FALL 2016 THE
410.544.5448 | thepointcrabhouse.com 7 0 0 M i l l C r e e k R oa d A r n o l d , M a r y l a n d 2 1 0 1 2
CONTENTS 6 | Fall 2016
The Eyeball Files
By Julia Gibb
Burgess a Go-Go
By Leigh Glenn
SNAP By Brenda Wintrode
Dreaming Big With Streetwear By Melanie McCarty
Annapolis Collection Gallery
Pig Butts & Fried Oreos By ZoÃ« Nardo
By Andrea Stuart
By Leigh Glenn
By Patty Speakman Hamsher
Poetry: Visual Arts
The Book Stops Here
Something For Everyone
The very very long goodbye, by Joseph Karr
TREK Southern Hospitality
By Lucinda Edinberg
Photos by John Bildahl
AGO By Melissa Lauren
An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way. -Charles Bukowski As any artist knows, the creative process is as unique to each creator as a DNA imprint is to each life-form. Each artist excavates truths from often-esoteric places and brings them into tangible existence. The tools by which those truths can be extracted are sometimes only discovered through the process itself. Charles Bukowski is one of my favorite poets because his raw rationality and cadence of soliloquy are spirit-piercing. What he may lack in form or formal prose he makes up for in candid observation and provocative insight. That was part of the inspiration behind our call for experimental poetry inspired by visual arts. Several poets from around the Chesapeake Bay responded with enthusiasm. That we can only print a handful of these poems in our pages is the bane of this editor’s job. The bright side is that we will continue to solicit works from artists of various disciplines. I am so grateful for everyone who reads Up.St.ART Annapolis and offer a very special thank you to the poets who submitted the poetry printed in our VERSE section on page __ of this issue. Where’s Up.St.ART? Next time you travel, take an Up.St.ART magazine with you! Take a picture of yourself with Up.St.ART in front of iconic monuments or interesting backdrops. Or snap a shot of it accompanying you on an interesting voyage (has Up.St.ART been on a rollercoaster yet?). Send your photos with your name, contact information, and shot location to firstname.lastname@example.org. Title the subject “Where’s Up.St.ART?” and you’ll be entered for a chance to win a T-shirt and have one of your photos included on our website and in our magazine. Share your photo on our Facebook page, facebook.com/upstartannapolis, and tag us on Twitter @upstartnaptown. Correction On page 57 of the summer 2016 issue, the article entitled Annapolis Shakes by Tom Levine incorrectly stated that the Folger Shakespeare Library had 88 copies of Shakespeare’s First Folio. The library houses 82 copies. The article also incorrectly stated that Noël Coward wrote The Importance of Being Earnest; Oscar Wilde authored that play.
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THE MITCHELL GALLERY
Drawing is the honesty of art. - Jean-Auguste Dominique Ingres
Sweet Swan of Avon! He was not of an age, but for all time. -Ben Johnson (1533-1632) Preface to the First Folio
The Essential Line: Drawings from the Dahesh Museum of Art
Aug. 26 - Oct. 16, 2016
First Folio! The Book That Gave Us Shakespeare from the Folger Shakespeare Library
Nov. 1 - Dec. 4, 2016
For information about all exhibition-related events including tours, lectures, and book club, visit www.sjc.edu/mitchellgallery or call 410-626-2556. THE UNEXPECTED TREASURE IN ANNAPOLIS St. John’s College | 60 College Avenue | Annapolis, MD 21401 Émile Friant (French, 1863-1932) Portrait of a Young Boy, Standing with Hands in his Pockets. Graphite on paper. Dahesh Museum of Art, New York. 2003.32
Martin Droeshout. Shakespeare. Engraving, 1623. Folger Shakespeare Library.
Publisher & Creative Director Jimi Davies email@example.com Editorial Director Andrea Stuart firstname.lastname@example.org Copy Editor Leah Weiss Associate Editors Jenny Igoe MacDuff Perkins Contributing Editors Gundel Bowen Lucinda Edinberg Julia Gibb Leigh Glenn Patty Speakman Hamsher Melanie McCarty Zoë Nardo Brenda Wintrode
Art Director Cory Deere email@example.com Contributing Photographers Karen Davies Alison Harbaugh Allison Zaucha John Bildahl Advertising Jimi Davies firstname.lastname@example.org Kim O'Brien email@example.com Melissa Lauren firstname.lastname@example.org
Editorial Intern Alexandra Bayline
facebook.com/UpstartAnnapolis twitter.com/upstartnaptown instagram.com/UpstartAnnapolis
Mailing Address: Up.St.Art Annapolis P.O. Box 4162 Annapolis, MD 21403 410.212.4242 SUBMISSIONS: For article submissions, email proposal to email@example.com. Up.St.Art Annapolis Magazine is published quarterly. Address: P.O. Box 4162, Annapolis, MD 21403. Subscription rate: $40, payable in advance. Single copies $4.99. Back issues, if available, $15 (includes shipping and handling). POSTMASTER send address changes to Up.St.Art Annapolis, P.O. Box 4162, Annapolis, MD 21403. Entire contents © 2016 by Up.St.Art Annapolis Magazine™ unless otherwise noted on specific articles. All rights reserved. Reproduction in whole or part is strictly prohibited without Publisher permission.
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Patty Speakman Hamsher
Alison Harbaugh upstart-annapolis.com | 11
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Eyeball Files by JULIA GIBB
bout twenty miles south of Annapolis, a rural landscape unfolds: rolling hills patchworked with farmland and dotted with barns, some functional, some crumbling. Tucked away from the main routes through this bucolic setting, in a stand of mature forest, is the fixerupper home that Joe Karr shares with Marcy Rhoades and their standard poodle, Grace. All three members of this family unit are strikingly tall and elegant. Karr has expressive silent-movie-star eyes and a brooding countenance, but as he speaks he reveals the playful and optimistic character that guides his artistic expression and his life choices.
Sprawled on a chair in his screenedin back deck, his laptop open on the table in front of him, Karr is situated amid echoing songs of wood thrushes punctuated with the occasional crow of a rooster. “This is my office,” he says, referring to the computer. It is connected wirelessly to a ten-terabyte hard drive on the lower floor of the house. “I can keep filling it my entire life and never run out of space.” Growing up in Pasadena and Arnold, Maryland, Karr became friends with local musician (and publisher of Up.St.ART Annapolis) Jimi Davies in high school. He would pick up the guitars around Davies’ home and play, developing a passion for musical expression. He was also
Dive Flat Rose, paper and digital collage. upstart-annapolis.com | 13
influenced by Ruben Dobbs of the band Swampcandy. Karr recalls asking Dobbs for guitar lessons. “He said, ‘No, you can’t get lessons from me—the stuff you do is kind of backwards, and you don’t pay attention,’ which is how I do anything anyway,” he laughs. This was Dobbs’ way of telling Karr to keep developing his own unique style, one that reflects Karr’s dark artistic sensibilities—even his recordings of Christmas carols have an eerie feel about them. The two of them would gig around Annapolis, Dobbs encouraging him to come out of his shell more when playing and singing. Later, Karr would write songs, sitting in with Davies in his bands Jimmie’s Chicken Shack and Jarflys, and perform on his own. Karr attended the University of the Arts in Philadelphia, where he studied painting and formed strong mentor relationships, notably with glass blower Thomas Sterns. He also developed an interest in sculpture, but when he wanted to double-major in those two forms, he was told he could not. This is a theme for Karr, who loves to go where inspiration takes him, no matter the medium. Though he’s been told by some that he should give up music to focus more on art, he still writes songs and performs. 14 | Fall 2016
His work, whether photographic, painted, or digital, has a noir feel. Innocent scenes, such as a child happily playing in the water, are lit and processed in such a way that adds an element of menace. Many works contain images of guns, but they
Happy Family, digital collage.
may be juxtaposed with images of bunnies, children, beautiful women, or flowers. “Guns are everywhere [in our culture],” he explains, “they are more common than a pepsi® can.” In Karr’s creative world, there are no constraints. Physical painting mixes with virtual painting in Photoshop. Karr believes in artistic honesty, so it’s no surprise that his work represents his own multifaceted personality. Karr combines elements into layers that make up his compositions. He may start with a photographic image of a book, then layer wood textures, graphics, and colors on top of that to achieve his finished piece. He keeps a virtual “art box” of files on his hard drive. They are filled with images of eyeballs, leaves, birds, and textures. In addition to his fine art pursuits, Karr has been working with Bruce Ebel of Gold’s Gym for the past five years to create the brand Freeplay® and rebrand the Mr. America® bodybuilding contest. By bringing
Suit, digital collage.
his aesthetic to logos, website design, and other types of promotion, Karr has helped to develop a more organic, edgy feel in hopes of appealing to a broader clientele. He has enjoyed the challenge of working on something he wouldn’t normally gravitate toward as well as the outcome—seeing his work translated to posters, skateboards, large-scale signs, and banners. The home in the woods is a necessary place of solitude for Karr. He enjoys interacting with people, but needs quiet time to process those conversations. “That’s why I like it
here,” he says, gesturing at the forest around him. “You don’t have to have any conversations. At all. People see me as dark and moody as hell, but in a lot of ways I think I’m happier than most people I meet.” Perhaps this is the result of the unfettered artistic searching Karr has allowed himself over the years. He finds his work therapeutic, and it helps him understand his place in the world. Right now, his place is in the woods with Rhoades, Grace, and his eyeball files. “I love being here, where your best friend is the sunset.” █
Ask Your Doctor, print transfer and acrylic on wood, 24x36, private collection of Max Huber.
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THE BALTIMORE MUSEUM OF ART O N LY E A S T C O A S T V E N U E
OCT 23 JAN 29 PURCHASE TICKETS AT ARTBMA.ORG
MEMBERS SEE IT FREE—JOIN TODAY Left: Henri Matisse. The Yellow Dress. 1929-31. ©2016 Succession H. Matisse / ARS, NY Right: Richard Diebenkorn. Seated Figure with Hat. 1967. ©2016 The Richard Diebenkorn Foundation
More than 90 paintings and drawings explore Henri Matisse’s enduring influence on the artwork of Richard Diebenkorn.
OCTOBER 23, 12-4 PM: OPENING DAY CELEBRATION
FREE ART ACTIVITIES, DISCOUNT EXHIBITION TICKETS & MORE!
This exhibition is co-organized by The Baltimore Museum of Art and the San Francisco Museum of Modern Art. Major support for Matisse/Diebenkorn has been provided by The Henry Luce Foundation and Terra Foundation for American Art. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Baltimore presentation of the exhibition is made possible by Ellen W. P. Wasserman, Jeanette C. and Stanley H. Kimmel, Tony and Lynn Deering, and the National Endowment for the Arts. Corporate sponsorship is provided by Bank of America and Education Partner Transamerica.
DRINKS. LOCAL EATS. ARTS & ENTERTAINMENT.
METROPOLITAN KITCHEN & LOUNGE
169 WEST ST, ANNAPOLIS, MD 21401 | 410-280-5160
Burgess a Go-Go by LEIGH GLENN
photos courtesy of BURGESS WORLD CO.
ichard James Burgess could not have received a better present for his third birthday. That day in 1952 coincided with a festival in Kettering, Northamptonshire, England, and the family stood listening to the British brass bands representing the area’s shoemakers and clothiers. The sound waves flowed from the arms and hands of the drummers, the lungs and lips of the tubaists and bass trombonist, and pulsed through the earth into his feet, up his legs, into his heart. So powerful were the drum lines, he says, “I can relive it in a second.” For Mayo resident Burgess, a Canopus in the constellation of latter-day music, sound—drums especially—is everything. Today, at 67, not one area of his life is untouched by music: playing,
composing, inventing, programming, managing and producing bands, studying music and music history, and writing about its production. In Kettering, three generations lived at his grandparents’ house, where the radio was always on. At seven, Burgess tried to play Lonnie Donegan’s versions of “Rock Island Line” and “Midnight Special” on ukulele. Three years later, his parents sought better opportunities in Christchurch, New Zealand. There, he wanted to play honky-tonk piano. His parents wanted him to focus on schoolwork. So he bought drum brushes, practiced on every flat surface, and drove his parents nuts. At 14, he opted for a drum kit over a car. His father schlepped him to plentiful gigs at bars and pubs. He soon made enough to buy wheels. “People paid for music,” Burgess says. Quincy Conserve - Richard Burgess is in the back with glasses and ponytail.
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upstart-annapolis.com | 19
Landscape Elephant & Castle Housing Estate
". . . he bought drum brushes, praticed on every flat surface, and drove his partents nuts."
SDSV early model
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“There was no idea that music was free.” Christchurch and New Zealand were blessed with great drummers, including Bruno Lawrence, whom Burgess replaced in the Quincy Conserve. His parents were very proud when he joined that band. “I was making very good money,” he says, “and that was really their only concern—that I would be able to make a good living at it.” Recording and electrifying the drums also piqued his interest, and he began to experiment. In the early 1970s, he left New Zealand to study at Berklee College of Music in Boston, Massachusetts, then at Guildhall School of Music and Drama in London. He later earned a Ph.D. in ethnomusicology from the former University of Glamorgan. “They slammed the door shut on the swinging ’60s the week before I got to London,” Burgess says. He would have been part of that scene, but his othercontinent sensibilities lent something different to the era then unfolding. He’d grown weary of Fender Stratocaster/ Fender Rhodes/Fender bass/acoustic drums combos. The development of electronic music—through Moog in the United States, EMS in the United Kingdom, and Roland in Japan—expanded possibilities for composition. Despite criticism about electronics destroying music, Burgess offers a different take: even those only so-so on certain instruments could do everything. “Maybe your fingers wouldn’t do it or your feet or hands wouldn’t, but if you could conceive it, you could perform it using a computer.”
Burgess and some kindred early adopters formed the band Landscape in 1974, and used electronics to explore rock, jazz, and sound itself. Before Christmas 1979, Burgess and fellow Landscape keyboardist and woodwinds player John Walters visited Roland’s London warehouse. Because of the staff holiday party, they had to be locked in. They spent more than seven hours playing with the MC-8
Above: Earl Slick, John Waite, JJ Jackson, Richard Burgess 1984 Top: Roland MicroComposer MC-8
upstart-annapolis.com | 21
MicroComposer and left inspired, knowing that was the way records were going to be made. Burgess invested £5,000 in an MC-8, and with it, the band made its second album, From the Tea-rooms of Mars . . . to the Hell-holes of Uranus. Right after Tea-rooms, Burgess produced Spandau Ballet’s Journeys to Glory. In November 1980, that band’s “To Cut a Long Story Short” landed in the fifth spot on the UK Singles Chart. Landscape rocketed to the
same spot in February 1981, with “Einstein A Go-Go,” and “Norman Bates” made it to number 40 by May. Burgess had served as drummer on The Buggles The Age of Plastic, which included “Video Killed the Radio Star.” The song hit number one in September 1979, and by August 1981, it heralded a second British music “invasion” with MTV—and, no doubt, much parental gnashing of teeth when teens ruled the remote while waiting . . . and waiting . . . for their favorite videos. Out of that invasion came many bands— infused with glam and synthpop—that formed what Burgess dubbed the New Romantic movement. Think Culture Club and Duran Duran, among others. 22 | Fall 2016
Burgess as producer let many bands get away, from Edie Brickell and New Bohemians to the Human League. But, in the 1980s, he usually had ten projects from which to choose. “All good,” he says. One band that could have slipped by was Jimmie’s Chicken Shack. In August 1994, Burgess was visiting the Annapolis area with his family and threw out his back. A pizzeria frequented by skateboarders was near the chiropractor’s office in Arnold, and Burgess’ then-wife stayed outside to chat with them. Dietram von Schilcher, one of the skateboarders, was a roadie for Jimmie’s Chicken Shack. When Burgess emerged from the office, he was directed to The Mansion on Generals Highway, a ramshackle building that used to be near presentday Rams Head Roadhouse, where local and regional bands played and recorded. While there, Burgess didn’t get to meet the band’s frontman, Jimi Davies (this magazine’s publisher), but he took a stack of cassettes, including Chicken Scratch, which intrigued him. The next year, he met with Davies and told him he could get him a deal. “They thought I was a crazy guy,” he says. In August 1995, Burgess played the cassette for a friend at Mercury Records who wanted to know when he could see the band. Given the industry’s usual pace, it wasn’t until July 1996 when Burgess finally signed Jimmie’s Chicken Shack with Elton John’s Rocket Records. He still works with Davies. In 2001, Burgess embraced the opportunity to lead licensing, marketing, and sales for Smithsonian Folkways, a nonprofit recording label of the Smithsonian Institution that is meant to keep titles in print however small the demand. Burgess wanted to preserve the origins of music that he liked, including Lead Belly, whose music he had—unknowingly, via Donegan—listened to as a child. His experiences and strong ethic about the value of music made him the person to lead the American Association of Independent
At the Hirshorn, Dave Grohl speaks with Richard about his HBO series Sonic Highways.
Thomas Dolby and Richard
Despite having many works in various stages of readiness, Burgess’ priority is to ensure that the next generations of creators can make a decent and equitable living from music. “I was able to make a living from music—the deals were far from fair, but I did okay.” And he’s always been into finishing things, even if they are difficult. “I struggle with it like everyone, but it would be completely unsatisfying to have a bunch of unfinished stuff.” █
Music, or A2IM, of which, after three years on the board, he became CEO in January 2016. As A2IM chief, Burgess wants to ensure that creators and copyright owners control their copyrights and are equitably compensated. With digital distribution, artists—the industry’s keystone species—are being decimated by technology companies that view creative works as “content,” says Burgess. So despite the vast fortunes generated by the music, he says, “only a tiny fraction of that value is finding its way back to artists, writers, musicians, labels, and publishers.” YouTube, for example, usurps copyright control, so musicians are either not paid or badly underpaid for their work, says Burgess. Burgess was there when the nowantiquated Digital Millennium Copyright Act was passed in 1998. Under section 512 of the law, someone who inadvertently violates copyright by posting something can take it down without being sued. But this safe-harbor provision is abused daily, whack-a-mole fashion, he says: Get a section-512 request, remove the song, and a few seconds later, it’s back up under a different URL. “If we value music, we need to value those who create it. Musicians have to eat and pay bills like everyone else,” says Burgess, who spends $10/month for a streaming subscription. “Imagine if you could drive a free Mercedes by listening to ads all day. Because you can do that with music, it’s not surprising that people do. [But] music should not be free unless the creator wants it to be.” Burgess still plays drums every chance he gets. He draws inspiration from a range of drummers, including Ginger Baker, Billy Cobham, Elvin Jones, and Tony Williams. He admires studio drummers for their precision, along with Ringo Starr, who, he says, “plays songs in a musical way that many drummers don’t,” and from whom he feels he’s benefited by studying.
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Local Annapolis photographer, Jay Fleming, is releasing his first book, “Working the Water,” a visual narrative of the lives of the individuals whose livelihood is directly dependent upon the Chesapeake Bay. The book comprises photographs of seasoned watermen, scenic seascapes, weathered workboats and bay bounty — a true and complete depiction of Chesapeake Bay life. Equal parts informative and aesthetically pleasing, Jay’s flagship book, “Working the Water,” is relevant to the seafood enthusiast, the history buff, the biologist, photography fan, and Chesapeake Bay lover alike. The book will be released on October 1, 2016, and is currently available for presale online.
W W W. J A Y F L E M I N G P H O T O G R A P H Y. C O M
GET CREATIVE GET GETCREATIVE CREATIVE
with the Visual Arts department at Anne Arundel Community College with withthetheVisual VisualArts Artsdepartment departmentatat Anne AnneArundel ArundelCommunity CommunityCollege College
Courses range from the traditional fine arts to digital design and time-based media.
Curriculum emphasizes the technical and conceptual aspects of visual ideation. Courses range from the traditional fine arts Courses range the traditional to design andfrom time-based media.fine arts digital Newest course additions include to digital design and time-based media. animation and lithography. Curriculum emphasizes the technical and Curriculum emphasizes technical and conceptual aspects of courses visual the ideation. AACC teaches in: conceptual aspects of visual ideation. Newest course additions include • Ceramics. Newest course additions include animation • Paintingand andlithography. Drawing. animation and lithography. • Photography.
AACC teaches courses in: •AACC Printmaking. teaches courses in: • Ceramics. • Sculpture. • Ceramics. • Painting and Drawing. • Video Game Design. • Painting and Drawing. • Photography. • Video and Media Production. • Photography. • Printmaking. • Web Design. • Printmaking. • Sculpture. • Art History. • Sculpture. • Video Game Design. • Video Game Design. • Video and Media Production. • Video and Media Production. • Web Design. • Web Design. • Art History. • Art History.
If you love art and want to see what AACC can offer you, visit www.aacc.edu/visualarts. Photo courtesy of Paul Graves, Photography Student at AACC.
If you love art and want to see what AACC can you love and want to see what AACC can offerIfyou, visit art www.aacc.edu/visualarts. offer you, visit www.aacc.edu/visualarts. Photo courtesy of Paul Graves, Photography Student at AACC.
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DE CISIV E
MOM E NTS by BRENDA WINTRODE photography by JOSHUA MCKERROW
Inauguration of President Barack Obama, 2013.
hysical art involves manipulating a medium to manifest an internal vision. The painter meticulously stains a canvas; the image emerges to the foreground. The sculptor hammers, glues, staples, molds clay, metal, or perhaps fiber to express a statement. The photographer, however, balances the position of the camera with elements outside of it: light, subject, background, emotion. With perception and intuition, he judges the time to press the shutter, as if catching a firefly in a jar. Time, space, and light—never to be represented in that same way again—are contained in a finite image. Photojournalist Josh McKerrow describes what it feels like to capture the essence of a moment with his camera: “There are times when I just sync up to the universe, and it’s very peaceful.” The Capital Gazette photographer explains what is known in his profession as
The Decisive Moment, when the photographer captures the truest visual composition of an event. Whether he is working for the newspaper or documenting the work of the Annapolis Shakespeare Company, McKerrow endeavors to tell a story with a single picture. As he reflects on the journey toward his career in photography, he realizes that he was guided by a series of decisive moments laid before him like a trail of breadcrumbs. Photography was a part of his childhood. McKerrow, now 43, describes his parents as writers who diligently documented their vacations and family events. “There was always a camera. The idea of capturing information visually had value.” When he was 12 years old, McKerrow attended an art show at the University of Maryland, Baltimore County. He strolled through the gallery of large blackand-white photographs. Sinewy
upstart-annapolis.com | 27
Above: Joshua McKerrow, self portrait Top: New York City cab Left: Sea dog
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nudes entangled themselves around the rough bark of trees and draped themselves across the forest floor. McKerrow found the photos profound. “They were beautiful and complete,” he said, “It’s like the artist was saying, ‘These are the figures that are here. You [the viewer] have to reckon with it.’” While enraptured by the exhibit, he was equally intimidated by the artist’s ability to communicate a feeling with a picture. “I didn’t know how it worked. I could understand how paint worked, but not photography.” The photographer had inspired him to pursue art, and his perceived accessibility of painting sparked a passion for studying the great works of Picasso. After high school, McKerrow began painting. He immersed himself in experimental collage work, searching for discarded
doors or metal signs on the streets of Baltimore to use as canvas. He mixed acrylics with crushed-up cicada shells or ashes to provide texture and dimension. His painting progressed to acrylics, oil-based enamels, and spray paint on Plexiglass. He received top awards at Baltimore’s Sowebo Arts and Music Festival twice during those years. Although he considered the recognition an honor, he felt dissatisfied with his art. “I was trying to do everything, in retrospect. It’s like I was screaming at the top of my lungs, but it was completely incoherent.” In his twenties, he dated the daughter of then-Harford Community College photography professor Jack Radcliffe. McKerrow observed the precision
It also inspired him to eventually become a photographer. “ There was a science to it, to express a thought.” with which Radcliffe prepared his portraiture settings with light and angles and then realized the image in the dark room. Radcliffe took a staged portrait of McKerrow that presented two decisive moments with one snapshot. “He [Radcliffe] had taken a truer picture
of me than I had ever seen taken,” says McKerrow. It also inspired him to eventually become a photographer. “There was a science to it, to express a thought.” He enrolled in Radcliffe’s photography class some years later and has been taking pictures ever since. One of his professional responsibilities is documenting all that involves a dress rehearsal for the Annapolis Shakespeare Company. McKerrow records the bustle of the stagehands as well as the elaborate period costuming and hair preparation. He clicks the shutter as actors navigate their walks down a steep hill toward center stage and as the director of the company addresses the group, a bundle of safety pins attached to her shirt, just in case. Ten feet away, the lead actress has her back to McKerrow. He notices a sunbeam illuminating her curly white wig. He anticipates that, as she turns to walk up the hill, her face will pass through the light. He takes the shot—closes the lid and captures the firefly. The artistic impulse that once was a whisper became a shout through McKerrow’s painting years. Amassed experiences helped to create the artist’s perceptions that now work behind the lens as photography gives McKerrow the opportunity to hold a mature dialogue with the world around him. His search for decisive moments continues. “I look forward to my future as an artist because I’m close to being good. Sometimes I think I’m on the verge of . . .” He pauses. “As you get better, the bar gets raised.” By whom? “By me.” █
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DREAMING BIG W I T H
S T R E E T W E A R by MELANIE MCCARTY
Abstract design pieces created on an iPad. By Darin Gilliam.
fell in love with the idea that you could create a small creative piece, a little piece of art that people could wear,” says Darin Michelle Gilliam. We’re seated at a large worktable in the center of the studio that she shares with a group of designers in the Annapolis Arts District. Beside us sits a stack of T-shirts in a variety of colors, and a tote bag designed by Gilliam that reads, Dream Big. She’s speaking of her new clothing brand, 19FIFTYTHREE, which will
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debut this fall. The collection features T-shirts printed with Gilliam’s striking abstract illustrations, as well as a series featuring text-based designs with messages such as Warrior and Magic. “My favorite is Support Your Local Girl Gang,” she says with a twinkle in her eye. Trained in fine art and design, Gilliam’s interest in creating wearable art is not surprising. She studied painting at Fairleigh Dickinson University and, after
graduating in 2005, began working as a graphic designer, creating everything from websites to large-scale signs to logos. Despite her passion for design—“I love color,” she gushes—the grind of deadlines and the need to shape her work to clients’ tastes left her wanting. Although streetwear is notoriously difficult to define, it tends to be casual, geared toward the young, and with a heavy emphasis on graphics. The
Dream Big. Photo by Christian Smooth
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Production, inspiration and mockups. Photo by Christian Smooth.
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artistry is what first drew Gilliam to streetwear, as she discovered brands like Benny Gold and The Hundreds, which take a stylish, designforward approach. “There were these illustrators that were coming up and creating these beautiful pieces of work and getting them screen printed. I was like, ‘Man, streetwear culture is a whole scene, and I want a part of it,’” she says. With 19FIFTYTHREE, Gilliam will bring her designs to life, focusing on products for women. This sets her apart since many of the top streetwear companies design primarily for men, treating female customers as an afterthought. A self-described tomboy who loves glitter, Gilliam aims to make clothing that she would wear. She wants to design for women of the mid-Atlantic, an audience that has been underrepresented in streetwear. “In New York, they have their brands, and in L.A., they have their brands, and there’s a certain style that goes with them, but I want to design something that represents the girl around here,” she explains. Disregarding the traditional model of releasing spring and fall lines, she plans to put out her
collections when they are ready. The slower pace will allow her to work on her own terms, create a body of work of which she’s proud, and balance her other roles, including freelance designer, wife, and mother to two-year-old Evan. Gilliam, a native Annapolitan, has always been proud of her home. “There’s something to be said about the place that you’re made,” she says. “That’s why I always say ‘made in Maryland,’”—a tagline that also appears on her website—“because all of my dreams and my aspirations and everything were built here. They were made here, so I can’t leave that behind me.” Her company’s name, which is the year that her mother was born, is a tribute to the person who supported her creative ambitions from an early age. “If we had an interest or a love or a passion,” she says, “she never hesitated to push us towards it.” For Gilliam, Dream Big is more than a slogan: it’s a way of approaching life. Both of her parents taught her the importance of having the faith and confidence to take a leap. While her mother approached it from a faith-based perspective, her father, a jazz musician, taught her that lesson as an artist. She cites the freedom children have, their willingness to take chances, confident that they will succeed. “If we have the heart of a child, we can leap, but if we don’t, we can’t.” █ Check out 19FIFTYTHREE’s launch party September 30 at ArtFarm, 45 West Street, Annapolis. Follow on Twitter at @19f iftythree.
"All of my dreams and my aspirations and everything were built here . . . I can't leave that behind." Fall 2016 launch mockups: Blasts and Straits by Darin Gilliam.
Dream Big tote bags by Christian Smooth.
Darin in her kitchen, creating shirt mockups for her Fall 2016 launch. Photo by Christian Smooth.
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PRESENTED BY MARYLAND FEDERATION OF ART
ONE TICKET. 2 PEOPLE. ONE PIECE OF GREAT ART.
COLLEC TOR’S CHOICE UPCOMING:
THE FALL SHOW Sept 15 - Oct 8 WATER WORKS Annapolis Maritime Museum Sept 22 - Oct 30 STROKES OF GENIUS Oct 28 – Nov 26 SMALL WONDERS Dec 2 – Dec 23
OCT 23 2016 HOSTED BY
333 BUSCHS FRONTAGE RD, ANNAPOLIS, MD 21409
PREVIEW RECEPTION 5 - 6 PM EVENT 6 - 9 PM Alvin James Miller, Antelope Canyon II, Archival Photograph
Maryland Federation of Art | 18 State Circle, Annapolis MD 21401 | 410.268.4566 | email@example.com UPSTART_AD_CC2016.indd 1
7/29/16 2:55 PM
ANNAPOLIS COLLECTION GALLERY by LUCINDA EDINBERG
t’s summer 2012. Katherine Burke, owner of the Annapolis Collection Gallery, is sitting at her desk, having just hung up on what she thought was a telemarketing call. She later finds a voice-mail message: “I think we got disconnected. I’m calling for Carl Palmer. He’s coming to Maryland to perform at Annapolis’ Ram’s Head Tavern . . . he’d like you to exhibit his art.” Burke is curious and makes a call to Jimi Davies. “Jimi, do you know who
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photography by ALISON HARBAUGH
Carl Palmer is?” Davies confirms that Carl Palmer is the drummer for the British rock super-group Emerson, Lake & Palmer. Thus began the “Red Carpet Rock Star Series” at the gallery. Although the Annapolis Collection Gallery is dedicated to six Annapolis masters— painters Ann Munro Wood, Greg Harlin, Jeff Huntington, Roxie Munro, and Yoomi Yoon, and photographer Charles E. Emery (providing a trove of old
Annapolis pictures, circa 1940 to 1957)—Burke keeps the gallery vibrant with special events that can be over-the-top red-carpet affairs. Organizing the 2015 Annapolis Fringe Festival, the Edwardian Ball, Super Moon Nights, and temporary exhibitions in the Maryland House of Delegates has kept her on the move both on Gallery Row—the collection of art venues along upper West Street—and around town.
Burke’s path to the art world was a bit circuitous. A Washington, DC-area native, she spent a summer in the late 1960s as a roving reporter on Ocean City’s boardwalk, studied literature at American University, and worked for a publishing company. Time rolled on, and at thirty years old, feeling pressure after reading the accomplishments of Alexander the Great—who by that age had created one of the largest empires of the ancient world—she felt she’d better get busy. Purchasing land in South County, Burke constructed a house with new and architectural salvage components. She redesigned the Women’s Yellow Pages for the Anne Arundel County Commission for Women and, importantly, met the now-late Philip L. Brown, a local historian and educator. His book, The Other Annapolis, the Life and Times of Blacks in Annapolis from 1900– 1950, was successfully presented through Burke’s newly established Annapolis Publishing Company and led to her introduction to well-known local photographer Marion E. Warren. Burke, with her boots-on-the-ground approach, began a dedicated campaign to promote Warren that paid off with enthusiastic recognition for his work. This led to Burke opening the Marion Warren Gallery on State Circle. Burke’s exhibition success sparked expanded interests, and thus the Annapolis Collection Gallery was launched. Located Katherine Burke, owner of the Annapolis Collection Gallery located along Gallery Row on the first block of West Street, looks though old black and white photographs.
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in a mid-nineteenth century building in what was formerly Frank Slama & Son Shoes, the gallery sits well amidst vintage furnishings, wood shelves, hardwood floors, and a beautifully patterned tin ceiling. The doorway is graced with windows on each side that feature photographs, paintings, and an assortment of other objects, not to mention a papier-mâché sculpture titled, Donald Trump’s Head on a Silver Platter (which, by the way, is listed as “priceless”). Once inside, graceful antique
tables and vases, contemporary and traditional paintings, and sculptures provide a sensory surge that pulls the visitor in to explore everything from floor to ceiling. Burke is no stranger to celebrities, who frequent her gallery as artists or clients. She has featured works by Palmer as well as Grateful Dead drummer Mickey Hart, Guns N’ Roses drummer Steven Adler, Black Sabbath drummer Bill Ward, Little Feat keyboardist Bill Payne, Jane’s Addiction drummer Stephen Perkins, and jazz artist
Roy Ayers, which have drawn attention from both music and art lovers. Burke also is a veteran at handling creative ideas and treats her resident artists with the same respect as she does the glitterati. Harlin, one of the gallery’s renowned artists, says, “I thought my work would be a tough fit in most galleries, yet Katherine has created a space that feels as much history museum as art gallery, and my paintings seem easily at home.” Munro Wood agrees. “She exhibits a sense of history and, at
the same time, a sense of humor . . . her windows with art and artifacts make for unusual art.” Every day is full. Burke demonstrates her rapport with bodyguards, finds four different varieties of apples for a finicky rock star artist, caters a reception, and pulls out protocol for the book-signing of Lynne Cheney (wife of former Vice President Dick Cheney)—a collaboration with Harlin. Through all of this, she remains grounded and committed to her artists and community.
Katherine Burke and Brian Graul of Graul's Market in Annapolis stand under a selection of black and white photographs of Annapolis' past. The photos are displayed around the perimeter of the entire grocery store located in Annapolis, MD.
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Greg Harlin, whose work is continuously shown and sold at the Annapolis Collection Gallery, signs one of his pieces, Mississippi.
“The future?” Burke laughs when asked about upcoming plans. She’s going through another batch of old blackand-white negatives, getting ready for a December show. She’s also waiting for Munro Wood to finish her portrait of Benjamin Franklin; as soon as it’s dry, it will go in the front window—opposite Trump’s head on a silver platter. █
Painter Ann Munro Wood adds finishing touches to her portrait of Thomas Jefferson.
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Pig Butts & Fried Oreos by ZOÃ&#x2039; NARDO photography by KAREN DAVIES
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ne hundred and twenty pork butts weigh roughly 2,070 pounds. That’s how much heft the smoker at Annapolis Smokehouse & Tavern can bear. Since most of us may not be as fluent in pig-butt lingo as the crew at Smokehouse is, let’s think about André the Giant. He was seven feet, four inches tall and weighed 520 pounds. Which means that the smoker could fit four Andrés. That’s a big smoker. The wood-burning, flameshooting beast of a machine is cumbersome and takes up more space in the kitchen than the freezer. When Jen Krohn, her husband Steve Gaines, and his brother Ryan Gaines opened Smokehouse in 2012, no establishment in Anne Arundel County had a smoker that large. The entire restaurant was built around it. Smokehouse is the body, and the smoker is the heart. It beats seven days a week, with little down time. While Smokehouse sleeps, the smoker works dutifully. At 4 a.m. every day, the pit master, Doug Walden, arrives and acts as an alarm for the restaurant. He wakes up the kitchen, straps on his apron, and starts his daily routine of hand-rubbing and hand-injecting the chicken, pork, ribs, salmon, brisket, and other meats in preparation for the day’s requirements. The rest of Smokehouse begins to wake as the head chefs, line cooks, and waitstaff begin
to prepare for the 13 hours between 11 a.m. and midnight. All restaurants have hours of prep before their doors open, but Smokehouse takes it to the next level by properly timing certain dish components that need to be smoked for 14 hours before leaving the kitchen. Ensuring that all dishes, especially the ones with the long smoke times, enter the dining room perfectly cured and seasoned takes an equally cured and seasoned team of people. Krohn hires waitstaff who know what they're doing so she can feel confident that jobs are getting done and customers are happy without having to micromanage. This allows her and the kitchen staff to focus on the food and the menu, which changes every six months. For the three years that Smokehouse has been around, its dedication to the food has been recognized and is shown by the awards that stuff its shelves. Top prizes include “Best Wings” in 2013 from Reader’s Digest, Best of Annapolis, and Chesapeake Wingstock Festival, “Top 30 Best Barbecue Restaurants in America” in 2014 from Open Table, and “Best Burger” at the Annapolis Bud and Burger Battle in 2015. Those accolades demonstrate that Smokehouse understands the ins and outs of barbecue, right down to the sauces, and Krohn will tell you her favorite combination is Fire Sauce and Alabama White. But she also recognizes that barbeque is
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Jennifer Van Meter. Photo by Alison Harbaugh.
Chef Matty smokin' his meat.
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not everyone’s favorite meal. To that end, Smokehouse’s menu is geared toward American cuisine, offering dishes such as smoked fried chicken breaded in homemade potato chips, and a veggie burger that gets the same smoker treatment as the meats so that vegetarians, too, can taste the Smokehouse magic. While first-time visitors come mainly for the food, patrons return for the atmosphere (and the food) time and time again. And although awards are nice, Krohn validates her success through her plentiful regulars. It’s difficult to have a conversation with her without someone coming up to hug, kiss, or engage in small talk.
Complementing the aromas that circulate the air at Smokehouse, its floorto-ceiling collection of art changes every three months—except for the 17-foot, hand-carved alligator by local artist Charles Lawrance. It peers down over the bar area, as if serving as the tavern’s official voyeur. The art styles vary, from popular Baltimore graffiti artists to amateur artists showcasing their work. Smokehouse has sold over 100 pieces of art, without taking any commission, since it opened its doors. But if it’s not the art or food that keeps people coming back, it could be the welcoming bar that sprawls the length of the restaurant and hosts a daily happy hour. It's possible that the wafting scents of chipped wood or deep-fried Oreos
seduce passersby. Others come for karaoke on Tuesdays, trivia night on Wednesdays, live music on Fridays, the three-dollar mimosas and Bloody Marys on weekends, or the dogfriendly patio. When they aren’t dining in, many of the restaurant’s patrons bring their own meats to be smoked, a treatment that their at-home family dinners would otherwise not receive. Inevitably, new diners quickly become regulars because Krohn and her Smokehouse family know what they are doing. As long as they keep adapting and expanding, one can only guess what they’ll be up to over the next few years. █
Jenn & Steve
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H T ERN U O S HOSPITALITY by ANDREA STUART To travel is to take a journey into yourself. —Danny Kaye, actor
Darby Butts on the observation deck of the Amundsen-Scott elevated station during summer. Flight deck and a LC130 show in the background. Photo by Christian Krueger.
he skyline exists only as an extension of the porcelainlike earth that stretches into the horizon and disappears into sapphire heavens. Supernal brilliance seduces the eye, becoming a siren that demands attention. From the air, ice creates a stratum of seemingly undisturbed territory, where jagged plateaus erupt from eternal flatness before abruptly surrendering to planes of luminous ice. As nostrils flare with the purest smell on earth, lungs fill with virtuous air and ears embrace sweet soundlessness. When Darby Butts looked out of the airplane window as he arrived at the Ross Ice Shelf on the coast of Antarctica, in October 2015, he was filled with awe and humility, knowing that this frosted desert would be his home for the next year. He had come to work as the executive chef
and food service supervisor for the United States Antarctic Program’s residents at McMurdo Station. “It was sensory overload. Walking off an Air Force C-17 onto an ice runway in Antarctica with Mt. Erebus in the distance is absolutely mind-blowing,” shares Butts. A world traveler, Butts has had the fortune of cooking in a number of countries across the globe. But this was his first paid cooking gig outside of US soil. The chef had most recently worked at Davis’ Pub in Eastport, Maryland, and uprooted himself to satiate his need for exploration. Butts’ decision to live at the South Pole resulted from the traveling he had done during previous years. In 2015, after having returned from the Amazon jungle of Ecuador, his urge to get back out hit almost
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immediately. “I decided that I finally needed to combine my work with travel and hit the road permanently,” explains Butts, who will celebrate his thirty-sixth birthday at the Pole in October. One could surmise that this adventure was long in the making, perhaps rooted in a twenty-something Butts who once stayed in Northern Thailand and fell in love with the marriage of travel, cooking, and hospitality after helping a woman and her son prepare dinner under a thatched roof hut next to a fire. He originally looked into working his way through Central and South America using various work-trade websites and organizations, and then it hit him that he’d Photo by Hunter Davis.
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had to leave during the summer due to severe altitude sickness. Moreover, the subzero climate and extreme isolation require residents to maintain good health and a certain level of tenacity. Amundsen-Scott residents who stay throughout the winter live in complete isolation for eight months, Photo by Robert Schwarz six of which are in complete darkness. For those who winter over, as Butts is doing, there are additional responsibilities. “Everyone has to be on an emergency response team and train regularly throughout the year for responding to different scenarios,” says Butts. Before coming to “the Ice,” future Pole residents must choose to become medical responders or firefighters, becoming first responders or part of the fire, logistics, or medical teams. Butts trained as a firefighter and became a first responder, and is now team leader for Emergency Response Team 1. South Pole for a couple “Any time there is an emergency or alarm, I hours to get your photo fill the role of OSC (on-scene commander).” taken is close to $50,000 per person,” he says. “That’s During our interview, Butts informs me that two scientists had been emergency evacuated never gonna happen.” So, (in a small Twin Otter airplane—the only he did an internet search planes that can land, fly, and take off in the for chef jobs in Antarctica extreme South Pole winter conditions). It was and applied. something that had only happened twice in the Butts is the first to last 60 years and made history as the first time admit that such a job is a medevac was successfully attempted in the not for the faint of heart. middle of winter. It also took the population Amundsen-Scott South down by four percent, to 46. Pole sits at a lofty 9,301 Living under such intense conditions was feet above sea level, and, part of the appeal of being at Amundsen-Scott because the barometric Station. “I knew it would be a significant pressure changes daily, the challenge, and I would be put way out of my physiological altitude— comfort zone, but that was what made the that is, the effect of the opportunity so attractive,” he shares. He feels altitude—can cause the he is at his best when faced with adversity. body to feel like it’s at Butts attributes his love affair with food to 12,000 feet. Butts says it his mother’s home cooking. He got his first took him three or four restaurant job at Cantler’s Riverside Inn when days to acclimate to the he was around 15 years old and maintains altitude, and several people
already been to five of the seven continents. He needed to visit all seven. “When I started looking into how to get to Antarctica, I found out that to step foot on the continent as a tourist is extremely expensive. To fly to the
chicken, and gumbo, among other dishes that remind him of his travels. Butts considers his job to be Unloading from the C-17 upon arrival in Antarctica. multidimensional. In addition to being responsible for people’s nutrition, he is a friendship with the staff to this day. His a goodwill ambassador who enjoys interacting passion for cooking further intensified when with the community each day, helping to keep he visited St. John, a restaurant in London, morale up. where Chef Fergus Henderson impressed him As much time as he spends in the kitchen, with unique courses, including bone marrow, Butts’ days are filled with a variety of activities. brains, blood sausage, pig skin, and, according “My average day consists of 10 hours of work. to Butts, “all kinds of great stuff.” Additionally, five days a week, I have different Cooking takes on a unique flavor at the meetings. One day a week, I have ERT South Pole. During the summer, Butts cooks training. I spend a few hours a week doing with ample amounts of “freshies” (fresh fruits, admin tasking, an hour a week doing ‘house vegetables, and dairy), enjoying cooking mouse’ (station housekeeping assignments), versatility. When winter approaches, meals one hour a day, six days a week in the gym, consist of more frozen, dried, or canned and once a week I have a phone call with my ingredients. The station has a hydroponic bosses back in Denver,” shares Butts. And he growth chamber where they are currently is known to watch movies, play pool, and play growing produce such as greens, cucumbers, volleyball. He gets one day a week off, during tomatoes, zucchini, peppers, and herbs. which he works on art projects and goes for And Butts enjoys the challenge of creating walks outside—even in winter. “If you don’t sumptuous meals in this environment. He get outside, what’s the point of being here?” he particularly relishes making slow-roasted rationalizes. Italian pork, Jamaican beef patties, jerk
The fact that communication with the outside world is extremely limited— only one of three satellites has a strong enough connection for applications like Facebook (and only during a few odd hours of the morning), and they are in New Zealand’s time zone—means it’s a good thing that there is not much boredom in Antarctica. It’s not uncommon for creativity to soar while removed from traditional means of entertainment. The 300 Club is one such example. In the 300 Club, Amundsen-Scott residents put their bodies through a 300-degree temperature swing. They wait for the temperature outside to drop to -100F (ambient temperature not including wind chill) followed by immersing their bodies in a 200F-degree sauna for 1530 minutes. Then, they strip down to birthday suits (except for shoes), run outside to the South Pole Marker, run around it through all 24 time zones, and run back inside. “In the middle of May the temperature got to -105F, so I may or may not know some people, including myself . . .” says Butts with a wink and a smile. As of the printing of this article, Butts is also working from the Pole as a restaurant consultant for a group in Medellin, Columbia and has a few months before his stay at Amundsen-Scott Station is complete. At that time, he will head to a small island in Indonesia to reacclimatize. Then he’ll make a few other worldly stops, ultimately ending up in Medellin, Columbia in January 2017, where he will assume the role of executive chef at a gastro pub. But he’ll be stopping through Annapolis before then. “There’s too many amazing people there that I miss and want to hug, especially with the recent passing of my best friend, Boo Valdez,” he says. Whether he’s made a temporary residence in a bunker on frozen tundra or within forested tendrils of vine and bark, Darby Butts is always home, because he carries Annapolis with him wherever he goes. Wherever you go, go with all your heart. —Confucius █
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49 West St. Annapolis, MD 21401 | 410-626-9796
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EVERYONE by LEIGH GLENN
aria Penayo intended to leave Anne Arundel County for the School of the Art Institute of Chicago, where she’d been accepted, but funds were short. Because her teachers had praised the Visual Arts Department at Anne Arundel Community College (AACC), she committed to its curriculum to save money and get started. That decision turned out to be serendipitous. Barbara Sause was looking for a date night activity and found a beginning drawing course. That was 17 years ago. She has since tried nearly every medium offered. Between Penayo and Sause lies a variety of students who choose AACC to broaden and deepen their knowledge and skills. “We pride ourselves on being able to help them achieve a wide range of goals,” says photographer and department chair Matthew Moore. Twelve full-time and 30 to 40 part-time artist-instructors work at the school in drawing, painting, printmaking, photography,
digital and graphic design, ceramics, and sculpture. At $108 per credit hour plus fees, in-county students can explore visual arts without incurring crushing debt. Students pay about $400 for an AACC class that would cost $4,000 at an art school, says painter, assistant professor, and former department chair Matt Klos. Students can earn associate of arts degrees in fine arts in art history/ museum education, photography, visual arts, or web and graphic design. Those seeking entry-level work can earn an associate of applied science degree in game development, graphic design, media production, or web and interactive design. Degreed students wishing to upgrade their skills can earn certificates and letters of recognition. Despite its scrappy beginnings in the late 1960s, the department melds the wisdom of age with youthful openness. Initially, drawing was king, but after 1975, other media entered the mix. For example, former instructor Dan Kuhne—a later member of the Washington Color
Ceramics class by Brooke Jackson
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Artwork by photography student Maria Penayo.
Portrait of Rick Malmgren by Summer Young
Rose Window by Matthew Moore
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Portrait of Matthew Moore by Ken Harriford
Portrait of student Schuyler Overturf by Summer Young.
Portrait of student Kayla Leisner by Brooke Jackson.
School—took sabbaticals in 1982 and 1988 to learn printmaking at the University of Maryland and then set up the printmaking shop at the college. Students and teachers benefit from the school’s stimulating, functional surroundings. The upstairs studios in the John A. Cade Center for Fine Arts were situated for northern light. Banks of computers serve those studying graphic design and game making. Downstairs, the darkroom sports an analog color processor, a rarity that gives students greater insight into film processing and development. Across campus is the Careers Center, where ceramics professor Rick Malmgren helped create the studio in which students study ceramics design, use the wheel, create slabbased pottery, and view samples of 1,029 glazes. They can choose electric or gas kilns, or create raku-fired pieces out back. Nearby, the physical plant houses sculpture rooms—one for metal, one for wood, and one for stone and clay. Outside the physical plant stands a Picassoesque metal horse by student Sergio Alvarez, a retired surgeon who wanted to keep his hands and mind active and focused on sculpture before turning to printmaking. Sculptor and associate professor Wilfredo Valladares Lara, who last year sold one of his works to the city of Daegu, Korea, started out
Self Portrait by student Barbara Sauce.
as a painter and fell in love with sculpting. He encourages students to develop diversity in their portfolios—something he says schools seek out. Likewise, students are urged to show their work in a variety of galleries and spaces, including local restaurants that feature constantly changing arrays of art, say Moore and Klos. They also try to give students a realistic sense of the possibilities of making art for a living by discussing marketing techniques and whether to join a co-op. But all of that is secondary to helping students develop an inner vision, says Kuhne. “That’s what’s going to make you a good artist. It has to be unique.” Adds Moore, “It’s easier for people accustomed to making conceptdriven artwork to do a commercial project than it is for a person who only has a commercial education to make meaningful artwork. The folks getting hired to do commercial work are often artists that advertising firms or editors want to work with because of their personal work.” If there is an overriding ethic, it is to help students enrich their lives, says Klos, so that they feel they can contribute to and, if not participate directly, then enjoy visual arts. Sause’s expanded artistic confidence led her to coordinate thousands of volunteer hours to create a marbles mosaic at Severna Park Middle School. That work earned her an Outstanding Volunteer award in 2006 from then-Maryland Governor Bob Ehrlich. Sause says that her experiences in the visual arts department are the heart and soul of her journey as an artist. She plans to try sculpture and printmaking. Beyond the classes, she’s developed lifelong friends in former instructors Kuhne and Richard Niewerth and classmates Alvarez and painter John Moran. Penayo learned to talk about her work through the critique process. She developed patience—from all of her darkroom work—as well as the courage to step outside her comfort zone. “The weird and out-of-the-ordinary work— that is what speaks to people,” she says, “that is what has always spoken to me.” Of her time in the visual arts department, she says, “I never expected to love it as much as I did.” █ upstart-annapolis.com | 59
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Splendid Unison by PATTY SPEAKMAN HAMSHER photography by ALLISON ZAUCHA
ultiple voices singing together is an art form all of its own. Part collage and part watercolor, the harmony created is often a masterpiece. When the performers are children, there is a purity in the harmony that is not only part masterpiece, but also part magic. Naptown Sings! is a music studio in the Annapolis Arts District where children make that sort of magic together. “There isn’t anything else like Naptown Sings! around here. Annapolis has a vibrant music scene, and I thought it was time to offer just as rich a musical experience as already exists with adults,” says owner and musical director Sophia Hardesty. The children sing in glee club style to popular songs they know from artists like Bruno Mars, Taylor Swift, and Justin Timberlake. Group arrangements are performed in harmony and in unison, as solos, duets, trios, and whole-class ensembles.
Like so many great ideas, Naptown Sings! started as a “what if.” Hardesty, an elementary school music teacher by day, began teaching voice lessons at the Jeremy Ragsdale Voice Studio. Ragsdale liked her idea of bringing glee club classes to the area, so she got serious about her dream and began offering them. The first year was a struggle, she explains, as she had one class of only four singers. By the next school year, word had spread, and her roster increased to thirty. A year later, Hardesty secured her own studio space at the corner of West Street and Spa Road. The glee club classes are the main feature of Naptown Sings! This fall, the studio will offer five different classes to various age groups and ability levels. They are open to children ages 6 to 14 and no auditions are necessary. Hardesty grows a scholarship fund to help offset the cost for students that need assistance by selling donated artwork by C. J. Ward, the mother of a longtime Naptown Sings! student.
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lessons in piano and guitar. It has also become an ideal spot for singing birthday parties. Hardesty’s vision includes songwriting and audition workshops for theatre programs in the area. The interest in such programs led to Hardesty procuring a second studio space. “Pretty much any idea that comes into my head, I’m going to make it happen,” she says. And it appears that there is community support. Hardesty says she has forged a great relationship with the Annapolis Arts District. Naptown Sings! kids have been invited to perform at Eastport a Rockin’ and The Greene Turtle. They have taken part in monthly Juice Box Jams events and concerts for families and children in and around the Annapolis area. Throughout the school year, each glee club class holds a concert at the end of its three-month session at Metropolitan Kitchen &
Lounge, which is a huge supporter of Hardesty and her singers. This past July, Naptown Sings! held a weeklong music camp there. More than 40 kids spent the week singing and learning the basics of piano, guitar, and world drumming. Eleven-year-old Madelyn has been a part of Naptown Sings! since its inception. “I really liked the camp because it was very easy to follow and you get breaks but you also get to learn about an instrument you would like to learn about,” she says. “Ms. Sophia has taught me how to become a better singer with breathing, pronunciation, and sound when I sing.” For Hardesty, the most rewarding part of it all is watching the kids become performers. Some come to the studio with no experience, but watching them confidently join in on the harmony is always a high note. █
A lifelong lover of anything musical, Hardesty began piano lessons at age five and voice lessons at seven. She went on to study classical singing and earned a degree in vocal performance at the University of Maryland, College Park. After working at The John F. Kennedy Center for the Performing Arts for a few years, bringing in school groups, she found her way to a second bachelor’s degree and eventually a master’s degree in music education. She currently teaches in Prince George’s County. As interest in Naptown Sings! grows, Hardesty’s ideas are no longer contained to the glee club vision that started it all. “This space gives me the opportunity to do so many different things,” she says. Beginning this fall, budding musicians—children and adults alike—can come to Naptown Sings! for private and group
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LADY ON THE BEACH Tiny wisps of hair Stirred by the breeze off the water Whispered against her forehead… Her eyes searched the gray horizon; sea and sky as one…. Oblivious to the breeze and the sounds of the surf pounding Against the shore… The wind-whipped surface Frothed and foamed; White caps rising And falling rapidly… She waited and hoped; Her rosary beads tight in her grip, Fingers white And bloodless… The red and white Coast Guard boat Bobbed up and down; A speck against the mist…
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Oh my God She prayed Deliver them please… She dropped to her knees Paying no heed To the wet sand as it Soaked into her clothes… She’d lost one shoe Somewhere on the beach, Her foot cold and wrinkled And bleached white… Days end was nearing. The rain beginning to Intensify; slapping against her Face and body… She was soaked through And through, Her clothes clung like A plastic shroud… by Bud Stupi
THE WRECK OF THE TONI MARIE You, my flesh, my son, alone on the deck, when the wind shifted. A squall from the west, a cold dark cloud between you and the shore. A rookie mistake, the jib, the head sail, you approached the wind too sharply. This I taught you over and over when we sailed together in fiercer winds: Reef the sail, pull leeward, downward, slowly, uncoil, unfurl, head slightly into the wind, slacken the jib. You in the storm, my son, alone on the deck, when the winds rose. You lost our boat, I lost my son. by George Miller
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In the writing apartment Charles Coghlan, P. Hobbs, Grasso, Yasir, others Art vibrating mute witness To accidents of life Broken brakes and drunken longing The Island of Dreams always day and night An impressionist Manhattan skyline Voyeured lovers entwined Ancient mountains over Pennsylvania farmland Billy Holiday’s arching throat at the Downdraft, NY circa.1947 A realism that looks like an ex-girlfriend, She’s nude wearing big sunglass and a shawl of eels A stoned wanton redhead in stockings black as her smeared mascara Cover art of N.R. DeMexico 1950’s pulp fiction entitled Marijuana Girl Trading her body for drugs and kicks… My brother went to art school Now he no longer paints He has a brain tumor And just living is his art by JP Cashla
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JULY 27, 1890
The shot must have scared the crows out of the field and into the sky. They likely had never known such a shock, the way sound like this ruffles the air, the sudden recognition of the sunlight blackening everything. Returning to the wheat field the crows must have seen where the stalks had been stomped down, disturbed and twisted; they must have noticed how the space where he had been standing felt unusually empty, except for the abandoned easel, a fallen brush, a snake of gold and black paint across the spikes of still standing wheat. by V.P. Loggins First published in The Cape Rock (2013)
Galleries at Maryland Hall Bent as an old stair rail he creeps into the gallery crouches on the bench beneath “White Pitcher with Bowl of Cherries” opens his sketchbook and waits for sweet inspiration. Across the room a terracotta figure emerges from the light’s glare her glance full of secret shapes. He unfolds his skeletal self reaches for her hand and leads her to dance. Their feet clatter over the old pine boards as they swirl past marble topped pedestals past blue canvas spray of waves, a stand of cypress in morning’s mist, nude bathers framed in the bay’s gray-green-gray-blue sunrise. The sinews of his thin arms wrap her sculpted shoulders. Her long skirts crack against his ankles. She smells of garden dirt. Wheezing, he sits again and she stands rapt again. He will drink strong cold coffee from the white pitcher eat two of the dark cherries. by Louise White
Olga dances out to the brick walk “I have to hug you, I love strong women.” Olga stumbles to the morning table, no make up “I don’t know what I’m doing, it was a long night…” Olga stands in the doorway in dusk of evening in a world of her own, you cannot reach her Olga flickers on and off like fireflies in summer rising ever higher, disappearing when you try to catch her Olga’s life story is in her leg muscles, her spine the way her hands hold a dish, her perfect stillness Olga’s eyes are an animal’s eyes caught by a camera in the dark of the woods Take Olga to the bay, she will swim the white paint to the further shore and bask naked in the green For a bed give her a bedframe under the open sky and for heat find her a stove you can lean against a fence Put Olga on a pedestal and she will leap to the next Try to do her portrait, she will fight against your gaze If you feathered Olga, she would fly. If you encased her in clay she would break free. On a wall she is small In a room the size of a gallery amongst the people and pedestrians, she is all that you can see If I go to Paris, it is Olga I want along with me And if I were kissing women, I’d ask Olga to kiss me by Minnie Warburton
Olga reclines, lids lowered, secrets hidden light caressing the fine bones of her face
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A BR U S H W I T H T H E FA MO U S by GUNDEL BOWEN
he lights dimmed, the audience hushed, and Isaac Stern lifted the violin under his chin, raised his bow, and floated the first ascending strains of Max Bruch’s “Violin Concerto No. 1, in G minor” out of his instrument into the expectant air when— abruptly!—he took his bow off the violin, flung his arm forward, stabbed down, pointing at the first rows in the hall, and growled, “Out! OUT! OUT!” Sitting in the third row, I froze. Had I done something wrong? Disturbed the maestro with a stifled cough or the rustling of my program? From 1969 to 1982, the internationally renowned pianist Leon Fleisher
conducted the Annapolis Symphony Orchestra while he tried to figure out what was wrong with his right hand—a condition that would not allow him to play for many years. Because of his professional standing, Fleisher attracted worldclass musicians to Maryland Hall for the Creative Arts, among them pianists André Watts and Ruth Laredo, and now violinist Isaac Stern. What a musically heady time this was for our little town! And what was it that upset our guest soloist, the man who was courted by the finest orchestras all over the world? It was a reporter from our local paper, then the Evening Capital, crouching in front of the first row, pointing
his huge camera upwards to catch a prize image of Isaac Stern at work. That poor reporter must have wished for his own demise! Redfaced, he hurriedly rose to his feet and fled the hall. You could sense the audience collectively holding its breath in anticipation of Isaac Stern’s next move. Would he leave the stage and not return? Or perhaps did he plan to continue where he left off ? No, nothing like that happened. He closed his eyes for a moment. Then he opened them, took a step forward, and—squinting his eyes against the bright stage lights—said in a quiet voice: “When I play the violin, I commune with my audience. I will begin again.” And so he did. █
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Alexander Peters on guitar and Nate Lanzino on mandolin.
Billy Zero (center)
Dominic Fragman's Solo Trio.
Future festival performer?
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Junior Marvin's Wailers
Brandon Hardesty of Bumpin' Uglies
Bond & Bentley
Higher Hands Photos by John Bildahl Legends of Et cetera
Mend The Hollow onstage mid day.
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Thom Beall of Gingerwolf
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Junior Marvin's Wailers
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The Book Stops Here! by MELISSA LAUREN
e was adored once, and still is, worshipped by many a wordsmith. He is William Shakespeare, the Bard of Avon. What a piece of work is a man, how noble in reason, how inf inite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god. —William Shakespeare Shakespeare is widely regarded as a supreme writer of the English language. The most famous dramatist in the world, his 38 plays have been translated into every living language. His thoughtful words—of which the prolific visionary is credited to have invented numerous—live on in the hearts and minds of many, including this baker’s dozen: dawn, generous, lustrous, monumental, champion,
savagery, zany, discontent, gloomy, lonely, bloodstained, fashionable, and moonbeam. To the world of literature—and to the world in its entirety—Shakespeare left behind an unparalleled legacy as a result of his inventiveness. In 1623, seven years after his death, Shakespeare’s First Folio was printed. His friends John Heminges and Henry Condell were credited with gathering and editing the collection of plays. Experts are certain that without the First Folio, 18 of his plays would not have survived in printed form. It is believed that 750 copies of the First Folio were originally printed. The Folger Shakespeare Library in Washington, DC holds 82—the largest collection in the world, and
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more than one-third of the 235 known copies in the world today. One of the most valuable printed books in the world, one First Folio reportedly sold at auction for $6.2 million in 2001 and another sold for $5.2 million in 2006. St. John’s College has been selected as the state of Maryland’s host site for “First Folio! The Book that Gave Us Shakespeare,” a national traveling exhibition. The Folger, in partnership with Cincinnati Museum Center and the American Library Association, is touring First Folio to all fifty states, Washington, DC, and Puerto Rico during 2016. “This is an incredible opportunity for many people to come within inches of one of the most influential books in history,” says Catherine Dixon, Director of the Greenfield Library at St. John’s College. The college is partnering with the Annapolis Shakespeare Company to offer live professional Shakespeare performances, educational workshops, and a variety of activities for the public. “Annapolis Shakespeare Company is honored to be the official programming partner of the Folio Exhibit and share the transformative work,” says the company’s founder and artistic director, Sally Boyett. Shakespeare forever remains the ultimate muse of the world’s art, inspiring ballet, opera, poems, novels, pop songs, hip-hop songs . . . the list goes on. “The Mitchell Gallery at St. John’s College is proud to share this iconic piece of literature,” says Hydee Schaller, the gallery’s director. Take the next generation of Annapolis artists to see Shakespeare’s First Folio firsthand during its exhibition at St. John’s Mitchell Gallery starting Tuesday, November 1 through Sunday, December 4. They will be inspired. And while you’re at it, see the Bard’s words come to life courtesy of Annapolis Shakespeare Company. █ For more information on exhibition programming and events: www.Sjc.edu and www.AnnapolisShakespeare.org.
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Photo by Julia Gibb
ANNAPOLIS ARTS DISTRICT CALENDAR Maryland Hall for the Creative Arts
MarylandHall.com | 410.263.5544 | 801 Chase Street, Annapolis September 9, 6 p.m. | Arts Alive 18, Motown September 17, 8 p.m. | Jose Feliciano (Main Theater) October 2, 8 p.m. | Chris Botti, presented by Rams Head Group October 7, 8 p.m. | Second City: Free Speech While Supplies Last October 15, 8 p.m. | Manhattan Transfer & Take 6, presented by Rams Head Group
Art in Public Places Commission
annapolis.gov/government/boards-and-commissions/art-in-public-placescommission September 2, 2:30–8 p.m. | Live Music at City Dock with Lost Child (2:30–4 p.m.), Elizabeth Melvin (4:30–6 p.m.), and The Army Jazz Band (6:30– 8 p.m.) September 9, 7–10 p.m. | Dance to City Dock Tango, Free lessons from 7–8 p.m. September 4, Dusk | First Sunday Outdoor Movie Screening in the garden at Reynolds Tavern
Ram’s Head On Stage
Annapolis Arts Alliance
September 3, 8 p.m. | Handmade Quarterly Vol. VI w/ Pressing Strings, Mend the Hollow, Skribe, Alexander Peters, and more September 14, 8 p.m. | Edwin McCain September 16, 8 p.m. | The Reagan Years: American’s Premier 80s Tribute Band September 20, 8 p.m. | Anais Mitchell September 22–23, 8 p.m. | Here Come the Mummies September 24, 6:30–8:30 p.m., 9:30–11:30 p.m. | The Bacon Brothers September 25, 5:30–7:30 p.m., 8:30–10:30 p.m. | The Bacon Brothers October 18, 6:30–8:00 p.m., 9:30–11:00 p.m. | Allen Stone w/ King Charles November 3, 8 p.m. | Madeleine Peyroux November 10, 8 p.m. | Sierra Hull November 16, 8 p.m. | Jeffrey Osborne November 17, 6–7:30 p.m., 9–10:30 p.m. | Rob Schneider November 21, 8 p.m. | Bret Michaels
September 24, 10 a.m.–3:30 p.m. | Annapolis Sketch Crawl
RamsHeadOnStage.com | 410.268.4545 | 33 West Street, Annapolis
Inner West Street Association
First Block of West Street, Church Circle to Calvert Street September 4, 11 a.m.–5 p.m. | September First Sunday Arts Festival | firstsundayarts.com September 7, 14, 21, 28, 6–10 p.m. | Dinner Under the Stars | visitannapolis.org/discover/articles/dinner-under-the-stars September 21–24 | Annapolis Fringe Festival | http://www. fringefestivalannapolis.com/ October 2, 11 a.m.–5 p.m. | October First Sunday Arts Festival | firstsundayarts.com November 6, 11 a.m.–5 p.m. | November First Sunday Arts Festival | firstsundayarts.com
annapolis-arts-alliance.com | 801 Chase Sreet, Annapolis MD
Maryland Federation of Art
mdfedart.com | 410.268.4566 | 18 State Circle, Annapolis MD Through September 10 | American Landscapes Exhibition October 28, 11 a.m.–5 p.m. | Strokes of Genius Opening November 6, 3 p.m.–5 p.m. | Strokes of Genius Reception
The Mitchell Gallery at St. John’s College
sjc.edu/programs-and-events/annapolis/mitchell-art-gallery 60 College Avenue, Annapolis | 410.626.2556 September 21, 5:30 p.m. | No Day Without a Line Drawn Curator’s Lecture with David Farmer, Conversation Room across from the gallery October 16, 3 p.m. | Dahesh Drawings Sunday Afternoon Lecture with Lucinda Edinberg November 6, 3:30–5 p.m. | First Folio! The Book that Gave Us Shakespeare Opening Reception November 29, 3–4:30 p.m. | Tuesday Try-It Bookmaking Workshop with book artists Joan Machinchick & Ebby Malmgren, assisted by Alice Kurs. Registration required: 410.626.2556
Annapolis Design District
annapolisdesigndistrict.com | 111 Chingquapin Round Road, Annapolis September 17, 11 a.m.–4 p.m. | Art in Action Street Festival with Urban Walls Brazil
Like us on facebook/AnnapolisArtsDistrict | instagram @AnnapolisArtsDistrict | twitter @AnnapArtsDistr | firstname.lastname@example.org
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Annapolis Symphony Orchestra
The Rising Tide Society
September 30 & October 1, 8 p.m. | Lovers and Dreamers November 18–19, 8 p.m. | Dance Mix
September 13 | Tuesdays Together October 11 | Tuesdays Together November 8 | Tuesdays Together
Compass Rose Theatre
September 23–October 9 | Eleanor October 2–November 20 | Hamlet
Monday–Friday | Hours by Appointment Saturday 10 a.m.–3 p.m. | Open Studio
Annapolis Shakespeare Company
Finnapolis | The Studio of Charles Lawrance
annapolissymphony.org | 410.269.1132 | Maryland Hall for the Creative Arts, 801 Chase Street, Suite 204, Annapolis
compassrosetheater.org | 410.980.5857 | 49 Spa Road, Annapolis
annapolisshakespeare.org | 410.415.3513 | 111 Chinquapin Round Road, Suite 114, Annapolis October 4–November 23 | Poe A New Play by Tony Tsendeas at Reynold’s Tavern October 14–November 13 | Twelfth Night by William Shakespeare November 5 | First Folio! The Book that Gave Us Shakespeare Opening Ceremony to accompany the Shakespeare First Folio exhibition at the Mitchell Gallery at St. John’s College, on display November 1–December 4 Live performances nightly, full schedules updated via naptownmusic.us
Metropolitan Kitchen & Lounge
metropolitanannapolis.com | 410.280.5160 | 169 West Street, Annapolis Wednesday Nights | Ajar Mic Night with Jimi Haha
Stan & Joe’s Salloon
stanandjoessaloon.com | 410.263.1993 | 37 West Street, Annapolis
Ram’s Head Tavern
www.ramsheadtavern.com | 410.268.4545 | 33 West Street, Annapolis
49 West Coffeehouse, Winebar & Gallery
49westcoffeehouse.com | 410.626.9796 | 49 West Street, Annapolis September September September September September September
6, 8:30 p.m. | Unified Jazz Ensemble 9, 8–11 p.m. | Hypnotic Panties 12, 7:30–10 p.m. | Second Monday Songwriters Showcase 18, 4– 6 p.m. | Spiral Staircase Poetry Reading and Open Read 25, 7:30–11 p.m. | Last Sundays with Pillowbook 26, 7–11 p.m. | The 9 Songwriters Series
BAROAK Cookroom & Taphouse
baroakannapolis.com | 410.295.3225 | 126 West Street, Annapolis Thursdays, Fridays, & Saturdays, 6–9 p.m. | Unplugged at Baroak Live Music
PATRONIZE ARTS DISTRICT BUSINESSES Sparrow Jewelry
sparrowcollection.com | 443.995.4068 | 198 West Street, Annapolis Tuesday–Friday, 12–6 p.m. Saturday–Sunday 12– 5 p.m.
risingtidesociety.com | 209 West Street, Annapolis
1429mfg.com | 443.540.3816 | 47 Spa Road, Suite A, Annapolis
214 West Street, Annapolis MD Walk-ins welcome
Art at Large, Inc.
artatlargeinc.com | 410.349.8669 | 212 West Street, Annapolis Monday–Friday 10 a.m.–4 p.m. | By Appointment
Wine & Design
wineanddesign.com | 240.925.7464 | 32 West Street, Annapolis September 7, 14, 21, 28 6–10 p.m. | Open Studio for Dinner Under the Stars September 24, 6:30 p.m. | Mason Jars with lavender
Annapolis Collection Gallery
annapoliscollection.com | 410.280.1414 | 55 West Street, Annapolis Through October 1 | Works of Jeff Huntington September 7, 14, 21, 28 6–10 p.m. | Open for Dinner Under the Stars September 21–24 | Annapolis Fringe Festival Events | http://www. fringefestivalannapolis.com/
artfarmannapolis.com | 45 West Street, Annapolis ew Series of Events at ArtFarm N MAKE IT | HEAR IT | SEE IT Ongoing Weekend Workshops and Shows September 12 | Children’s Art Classes: 8-week Session with Stacey Turner begins September 15 | Beginner DSLR Photography Class 101 for Teens and Adults 6:30–8:30 p.m. September 19 | Beginner DSLR Photography Class 102 for Teens and Adults 6:30–8:30 p.m. September 16 | Fearless Girls Photography Meetup 6:30–8:30 p.m. October 16 | Beginner DSLR Photography Class 101 for Teens and Adults 9–11 a.m. October 16 | Beginner DSLR Photography Class 102 for Teens and Adults 12–2 p.m. October 21 | Fearless Girls Photography Meetup 6:30–8:30 p.m. November 4 | SEE IT: Kids Art Show November 18 | Fearless Girls Photography Meetup 6:30–8:30 p.m. November 9 | Beginner DSLR Photography Class 101 for Teens and Adults 6:30–8:30 p.m. November 16 | Beginner DSLR Photography Class 102 for Teens and Adults 6:30–8:30 p.m.
Nancy Hammond Gallery
nancyhammondeditions.com | 410.295.6612 | 192 West Street, Annapolis October 22 | 2017 Annual Limited Edition Poster Release Regular Gallery Hours Monday–Saturday, 10 a.m.–6 p.m. Sunday, 10 a.m.–4 p.m.
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