebration

Wednesday, December 6, 5–7 p.m.

Enjoy evening access to the Center, light refreshments in the Segal East Lobby, and fun craft activities highlighting the newly renovated Joseph Education Center.

Open to Contributor-level Members and above. Invitations will be emailed. RSVP required.

Corporate Council Night

Wednesday, December 13, 5:30–8 p.m.

All employees of Corporate Council Members are invited to bring a guest for a night at the Museum! Attendees will enjoy free access to Making Her Mark, music, artmaking, and a happy hour with beer, wine, and light bites.

Email members@artbma.org with questions or to RSVP. Reservations are required.

Print, Drawing, & Photograph Society (PDPS)

PDPS Membership offers invitations to special events, curatorial tours, and travel opportunities that are specially designed to explore the world of works on paper both in the BMA’s collection and in regional Museums.

Upcoming event

PDPS Seminar: Research on Women Printmakers of the WPA

Wednesday, November 8, 5:30–7:30 p.m.

Getty Paper Project Fellow Robin Joyce shares the fascinating research that contributed to the Art/Work: Women Printmakers of the WPA exhibition, opening November 5 in the Nancy Dorman and Stanley Mazaroff Center for the Study of Prints, Drawings and Photographs. Reception to follow.

Individual PDPS Memberships start at $85. To join PDPS, please visit artbma.org/pdps or call 443-573-1800.

Corporate Council Family

Day

Saturday, June 10, 2023

Employees of Corporate Council Members and their families were invited to enjoy a day at the Museum and free access to the exhibition, The Culture: Hip Hop and Contemporary Art in the 21st Century This annual celebration also includes lunch and family-friendly art-making activities. BMA Trustee Sheela Murthy joined in the fun.

AMidsummer Night’s Gala

Sunday, June 25, 2023

Guests enjoyed the beauty of the Sculpture Gardens while supporting the BMA, The Last Resort Artist Retreat, and brilliant artists with deep ties to Baltimore. A silent auction featured artwork by Derrick Adams, Jabari Jefferson, Jamaal Peterman, McKinley Wallace III, Kyle Yearwood, and more artists, many of whom were in attendance. BMA Honorary Trustees, Trustees, and steadfast Museum supporters took part in the wonderful evening, including Sandra Gerstung, Sherrilyn Ifill, Michael Sherman, Board Chair James D. Thornton, Antoinette Peele, and Eddie C. and C. Sylvia Brown.

Photos by Maximilian Franz

Photos by Erika Nizborski

Art After Hours

Friday, June 30, 2023

Baltimore’s favorite late-night art party celebrated the 50th anniversary of hip hop and The Culture: Hip Hop and Contemporary Art in the 21st Century. Hundreds including BMA Trustees Michael Ealy and Darius Graham attended the sold-out event. The night featured a fiery painting performance by kolpeace, music by DJ Styles Bond, specialty cocktails and delicious bites.

Corporate Council

The enormous contributions of Corporate Council Members help keep the BMA dynamic and accessible to all. Corporate Council Members receive exclusive benefits to engage employees, entertain valued clients, and provide visibility to their companies as BMA corporate partners.

Corporate Council Benefits

Invitations to private exhibition previews and other special events

Annual corporate events for employees and their families

Free access to ticketed exhibitions for employees

Private curator-led talks

The opportunity to rent Museum spaces at a discount

Photos by Maximilian Franz

Gertrude’s Chesapeake Kitchen

Lauded by Food & Wine, Travel & Leisure, The Washington Post, Edible DC, The Baltimore Sun, and a multi-year winner of Baltimore magazine’s “Best of Baltimore,” Gertrude’s serves locally sourced farm-fresh food that preserves Chesapeake culinary traditions. BMA

HOURS

Monday and Tuesday Closed Wednesday–Friday 11:30 a.m.–8 p.m.

Saturday Brunch: 11:30 a.m–3 p.m.

Dinner: 4:30 p.m.–8 p.m.

Sunday Brunch: 10 a.m.–3 p.m. Dinner: 4:30 p.m.–7 p.m.

RESERVATIONS

gertrudesbaltimore.com or 410-889-3399

HOLIDAY HOUSES

A beloved holiday tradition at Gertrude’s, themed holiday houses are designed and decorated by Gertrude’s and BMA staff and on display from Thanksgiving to New Year’s. Remember to vote for your favorite when you visit.

NEW YEAR’S EVE

Ring in 2024 with food, friends, dancing, and a little bubbly. Reservations are a must for this festive night out!

HOLIDAY PARTY PLANNING

Whether you’re planning your holiday corporate party, a celebration with family and friends, or a wedding, Gertrude’s makes it a memorable event. No matter the size of your group, we will cover all the details to make it perfect. Call 410-889-3399 for more information.

BMA Today

Our Picks

Members save 10% or more at the BMA Shop

Proceeds from the BMA Shop benefit the Museum’s educational programs.

1. Carnelian, Obsidian & Moonstone Necklace, $700

2. Cellar Spider Brooch, $85

3. Wildflower Honey Crock, $14.95

4. Areaware Planter, $65

5. Burundi Raffia Basket, $98

6. Gus Gryphon Plush Toy, $39.95

7. Animal Felt Ornaments, $12.95

8. Making Her Mark Catalog, $50

9. Leonora Carrington: Revelation, $65

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Ongoing Exhibitions

Matsumi Kanemitsu: Figure and Fantasy Through October 8, 2023

Wild Forms: Fauve Woodcuts Through October 15, 2023

Histories Collide: Jackie Milad x Fred Wilson x Nekisha Durrett Through March 17, 2024

Martha Jackson Jarvis: What the Trees Have Seen Through March 24, 2024

Tiona Nekkia McClodden: Play Me Home Through May 12, 2024

Niagara

On view at BMA Lexington Market

Histories Collide: Jackie Milad x Fred Wilson x Nekisha Durrett

New Exhibitions

Making Her Mark: A History of Women Artists in Europe, 1400–1800

October 1, 2023–January 7, 2024

Art/Work: Women Printmakers of the WPA November 5, 2023–June 30, 2024

Etched in Memory: Matisse’s Early Portraits November 5, 2023–April 21, 2024

Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott

November 12, 2023–April 28, 2024

Raúl de Nieves: and imagine you are here November 19, 2023–May 2025

Making Her Mark: A History of Women Artists in Europe, 1400–1800

Left: Hester Bateman. Torah Finials. 1784. North Carolina Museum of Art, Raleigh. Purchased in memory of B. Elmo and Hannah P. Scoggin with funds from the bequest of Hannah P. Scoggin and the Judaic Art Fund, 2021 (2021.22/a-b)

October

November

December

Above: Photo by Maximilian Franz

Left: Photo by Nicole Miller

Meet the New Trustees

Amy Elias

Amy Elias is founder of Profiles, Inc., a public relations and marketing firm in Baltimore. She has more than 35 years of experience in public relations and marketing, and she has co-chaired fundraising events throughout Baltimore. Ms. Elias is a graduate of Emory University, and resides in Baltimore with her husband Richard Pearlstone, a former BMA National Trustee.

Ms. Elias is a returning BMA Trustee, having previously served on the Board from 2013-2019. During her previous tenure, Ms. Elias played an integral role in the acclaimed exhibition Guarding the Art, having created the concept and working closely with Museum staff on its opening in March 2022. She also spearheaded the expansion of Guarding the Art to other U.S. cities and is working closely with the Phoenix Art Museum on its exhibition, which will open in 2024. Ms. Elias has also served on the Finance Committee, Annual Gifts Committee, Executive Committee, Strategic Planning Committee, and Contemporary Arts Accessions Committee, among many others. Most notably, she chaired the Marketing and Audience Development Committee, generously sharing her knowledge of marketing and communications strategies and leading the recent BMA rebrand.

Kim Mumby Green

Kim Mumby Green is a seasoned, retired C Suite corporate executive in the insurance and financial industry who has demonstrated leadership, volunteerism, and community involvement throughout her career. Ms. Green has held numerous positions and has been a pacesetter for women on Wall Street. She entered the industry as a Chubb Insurance Company trainee in 1983 and served as an underwriter in the financial services/professional liability.

In 1990, Ms. Green founded her own brokerage firm, providing the same professional services and expertise to an impressive Fortune 500 client list. As founder and president of a minority owned and controlled insurance brokerage firm, she provided insurance services in all disciplines for public, private, and governmental entities. Her experiences and expertise have been primarily driven in the Greater New York area including Connecticut and, since 2019, the Baltimore-Washington Metropolitan area.

She has recently relocated back to Baltimore after 40 years and is enjoying the transition of reconnecting and networking with the mid-Atlantic business community. She, her husband, and their daughter all like to travel together and explore different cultures.

Antoinette Peele

Antoinette Peele is the sole proprietor of an IT Governance practice called In4structures with over 30 years of IT experience facilitating the design, development, and implementation of large-scale business systems in the public and private sector. Over the last 13 years, Ms. Peele has focused on IT project governance, user experience, and business value. She believes these three components are the drivers to a successful system delivery.

Ms. Peele led the charge to the transition from waterfall to agile development methodology all while providing training recommendations to prepare state government staff to support the new cloud-based applications for sustainability after implementation. Ms. Peele is a trained IT Professional and a certified SAFe Agilist.

Ms. Peele holds a bachelor of science in information technology from the University of Baltimore and a master’s degree in business administration from Morgan State University.

Ms. Peele is an advocate for the arts and community engagement; she sits on the board of the Municipal Arts Society of Baltimore City, Creative Alliance, and the Joshua Johnson Council, an affiliate of the Baltimore Museum of Art.

Lynn M. Selby

Lynn Selby serves as executive director of Caroline Center, a Baltimore-based nonprofit that trains women for careers in allied health. A senior strategist and thought leader with more than 20 years of experience in workforce development, public policy and strategy development, leadership, and organizational development.

Prior to joining Caroline Center in December 2018, Ms. Selby served as founder and principle of The Reed + Selby Consulting Group. She also served as executive director of the Governor’s Workforce Investment Board in Maryland, as senior director of business partnerships with LRG, Inc., and as center director for the Eastside Career Center for the Mayor’s Office of Employment Development.

She is the recipient of many prestigious awards and recognitions, including the Daily Record’s 2020 “Top 1000 Women” award. She currently serves on the boards of the Center Club, GEDCO, and is a past board member of Levindale Hospital, the National Association of Workforce Development Professionals, and National Skills Coalition Advisory Council.

Ms. Selby is a graduate of Morgan State University, holding a bachelor’s degree in political science, and an M.B.A. from the University of Maryland Global Campus.

More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland 2021-2022

LaToya Ruby Frazier

Eighteen socially distanced IV poles are modified to each hold four vertical frames, commemorating the heroic efforts of community health workers (CHW) in Baltimore during the rollout of the COVID-19 vaccine. LaToya Ruby Frazier’s More Than Conquerors installation offers an alternative approach to monument-making that challenges us to consider the nature of how and who we honor while celebrating CHWs. This powerful artwork is a true collaboration between CHWs, doctors, nurses, faith leaders, advocates, and activists.

On the front side of each frame, there is a portrait and a testimonial valorizing these trusted healthcare workers who act as liaisons between the communities where they reside and health care centers. They work to overcome barriers to equitable health access, knocking on neighbors’ doors for wellness checks and

sharing information and resources. They are often underpaid, overworked, and overlooked.

The subjects of the portraits shared their stories and co-curated the artwork. First, Frazier conducted a three-hour interview with each CHW, learning deeply about their mission and their lives. In her second session, she met each subject at a location of their choice for their portraits, ranging from Healthcare for the Homeless center to the Inner Harbor.

On the back of each frame are photographs taken by anonymous Spanishspeaking CHWs. Frazier taught them how to frame landscapes as self-portraits using digital cameras. The photos and labels demonstrate socioeconomic crises throughout Baltimore that jeopardize many residents’ wellbeing, from food deserts to gentrification.

More Than Conquerors was generously gifted to the BMA by the Glenstone Museum in Potomac, Maryland. Initially created for the 58th Carnegie International, where it won the Carnegie Prize, the installation will go on view at the BMA in 2025 as part of a year-long initiative focused on the environment.

Made in collaboration with Dr. Lisa Cooper, Director of the Johns Hopkins Center for Health Equity; Dr. Chidinma Ibe, Nico Dominguez Carrero, and Alison Trainor of the Johns Hopkins Center for Health Equity; Dr. Anika L. Hines of the Johns Hopkins Center for Health Equity and Virginia Commonwealth University; Mrs. Tiffany Scott, Chair of the Maryland Community Health Worker Association; Reverend Debra Hickman, President and CEO of Sisters Together and Reaching, Inc (STAR); and Community Health Workers: La Kerry B. Dawson, Tracy BarnesMalone, Karen Dunston, Kenya Ferguson, Griselda Funn, Erica Hamlett, Donny Missouri, Veda Moore, Kendra N. Lindsey, Evelyn Nicholson, Helen Owhonda, Gregory Rogers, Wilfredo Torriente, and Latish Walker.