THE OFFICIAL MAGAZINE OF THE I.W.S.A. & THE ANNAPOLIS ARTS DISTRICT
Summer Vines by Abigail Rogers. Ink pen on paper. 9" x 9.5". Vegetation grows dense in the summer, framing the buildings around us.
Chancery Alley by Carol Larson. Watercolor. 9" x 12".
Main Street Rooftops by Carol Larson. Watercolor. 9" x 12".
Born and raised in Annapolis, I continue to be amazed at how our historic State House pops up in so many views around town, so many of them unexpected, like the ultimate photo bomb backdrop. It is, of course, the Maryland symbol, but it is also nestled in so tightly with our townâ€™s humble, colonial structures. I love that juxtaposition as subject matter.
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The Fisherman (2016) by Leonard Koscianski. Oil on canvas. 42” x 26”.
Blue Jay Way by Leonard KoscianskiI. Oil on Canvas. 42” x 26”.
Her Morning Run by Leonard Koscianskil. Oil on canvas. 42” x 26”.
This paInting is an imaginative re-creation of me in my neighborhood. I am fishing in Amos Garrett Park. I may also be the runner in the middle ground. St. Mary’s and the Naval Academy Chapel dome are in the background. In this painting, it's morning in the foreground and night in the background. When I do my five-mile run around town between 5 a. m. and 6 a.m., my run starts off in the night and ends up in the day.
I run every morning through the streets of Annapolis. My current series of paintings is an imaginative re-creation of my morning run through Annapolis. I usually run quite early so my run often begins while it is still night, and ends with the sunrise.
The Center of Our Art Universe (2016) by Anthony (Ant) LaVorgna, Jr. Sharpie and wax on canvas. 12" x 24". *Sold I created this piece in protest and solidarity with our fellow artist in town after the news that the mural created by Jason Ligget behind 49 West Coffeehouse, Winebar & Gallery would be painted over. Annapolis continues to inspire me and drives me to create at a prolific pace.
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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 2017
Living Art at Large
By Julia Gibb
A Fangirl's Labor of Love
Behind the Lens, Beyond the Frame
By Theresa C. Sanchez
SNAP By Leigh Glenn
Where Craftsmanship Meets Natureâ€™s Design By Desiree Smith-Daughety
THE OFFICIAL MAGAZINE OF THE I.W.S.A. & THE ANNAPOLIS ARTS DISTRICT
Step on Through to the Other Side By Theresa C. Sanchez
Welcome to Level
Untitled by Sally Comport. Illustration from the book, Ada's Violin.
By Brenda Wintrode
By Janice Hayes-Williams
By Andrea Stuart
The Art of Enchantment
Ronald Markman By Leah Weiss
Healthy, Sexy, & Vital
The Old 4th Ward: Bound by Brotherhood
It's a Joe Martin Job
Street of Festivals
By Christine Fillat
HOOD By Christine Fillat
By Katherine Matuszak
CALENDAR The I.W.S.A. (Inner West Street Association) & Annapolis Arts District Calendar
ranus is in retrograde until January 2. Whether you are familiar with astrology or not, it can be interesting to look at it from a poetic position. Uranus, also known as the rebel planet, goes into retrograde every year, moving backwards (from our point-of-view) through the zodiac. When it does, it’s considered a time for innovation, change, eccentricity, and unconventionality. Astrologers believe this is a time that challenges us to step outside of our comfort zones and confront personal roadblocks. If we see Uranus as a representation of ourselves, we can imagine that this is a time for us to look back, release what isn’t working, and use our creativity to inspire positive change. We can do this through creative expression, channeling whatever source drives us and asks us to translate what we see, feel, and experience in some way. “Be the change you want to see in the world,” as someone (but not Gandhi) wisely said. We recently asked you, our readers, to submit your own visual representations of Annapolis. Thank you for sharing your perspectives! We’ve shared some of these on the inside front cover of this issue as well as in our blog posting titled Annapolis Perspectives. Now that we’re gearing up for the new year (and it’s only September!), we thought it would be fun to learn what resolutions you have planned. Please write a candid 500-word letter to yourself, articulating the positive change(s) you anticipate or desire for 2018. Share why and how you intend to manifest it. One letter will be chosen for print publication. Submit your letter with your name, email address, phone number, and street address to email@example.com by November 1, 2017.
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DRINKS. LOCAL EATS. ARTS & ENTERTAINMENT.
METROPOLITAN KITCHEN & LOUNGE
169 WEST ST, ANNAPOLIS, MD 21401 | 410-280-5160
Publisher & Creative Director Jimi Davies firstname.lastname@example.org Editorial Director Andrea Stuart email@example.com Copy Editor Leah Weiss Associate Editors Michele Callaghan Jenny Igoe MacDuff Perkins Contributing Editors Julia Gibb Zoe Nardo Leah Weiss Leigh Glenn Melanie McCarty Brenda Wintrode Emmy Nicklin Theresa C. Sanchez Christina Fillat Janice Hayes-Williams
Art Director Cory Deere firstname.lastname@example.org Contributing Photographers Allison Zaucha Alison Harbaugh Emily Karcher Karen Davies John Bildahl Advertising Jimi Davies email@example.com Kim O’Brien firstname.lastname@example.org Melissa Lauren email@example.com
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Mailing Address: Up.St.Art Annapolis P.O. Box 4162 Annapolis, MD 21403 410.212.4242 SUBMISSIONS: For article submissions, email proposal to firstname.lastname@example.org. 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 © 2017 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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Theresa C. Sanchez
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LIVING ARTatLARGE by JULIA GIBB
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Interior spread from Ada's Violin employing Comport's use of collage in her drawings and paintings.
haring an awning with the vibrantly painted facade of FinArt Gallery and Studios is a modest storefront sporting a sleek and subtle logo for Art at Large, Inc. Behind the deceptively understated exterior is an exuberant collection of work by Sally Wern Comport. A work in progress rests on the drawing board; original, completed art from past and future projects hang on the walls and are stacked on desks. Books—some illustrated by Comport—fill a bookcase. 14 | Fall 2017
The Light House Bistro mural was concepted, w e One of Sally's first Maryland large-scale exterior illustrated, and produced by Comport in conjunction with artworks (12 ft. x 14 ft.) commissioned by Catherine ArtWalk, an Annapolis based 501-c3 public art initiative she co-founded. This was the organization's 11th completed public art site in the area.
Adding to the eclectic atmosphere are works by other artists, pieces of vintage furniture serving as seating and storage, three-dimensional models of exhibitions spaces, and substrate samples for installation projects. The sheer quantity of work threatens to take over the space. “Half of my job is just finding stuff,” jokes Lindsay Bolin Lowery, artist and studio manager at Art at Large, Inc. But there is an underlying sense of order to it, too, the spirit and content of the work adding warmth and color to the long, narrow studio.
Purple Cherry still viewable today from Rowe Boulevard on the facade of Purple Cherry Architects.
“It really is wonderful to see the artistic community grow in this section of West Street . . .”
Formidably disciplined and bursting with enthusiasm, Comport credits her family for her eye for design and work ethic. Her father, who graduated from The Art Institute of Pittsburgh on the GI bill, started his own advertising agency in Ohio, where Comport grew up. “He always had a drawing table set up in the living room, where he would do pro bono work at night and on weekends for the church or his friends,” she says. Comport created her first paid works at age 15, creating illustrations
Interior spread from Ada's Violin, r a fully illustrated picture book about the
Recycled Orchestra of Paraguay published by Simon & Schuster.
for her father’s clients. After graduating summa cum laude from Columbus School of Art and Design, she earned a master’s degree in illustration from Syracuse University. Illustration served as Comport’s lifeline to the working world, as she and her husband juggled life with two young daughters. She created a home studio, squeezing in hours there as time permitted. Over the years, she has built a massive portfolio, winning awards for her illustrations, and landing work in
A Civil Rights Era illustration for a children's book "Dream March" to be
published by Penguin Random House this coming December.
the permanent collection of the Museum of American Illustration in New York City. Comport opened Art at Large, Inc., an art consulting and production company, at its current location on West Street in 2005, before the area was designated as an Arts and Entertainment District in 2008. Over the years, more art and design-oriented business flocked to the area, along with restaurants and bars that cater to the creative community. “It really is wonderful to see the artistic community grow in this
Interior spread from Ada's Violin employing Comport's use of collage in her drawings and paintings.
section of West Street,” she says. Under the umbrella of Art at Large, Inc., which Comport runs with the assistance of Lowery, the company takes on a wide range of design and art work, from illustrations and logos to largescale public and commercial art installations, community-based art projects, and more. Through her work with ArtWalk, a nonprofit organization she founded with Chuck Walsh in 2007, Comport has had a profound impact on the presence of contemporary public art in
Annapolis. Since its inception, ArtWalk has installed large-scale reproductions of original art, which are printed on weatherresistant substrates and attached to buildings in Annapolis’ Historic District and beyond. The installations have featured local artists Sy Mohr, Greg Harlin, Marion E. Warren, and George Belt along with children from Stanton Community Center. The organization has also identified and worked with diverse local art programs, promoting awareness
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morning person, Comport used her familiarity with the unique qualities of early daylight to complement the action of the story. “I usually choreograph a book,” she says, “so it moves in a certain way, just like a play does, so the light moved in the way that a morning takes place.” Despite the incredible range of projects that comprise Comport’s work—from her illustration jobs for books and other publications, to public and private art and graphics installations, to museum exhibits— there is a tangible artistic thread that ties it all together. In every work is a clean sensibility, whether she
“No day is the same,‘she says,’ and that’s why I think it works for me.”
[the image], too.” Between her numerous projects and caring for her older daughter, Taylor, who has a developmental disability, Comport doesn’t have time for much else. But she and husband, Allan, who teaches and is department chair of the illustration department at Maryland Institute College of Art, enjoy sailing with Taylor, who loves being on the water. Comport gets up at 4:30 a.m. to work out. She has to stay strong for her daughter, who needs to be lifted every day. “But it also turns out to be good for me,” she says. Her mind is constantly on her many projects. Sometimes this tendency makes it hard for Comport to sleep, but she relies on those early morning hours for her physical and mental sustenance. She and Lowery share a motto: Work is redemption. Comport’s work is constantly presenting her with new challenges. “No day is the same,” she says, “and that’s why I think it works
is working with minimal graphics, rich layers of color, or texture. Her rendering of light creates dynamic atmosphere in her compositions. She draws inspiration from the social realism of the Works Progress Administration-sponsored mural projects and other artists of the era, such as Ben Shahn and Thomas Hart Benton. Every work starts with a drawing and then progresses to a digital version, which she may colorize, print out, then work on by hand. This layering process may repeat many times, with many mediums. “I honestly don’t care what [medium] I work with, you know?” she explains. “If you keep layering, your mind refines
and support for some lesser-known programs, and Comport’s pleasure in such community-based work is apparent. She beams as she recalls a senior whose work was featured on a banner in the Market House and who wanted to sign her banner. “I see a lot of pride in people when they get their work reproduced and it shows up large.” The woman ended up climbing a ladder, Sharpie in hand, to sign her artwork. Her own art has also been featured in ArtWalk installations, most recently right around the corner from Art at Large, Inc. on the wall of the Light House Bistro. The piece pays homage to the building’s history as a community gathering place. Helene Sachs, whose grandmother opened Levy’s Grocery Store and Capitol Drug there in the 1930s, inspired Comport with a picture of herself as a child, perched atop two large baskets of cabbage in front of the store. With a nod to the lighthouse motif, Comport used the concept of refracting beams of light crisscrossing her composition, creating a structure within which she highlights Sachs, her family, and other figures who contributed to the building’s history— and the ones creating its future. Comport is a bit of a stylistic chameleon, as her job indeed demands—she is called upon to depict myriad cultures and eras, and rigorously researches every subject. In her recent illustrations for a children’s book, Nile Crossing, set in ancient Egypt, she studied and emulated the flattened perspective of ancient Egyptian art. No detail is too small for her consideration. The story takes place over the course of one morning. An ardent
Sally Wern Comport in her studio. One of several illustrations that served as full size mural backdrops for the Harriet Tubman Visitors Center permanent exhibition at Blackwater National Wildlife Refuge, opened March 2017.
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BLACK AND WHITE AND ART ALL OVER MARYLAND FEDER ATI O N O F AR T PR ES ENTS
COLLECTOR'S CHOICE 2017 OCTOBER 22 H O S T ED B Y A N NA P OLI S VOLVO 333 BUSCHS FRONTAGE RD, ANNAPOLIS, MD 21409
WWW.MDFEDART.ORG ALSO UPCOMING: THE FALL SHOW SEPT 13 - OCT 7
WATER WORKS SEPT 21 - OCT 28
STROKES OF GENIUS OCT 27 – NOV 25
HURRICANE - GULF, Acrylic paint and oil crayon on canvas, Jean Margaret Plough
SMALL WONDERS DEC 1 – DEC 23
MAKING LIFE DELICIOUS
A FANGIRL’S LABOR OF LOVE by THERESA SANCHEZ
nnapolis is spoiled. Sure, the waterfront views are breathtaking, the historic buildings are magnificent, and the cultural arts are thriving, but there’s one local treasure worth lauding that many people are unaware exists. We have something no other town has, and that’s a “Jeni.” Specifically, Jeni Parris Brady, a local music enthusiast who has helped strengthen the city’s live music landscape from behind a camera lens and a computer screen, as founder of Naptownmusic. “I just can’t believe she even exists. Our scene is so lucky,” says Julie Cymek, lead singer of the rock group Sweet Leda. “I think she might have a secret twin or clone; I don’t know how she goes to so many different shows in
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a single night, when she has already worked all day. My husband [Sweet Leda’s bassist] and I joke that if you want something done, give it to a busy person.” Busy is just one description of the Annapolis resident. Humble would be another adjective, given that Brady would rather that the focus be placed on her product rather than on herself. Had it not been for a party in Pennsylvania, there might not even be a story to tell. In July 2012, Brady attended the Jam at the Dam festival in the Poconos, organized by the management and booking agency One Koast Entertainment, which was cofounded by “Pirate” Rob Bryan. There, Brady connected with a number of Annapolis musicians and had quite the
transformative experience. “I came home with a full heart and so much wonder. I recognized that we were involved in a robust renaissance period, and saw that many local venues were [finally] beginning to consistently support our musicians.” She saw that something very special was occurring in our community, and was determined to share it with as many people as possible. When Brady launched Naptownmusic as a monthly blog hosted by Visit Annapolis (previously the Conference and Visitors Bureau for Annapolis and Anne Arundel County) in 2012, she knew that she wasn’t reinventing the wheel. She also knew the importance of real-time information delivery, and opted for online outreach, rather than traditional print format.
Jeni Parris Brady. Photo by Dan Gillespie
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2017 Eastport-a-Rockin' during Bumpin' Uglies set. Photo by Jeni Parris Brady.
During the 9 Songwriter Series at 49 West Coffehouse, Winebar & Gallery. L-R: Host Justin Trawick, Jess Marie, Angela Charles, Johnny Kling, Charles Kavoossi, Larry Byrne, Gingerwolf. Photo by Jeni Parris Brady.
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Naptown Brass Band during Boo Valdez's second line. Photo by Jeni Parris Brady.
Larry Freed started publishing the “Annapolis Music Scene Magazine” in 1989, after observing what he called a “steady decline in the number of people attending local music performances and, subsequently, a signif icant decrease in the amount of live music being offered by the local venues.” He was of the belief that, if people “realized the outstanding caliber of music that was being performed each night in their own town, they would surely come out and support it,” and he was right. Over the course of three years, he and his colleagues helped unite the entire music community. From 1992 to 2010, the publication had several different publishers—Andrew John Davis, Natalie Hannon, David “Ody” Odenwald, and Becky Cooper-Rusteberg —and changed names and setups a number of times – from Alive, Chesapeake Entertainment, and Chesapeake Music Guide.
West Street's favorite busker, Doug Morgan. Photo by Jeni Parris Brady.
Brady quickly realized that monthly updates were insufficient, and further developed her communications into a full, 360-degree package of virtual integration: Naptownmusic. It can be accessed on nearly every social media platform, including a website, Facebook, Instagram, Twitter, and YouTube. There is also a free interactive Naptownmusic app available via iTunes and Google Play, where users can find bios, photos, videos, interviews, and reviews of over 100 musicians, in addition to comprehensive calendars, and even some playlists. “Jeni is carrying the torch," says Freed. "What she does really matters. Without it, you lose more than just a calendar and some cool Facebook photos and videos. You lose the entire connective tissue that pulls it all together and brings it to the people who live in this area. These people understand . . . that there is something very different in our music scene that they would not have known about, had it not been in Naptownmusic.”
Many people don’t realize that musicians are often too busy to market themselves effectively. They are tasked with doing so much else on their own: writing and recording material, selling merchandise, and touring. Moreover, the music business is not what it was, five or ten years ago. It’s something Jordan Sokel of the indiesoul-rock outfit Pressing Strings knows all too well. “Marketing yourself is not for everybody. Some artists are completely turned off by the idea . . . But how else are you going to get your name out there?” he laments. “A lot of the time musicians wouldn’t think to film themselves and post it to social media. What Jeni does is indispensible.” Brady is just as keen on relationships as she is on content. In addition to the local talent, there are many larger acts that come to Annapolis on tour, and sometimes they play with area musicians. Brady aims to be fair in coverage, but is clear that her priority is the relationships that she has with “our folks.” Who is that exactly? Everyone from buskers to children in Naptown Sings, to well-known singer-songwriters and other acts. “Our folks, who are out on the road, and seen in our community and our culture. We have 24/7, 365 days a year—we have relationships with them. That’s my priority.” Brady believes that if we keep embracing music and putting our community out there for the world to see, then Annapolis will elevate its status. “What I want to do is, if somebody is dropped in the middle of Main Street—like a pin on a map —then they should be able to easily find their way to wonderful music and entertainment.” █ For more information, visit Naptownmusic.us.
Here’s a crash course on her predecessors:
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with the Visual Arts department at Anne Arundel Community 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. Newest course additions include animation and lithography.
AACC teaches courses in: • Art History. • Ceramics. • Graphic Design. • Painting and Drawing. • Photography. • Printmaking. • Sculpture. • Video Game Design. • Video and Media Production. • Web Design.
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.
Nancy Hammond Editions Windswept
Into the Open
Nancy Hammond Editions features original art, prints and custom designed gifts by Nancy Hammond
Shade with Wild Sea Grapes
192 West Street, Annapolis MD 21401 410-295-6612 â€˘ Open Daily NancyHammondEditions.com
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Behind the Lens, Beyond the Frame by LEIGH GLENN
omething magical happened in that black-and-white photography class in high school; in the darkroom, the image of a young manâ€”her then-boyfriendâ€”came to life in the developing bath. It showed one moment in an ordinary day, of him leaning against his car, and yet, there she was bringing it back to life, the passage of time between the shutter click and, days later, the processing and what she was feeling, all combining to make it art. The young man is long gone, and with him the photo that married Amy Raab to life as a photographer.
Photo by Amy Raab.
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In a family of artists who were passionate about cameras— her father with his stills, her grandparents with their movies— maybe it was inevitable that Raab would become a photographer. Woman and camera, art and life, they’ve been inseparable ever since that high-school photography class, and now, without necessarily intending to, she has fostered older daughter Sophie Macaluso’s interest in images. If that high school photography class was Raab’s “love at first sight” and engagement, then studying in Italy while majoring in English and art at the University of Vermont was the wedding and honeymoon. Raab brought only black-and-white film with her, and upon returning to Vermont, began publishing a photojournalistic commentary of her time in Italy for the school newspaper. 28 | Fall 2017
Photo by Amy Raab.
One day, a fellow student approached Raab to thank her for her Italian journal. The woman said that Raab’s work lessened her own fears about her planned trip to Italy. “In that moment, I learned I can affect people in a quiet way . . . by sharing my experiences,” says Raab.
Photo by Amy Raab.
After graduation, she pressed the photo editor at the Tab chain of weeklies around Boston to let her work for him until he relented. No internship had been advertised, but Raab ended up filing contact sheets for him and getting his job as photo coordinator when he left. She oversaw four staff photographers and a gaggle of freelancers. She also served as a photographer and assisted with wedding shoots on weekends. Raab could never see herself in a nine-to-five mold because it felt too restrictive. She enjoyed the way the camera and her work opened doors that usually remain closed. “I loved going out in the real world every day,” she says. “I loved the freedom, the adventures, and the undpredictableness. You’d go to an assignment and just make the best of it and capture it however you could, and what I brought back was my vision, what I saw, and I shared that with the readers, and it was really exciting.” Through her work, she became involved in her community and learned what was going on. “It was like a passport into all of these lives,” she says. “You go from one person to another, and you enter into all these different lives . . . and so many ways of life. When you’re a photojournalist, that’s what happens—the world opens up for you.” Raab says that back then her wedding clients “knew us as photojournalists and knew our art, and just wanted us to come capture spontaneous moments they’ll love, and I wanted to surprise them with those images.”
Photo by Amy Raab.
Today, in keeping with the desire to shoot unscripted moments, she enjoys working with couples who appreciate photojournalism and who want her to capture the spontaneity involved in their weddings. It saddens her that most wedding photography has become about re-creating what’s been seen on websites such as Pinterest. Macaluso, better known as Sophie Mac, is 16 years old and works with a Canon camera. Raab is supportive of her daughter’s photography experiments and work, but advises
“ You go from one person to another, and you enter into all these different lives . . .”
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Photo by Amy Raab.
Amy Raab. Photo by Sophie Macaluso.
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her not to become a professional photographer. “I really don’t want her to have to struggle,” she says. “When I first started, photography was a craft and a skill you honed over time. Now, if you have a phone, you’re a photographer.” That has made it challenging to make a living making photographs, Raab says, Because everyone shops on price, there is no way to compete with people who offer to shoot their friends’ weddings for free. But Macaluso is having too much fun to put much thought into what the future holds for her as a photographer. She got her start while in a class called The Lead Singer, with voice teacher and musician Jeremy Ragsdale. She would bring her camera to class and take photographs, and
soon Ragsdale had her shooting his studio rehearsals as well as concerts at the First Sunday Arts Festival and at Metropolitan Restaurant & Lounge. She served as a photographer-intern for Annapolis mayoral candidate Gavin Buckley’s campaign, handles social media for Kilwins Annapolis, and often gets work while photographing various events. Like her mother, she knows the value of persistence. Despite seeing no internship advertised, she contacted the Oyster Recovery Program (ORP) and promoted her photography skills. This summer, she documented the ORP’s work. She feels passionate about protecting ecosystems, and likes to spend a lot of time outdoors. Raab has shifted her own focus to portraiture and corporate photography, though her heart wants to just make art. She says the changing dynamics in photography coincided with her desire to spend more time with her family, which also includes husband Kevin, who teaches history at a private school in Howard County, and younger daughter Eliza. The family recently traveled to Jackson Hole, Wyoming, where Raab lived after her time in the Boston area and where she met Kevin, got married, and conceived Sophie. As in the time she spent
Photo by Sophie Macaluso.
there years ago, she documented the ranching way of life, which is still under pressure to change. Back then, she aimed her camera at the cowboys; this time around, she was more drawn to the cowgirls. She has always loved horses and features them and their interactions with the ranch hands and wranglers. The people, she says, take great care in how they dressâ€”from the silk scarves that keep the dirt and dust off their necks and occasionally out of their mouths, to the chaps and the hats into whose bands the cowboys might place a wildflower or a feather. Photo by Sophie Macaluso.
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If Raab goes for understated beauty, Macaluso appreciates the way that a good conversation leads to a great photograph. “Without having a subject you can connect with, you don’t have good chemistry, or if your values don’t match up. I’m
super-unapologetically politically involved, and I’ve gotten into shooting local political stuff,” she says. For example, on a recent shoot with Ward 6 Aldermanic Candidate DaJuan Gay, much the way Raab saw her most memorable photo come to life in the water,
Photo by Sophie Macaluso.
Macaluso says she noticed the difference in photos from just after the time she shook hands with Gay to those she took after listening to him describe the issues he’s passionate about. Macaluso honed her skills through Alison Harbaugh’s Fearless Photography program, where she studied for two years and has served as counselor for two more. She made friends with girls there who love photography as much as she does, and they often spend time photographing one Photo by Sophie Macaluso.
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Macaluso’s generation is “so used to scrolling through beautiful pictures all day long because they make such gorgeous pictures with their phones,” says Raab. She feels that the oversaturation of images devalues what skilled photographers do. “How do I make my pictures meaningful or valuable?” she asks. “You just have to get somewhere where nobody else goes—to put something in front of people they haven’t seen before. That’s hard.” Macaluso recently bought a disposable camera at the nearby CVS and used it to artfully document a walk around City Dock. She understands where her mother is coming from but then hits upon an essential fact about any visual art: “It doesn’t matter what kind of equipment you have,” she says. “You can’t teach someone to have an eye.” █
“ You just have to get somewhere where nobody else goes—to put something in front of people they haven’t seen before. That’s hard.”
another to practice. Photographer Allison Zaucha, who also works with the Fearless Photography program, has introduced Macaluso to the work of countless women photographers, and Macaluso assists her on shoots and with administrative tasks such as newsletters, blog posts, and queries. Raab appreciates the creative freedom that Photo by Sophie Macaluso. photography offers; no one is there telling you how to frame the image or when to click the shutter. Macaluso, though uncertain about where she may ultimately go with photography, takes joy in knowing she’ll keep at it to see what unfolds. Mother and daughter cannot predict where they will be in a decade. Raab would love to spend summers in Wyoming, whose open spaces and solitude she likens to the waters of the Chesapeake for people who love to boat. Macaluso says she may be in law school by then but doesn’t know for sure. “I’m not sold yet on photography, but it’s a good creative outlet, a way to meet people and get jobs as well,” says Sophie. Sophie Macaluso. And what of the state of their Photo by Amy Raab art?
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THE MITCHELL GALLERY
Discover Art from the Inside Out at the Mitchell Gallery The Lure of Nature: Drawings from the Thaw Collection
Aug. 25 - Oct. 15, 2017
Hidden Beauty: Exploring the Aesthetics of Medical Science
Oct. 26 - Dec. 10, 2017
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 Caspar Wolf (1735-1783), Alpine Landscape with Two Figures Looking at a Waterfall from Under an Umbrella, c. 1773. Watercolor and opaque watercolor on thin card. Thaw Collection, The Morgan Library & Museum, New York. Photography by Steven H. Crossot, 2014.
Norman Barker, Agar Petri dishes,” (detail) 2013, Digital photographmicrograph, x60
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Where Craftsmanship Meets Natureâ€™s Design
by DESIREE SMITH-DAUGHETY
wo weathered wooden doors frame a screened entranceway like portals to an otherworldly realm. A voice beckons me inside, where I am warmly welcomed by Peter Paglia, owner of Atlantic Woodworks. A long, narrow, wellorganized space holds the tools of the woodworking trade and works in progress. This, the smaller of his two workshops, mirrors the scale of the woodworking projects completed here.
Paglia developed his craft during the eight years he lived in St. Croix, starting as an apprentice yacht joiner before moving to the United States with a supply of wood in tow. At one point, he ran a larger operation with employees in Annapolis, but then closed shop and, typifying the chameleon-like qualities of many craftsmen and artisans, picked up a regular gig at an elevator company. That move was spurred by a need for health insurance and a steady check
Jacob Paglia, left, an 18-year-old woodworker, measures a table with his father, Peter, right, June 15, 2017, in Crownsville, Md. Paglia works with his father at Atlantic Woodworks.
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(small business owners are often the last to be paid, taking care of their employees first). But true craftsmen can never really retire their craft, and Paglia returned to his roots, scaling down to a level that allows breathing room for exploration, experimentation, and collaboration. The bread-and-butter of the business is custom-built cabinetry—high quality pieces with an elemental feel. One of Paglia’s current projects, commissioned for a butler pantry, is built of solid cherry and was spawned and crafted over a period of about eight weeks. All of his signature pieces give the appearance of having organically pushed up through the foundation, as if its destiny were rooted in the very conception of the structure. Paglia has been entrusted with unusual requests, such as installing secret compartments for one client, and more intricate repair work involving a vintage set of hand-carved German chess pieces for another client. While cabinetry is the backbone of the business, another of its segments is custom-made furniture. “You want functional furniture pieces that accentuate the beauty of the wood,” Paglia says. This isn’t the first time wood-as-muse is alluded to, and it seems to be a driving theme of his craftsman philosophy. An example of this melding of function and beauty is the chair, side table, and bench that were built to the order of a landscape architect’s vision. Paglia fulfills such requests using Custom built Atlantic Woodworks 25 fret quilted maple and mahogany hollowbody electric built for local musician Dan Lebling. Photo by John Bildahl.
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Mahogany library/sitting room. Photo by John Bildahl.
elegant pieces of wood chosen by the client. For another project, he created a vanity sink top, selecting a piece of mahogany wood with a graceful, natural curve that made it a one-of-a-kind bathroom piece. While cabinetry work represents bigger jobs and more clients, Paglia truly enjoys building furniture. “I like to pick the wood and let it inspire the design.” He says that there is so much beautiful wood, and
“ . . . there is so much beautiful wood, and that’s why he got a mill—so they could mill their f inds themselves.”
that’s why he got a mill—so they could mill their finds themselves. “They” includes Paglia’s son Jacob, who is learning all aspects of the trade. He works on furniture pieces as well, including a lamp base from a reclaimed piece of firewood that someone thought too beautiful to burn. Jacob collaborated with local artist Anthony “Ant” LaVorgna, Jr., who created a lampshade to complete the
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Live edge cherry burl tables. Photo by Tim Lutz.
Custom built Atlantic Woodworks Hawaiian Koa Jumbo Model Acoustic. Photo by John Bildahl.
design. Other statement pieces include tree slices as tabletops— you can imagine that you just sat down in a forest glade to take your leisure. Collaboration has led the elder Paglia into an unexpected direction: making guitars. He places the “blame” for this venture before the feet of his son Brian, who about 15 years ago said, “Wouldn’t it be cool to build guitars?” Cool indeed. Intrigued by the idea, Paglia began studying. He got a book on guitar building and then a kit from Martin guitars to build one and see how the pieces literally fit together. They started by building 10 guitars. Then Live edge Cuban mahogany rocking clock with black limba base. Photo by Tim Lutz.
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Paglia isn’t ready just yet to mass-produce and sell his guitars. He’s interested in refining his process. His perfectionism is matched only by his discerning eye. Take those doors that grace the smaller of his two workshops: “Someone was going to throw them out.” █
Live edge Cuban mahogany bookshelf and guitar given to Peter by friend and Annapolis native luthier Andrew White. Photo by John Bildahl.
Johnny Rushmore, a renowned lead guitarist, had a vision of an electric guitar made from one piece of wood and commissioned Paglia to build it. Guitarists and luthiers will recognize the challenge of such a creative proposition, as guitars generally have multiple glued-on parts, such as the neck and fretboard. It’s Rushmore’s design, and Atlantic Woodworks has since built and finished about 20 of them. Guitars in the shop are in various stages of construction: in a work closet, on guitar stands, laying on a work bench—all are works of art that invite the eye to linger. They’re made of various woods, such as mahogany, cedar, ash, and even cocobolo, which comes from tropical hardwood trees; Jacob describes it as having the tantalizing smell of chocolate and roses. “But you’re not supposed to smell it—it’s irritating to lungs and eyes,” he says. Decorative inlays of abalone and mother-of-pearl gleam, highlighting the earthiness of the wood. The headstocks on some of the guitars feature the business’s logo, a signature wave. Non-commissioned guitars are no longer being sold, as Paglia and son are sticking with custom orders, such as an electric guitar they built for their second guitar client, Andrew White—he came in one day and asked if they had the equipment to saw wood, and has since been picked up by a company in Korea to produce and sell electric guitars there—or the reproductions of a particular model of a Stella guitar that were ordered by local artist and musician Neil Harpe.
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and who, might exist behind ymbolism runs just as to accentuate the taste of the door No. 39. Suspicions prove deep as the land is high aforementioned seafood’s on Presidents Hill, if tender meat. Diners appreciate to be well founded. Rabbit holes and looking you know where to look. what it takes to procure the glasses have nothing on what Just before you hit Westgate tasty treat from its thick sights there are to behold Circle, at the edge of the outer armor; that process upon crossing the humble Annapolis Arts District, often makes its consumption threshold into the 1,525 nestled at the end of Jefferson a social occasion. The crab’s square-foot 4-bedroom Place sits a yellow and green deceivingly hard shell can be bungalow, built in 1946. metal crab. Standing about likened to the house’s dull The wealth of two feet high, purposefully it greets visitors by THERESA C. SANCHEZ arranged at the front of photography by ALLISON ZAUCHA antiques, artifacts, the quaint 20thand oddities century home’s ornamenting brick and flagstone portico steps. ecru-colored stucco exterior— the iris mauve-colored walls evokes ocular overload. It’s fitting that the welcome both have something worth sign features a crustacean, finding inside, if you’re willing Deciding on which item to examine first is truly a given that the blue species to put forth the effort. daunting undertaking. of decapod is not only one Rust-Oleum® cans cleverly Bordering the perimeter of the official state symbols, strewn across a round of the living room are three but also Maryland’s state wrought iron and glass table, food. The surrounding land a makeshift sculpture made of reclaimed earth-colored Naugahyde® sofas, all of was once Brewer’s orchard, a partial cow skull, a piece of which was the historic city’s multibranched driftwood, and which face each other, encouraging conversational major supplier of apple cider a conch shell horn provide exchange among its varied vinegar—an ingredient used additional clues as to what,
At the "Den of Sin," friends gather after a concert. Ian spins a stick of light in the living room.
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Late 20th-century Leather Sofas create casual comfort while authentic Mexican blankets, adorning the ottoman and window, add a touch of worldly ambience.
occupants. This tête-à-tête might concern the fabled backstories of each of the varied items adorning the room. The most prominent objet d’art hangs above one of the couches. It is a traditional handpainted decorative Asian fan over four f eet in width. The eyes then dart over to the many sculptures of skulls— bovine, wildebeest, raccoon, and squirrel—splattered with ultraviolet light-reactive psychedelic paint that might please the likes of celebrated artists Georgia In Ian's kitchen, he hangs a variety of art in every section he can. One of Ian's friends painted the skull painting. His mom created the painting among the spice racks.
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Ian holds one of his untitled pieces and Maggie holds one of her favorite pieces titled "Callie Octomingo."
lounge area, and a stage complete with an entire band’s instrumental setup. A secluded respite from the raucous subterranean recreation taking place on the lowest level of the residence exists at the top of a curved staircase. The archway over the timber steps is accented with ornate African masks. A window overlooking the overgrown backyard provides backlight to a glass display case featuring what can only be described as one-of-a-kind skeletons, whimsically articulated and embellished by one of the home’s inhabitants, who sells the sculptures as artwork. Upon closer examination, one might spy a clear orb filled with sheep’s eyeballs. A new wall was constructed to section off an additional bedroom and seating
area for comfort and contemplation. Original psychedelic paintings and kaleidoscopic tapestries enhance the overall experience. “I’m just trying to give them a new life in a sense, you know? It’s all found,” says SweetWells of the items adorning the abode. “Basically, I’m taking something that was sitting there and withering away and forgotten about, and transforming something that is dead and mak[ing] it look wild and alive again.” Before leaving this bohemian menagerie, you must first open the front door, emblazoned with a black and white vortex-like hypno spiral. Even though reality awaits outside, those in need of a shift in perspective can always return with a simple knock. █
O’Keefe and Salvador Dali. Striped falsa Mexican blankets serve as window treatments that keep daylight at bay. They also obstruct the property’s waterfront view, which exists in the form of a standpipe erected in 1928 as part of the city’s water system. Dozens of plants of varying shape, size, and genus festoon the windowsills providing a wealth of oxygen-rich air in what could be an otherwise stuffy situation given the room’s size and daily foot traffic. The largest flora is an invasive species affectionately called “Mother Tron,” which shoots out seeds at such an alarming rate that the saplings are potted and distributed as parting gifts to visitors. A vintage large Technics® stereo system, capable of both analog and digital playback, serves as an additional sound system to the large flat-screen television speakers. If the senses are somehow still deprived of stimulation, guests may gather in the basement area known for its legendary nightclub-like atmosphere and performances. Steps lead down to a cavernous wonderland that, when in full operation, boasts a professional lighting system, smoke machines, a designated
Ian wears one of his favorite pieces, a skull that was transformed into a mask. upstart-annapolis.com | 47
Little Women November 2017
La Traviata March 2018
Arias & Encores |Â December 2017 The Billy Goats Gruff | January 2018 Take a Chance on Love |Â February 2018 Box Office 410.280.5640 annapolisopera.org
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Level by BRENDA WINTRODE photography by EMILY KARCHER
his restaurant recreates how we grew up,” says Andrew Fox, who co-owns Level – A Small Plates Lounge with his older brother Chris and their business partner, John Miller. The Fox brothers grew up with 14 siblings. “It’s hectic, it’s noisy, there’s a lot going on. My mom cooked foods from scratch, and a lot of us got into cooking,” says Fox. He appreciated the effort that went into preparing the meals, and it was a characteristic he intentionally infused into the restaurant. Level’s guests can see the effort and care with which their food is prepared because of the open kitchen setting, just as if they are in the family kitchen. He wants customers to feel as though they are coming over a friend’s house for dinner. “I want my customers to say they were welcomed here,” says Fox.
Social dining is the overarching concept, not only at Level, but also at the partners’ two other Annapolis restaurants, Vida Taco Bar and Fox’s Den. They encourage guests to share their small-plate-cuisine meals family style; this was how the Fox family ate in restaurants even before small plates were popular. Growing up in a large family in part shaped Fox’s work ethic. His father died when he was 15. He went straight to work after that, out of financial need, and by the time he was 17, he was working in local restaurants. Fox always felt that working in the restaurant business would be temporary, and he enrolled in University of Maryland, College Park to pursue a career in the financial industry. He saved his shift money, earned at Pusser’s Caribbean Grille, in a purple Crown Royal bag, and paid for each semester one bag at a time.
A 1944-style Mai Tai and pan-seared scallops are front and center with tuna and specialty cocktail Angels & Demons (in the background). The scallops are butter-basted and served with bacon hollandaise, lardons, caper berries, and pea shoots.
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“If you change with quality, your clientele wants to come back and try new things...”
Level is named after the aspirations of its original founders— Andrew, Chris, John Miller, John Hogan, and Alfredo Malinis, Jr.— who all wanted to raise the level of expectations for restaurant service, quality and customer experiences in Annapolis at the time of its opening in 2009. The name also served as a pledge of accountability to each other to strive for a higher level of performance. Eight years later, the concept-eatery is thriving, with an influx of local diners seeking an inspired dining experience. “Honestly, I saw us as pioneers of what was coming. No one was doing small plates back in 2009, in Annapolis. Now, the whole food scene is wrapped around social dining,” says Fox. “Level’s food is comfort food,” explains Fox. Its menu appeals to A staff chef tops a roasted mushroom salad with diced olives and crispy quinoa.
A 1944 Mai Tai with Spicy Tuna Tartare
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a wide range of palates and keeps locals coming back to have another taste, knowing they can have a different dining experience with each visit. Level changes its menu of fresh-fruit cocktails three times a year and its regionally, seasonally, and globally influenced food menu four times a year. “If you change with quality, your clientele wants to come back and try new things,” says Fox. On the current menu, diners looking for a hearty meal can pair a craft brew with a plate of apple butter barbecue ribs smothered in rosemary onion jam. Those opting for vegetarian fare can indulge in summer vegetable spring rolls with a low-calorie, fresh juice cocktail; the Lychee Martini is just one of this summer’s offerings. A craving for seafood can be aptly satisfied with panseared scallops with a bacon hollandaise, accompanied by a flavorful Pinot Grigio. Executive Chef Josh Brown sources Level’s products from local and sustainable farms. Pork is brought in from Papa Weaver’s in Orange, Virginia; tomatoes are supplied by Hummingbird Farms of Ridgely, Maryland; and dairy products are provided by South Mountain Creamery of Middleton, Maryland. “Josh has a really good eye for food.
L-R Co-owners Andrew Fox and John Miller, Executive Chef Josh Brown. Level is located at 69 West Street in downtown Annapolis, one block north of Church Circle. Free off-street parking is located directly behind the restaurant.
Bartender Tomm Micciche flips a shaker while mixing a custom cocktail.
He is trained in a lot of different types of cuisine,” says Fox. Brown oversees food for all of the partners’ restaurants. Vida Taco Bar will open new locations in Severna Park and Baltimore later this year and in 2018, respectively. On its busiest nights, Level serves 550 small plates and 600 cocktails. Plates of fine food are purposely portioned in odd numbered quantities to encourage breaking pieces apart, conversation, and group interaction. Meals are not timed or coursed, and food is brought to the table as it is ready, adding to the casual atmosphere and a serving method that the restaurant calls “social service.” Level’s greatest success indicator is the amplitude of joy that reverberates off of the walls and into patrons’ ears. Fox, who installed acoustic panels on the ceiling to decrease the interior noise levels, believes there is a fine line between quiet and pleasantly lively. The restaurant business is known for its arduous responsibilities, all of which are familiar to Fox and his partners. To these challenges Fox responds positively and says, “Basically, you have to be there, you have to show up. There’s no effort that is too great.” █
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THE OLD 4TH WARD: BOUND BY BROTHERHOOD by JANICE HAYES-WILLIAMS
he electoral district, once known as the 3rd Ward of Annapolis, was an undesirable area of town during the later part of the 19th-century. Bounded by Dorsey Creek (now College Creek), its thick clay was the foundation for brickyards, railroads, St. Anne's Cemetery, and a jail at Calvert Street. This became home to many immigrants, as well as a large portion of Annapolis' Black population of former slaves, free Blacks, and veterans of the American Civil War. Several events accelerated the growth of this once multicultural community. The founding of the Stanton Colored School, which was built with the wood removed from Camp Parole during its demolition, provided a new school for the city’s large, growing Black population. Continued acquisitions of city property by the U.S. Naval Academy included land along King George’s Street and the demolition of numerous “Negro Tenements,” which necessitated the relocation of a large number of Blacks to Ward 3. This small community of minorities was in no way immune to the indignities and disparate treatment of Jim Crow racism in the city. Into the 20th century, Black men incarcerated in the Annapolis City Jail were, on numerous occasions, taken from the jail
TOP LEFT: WARD 8. FAR LEFT: Inside the Washington Hotel with. L to R: owner Morris Legum and Bartender Bobby Pointer. Photograph courtesy of the late Edward "Udie" Legum. MIDDLE: Susie's Tea Room. Photo courtesy Philip Brown. LEFT: Mural on the front of the Stanton Community Center.
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Reverend Leroy Bowman, First Baptist Church of Annapolis, Iconic Leader in the Old 4th Ward. Photo courtesy of Capital -Gazette Newspapers.
and then lynched. Never forgotten was the lynching of Henry Davis dragged from the jail on Calvert Street, and brought down Clay Street to Brickyard Hill, where he was hanged,and shot multiple times. Surviving the worst of things, this community thrived and continued to grow. At the turn of the 20th century, Blacks and Jews in Annapolis invested in the rapidly growing 3rd Ward in anticipation of further expansion of housing. The community was expanding “over the hill,” as it was called by the locals, with the addition of Pleasant Street and other roads soon to be a part of redistricting, at which point it was renamed the 4th Ward of the city of Annapolis. During the first decades of the 20th century, past Alderman and entrepreneur Wiley H. Bates made significant purchases along Clay, Washington, and Calvert Streets. Bates leased a few properties and sold others to young Black entrepreneurs looking to start businesses in the 4th Ward. Alderman James Albert Adams purchased a significant amount of land at the end of Clay Street that was bounded by the creek and the Short Line; growing up, we all knew this place as Adams Park. With churches, movie theaters, saloons, and entertainment, the 4th Ward became a self-contained community of minorities in the city by the 1930s. The Washington Hotel, owned by Morris Legum, quickly became a hot spot known for a variety of entertainment,
from sultry signers like Pearl Bailey to female impersonators, local musicians, and ventriloquists. The late Edward “Udie” Legum, son of Morris and manager of his father’s hotel, revealed that he received great pleasure in telling U.S. Naval Academy officers that shows at the Washington Hotel were sold out when in fact they were not. He said that he would not entertain the officers because Blacks in Annapolis were not given that courtesy at Carvel Hall, the hotel that was once William Paca’s house. “Fair is fair,” he was known to say with a smile. Through the years, a number of entertainment venues thrived in this community: Susie’s Tea Room, the USO (United Service Organizations), Dixie Hotel, Wright’s Hotel, and Haskin’s, among others. Waltz Dream Hall was used locally for receptions, weddings, and other family gatherings. The 1940s ushered in a revival of the community. President Roosevelt selected Annapolis to participate in the war effort, revealing a need for health care services and housing for workers. The 4th Ward received housing—College Creek Terrace was the first public housing in Maryland and the second in the nation. It was immediately followed by Obery Court. Within this community of doctors, attorneys, teachers, entrepreneurs, and employees of the U.S. Naval Academy and St. John’s College was an enigmatic preacher, a spiritual and community leader named Reverend Leroy Bowman. Called to serve at First Baptist Church of Annapolis on
Pearl Bailey worked at the Washington Hotel for two years in the Old 4th Ward making $20 per week. Photo courtesy of the late Udie Legum.
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Kiosk on the corner of Washington and West Street.
Urban Renewal Office on Washington Street.
Organizing Committee of the Old 4th Ward. They work to continue their legacy of brotherhood and dignity.
Although the neighborhood is now legally within Annapolis’ 2nd Ward, it will always be known by many as the Old 4th Ward! █
Washington Street in 1943, his leadership and influence affected the life of all Blacks in the city, and his fiery sermons could be heard on Sundays at Washington Street. The 1950s and ’60s brought in an era of civil and equal rights awareness and greater attention to local politics. Residents voted and organized sit-ins, marches, and protests of restaurants and stores that did not allow Blacks to patronize them. On the heels of the civil rights movement, the fight for human rights began with the advent of urban renewal. That program resulted in the demolition of 33 businesses and numerous homes. To accommodate that loss, public housing communities sprang up, including Robinwood, Newtown 19, Newtown 20, Harbor House, Annapolis Gardens, and Bowman Court. The final act that decimated this vibrant community was the building of the Whitmore Parking Garage at Washington, Clay, and Calvert Streets. “Urban removal” was complete, and as a result, Annapolis had the highest number of public housing units per capita in the nation. The 21st-century ushered in another revival of the Old 4th Ward, on the wings of the late Bertina Nick. Founder of the Clay Street Community Development Corporation, she ensured that the Ward’s history would never be forgotten. The Old 4th Ward kiosk, located at the corner of Washington and West Streets, is her dream realized. It announces, “Our history, our legacy!” Today, revitalization continues, with public-private partnerships and the Local
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presents MIXED MEDIA ARTIST
“I am a working artist/maker, teacher, advocate and mentor in and for the visual arts. Starting in the 80’s I worked in clay, photography and textiles (to include spinning and weaving). I added flat glass (stained glass) in 2001 and worked in that for several years. I started sculpting in clay around 2009 then added working in metal (casting and welding) realizing I enjoyed additive sculpting more. This led me to working with repurposed materials in both two and three dimensional works. Society’s detritus and cast offs are usually more interesting and challenging to work with than brand new materials.”
VIEW MORE OF c.l.’s WORK AT
Visit Annapolis & Anne Arundel County is a proud supporter of the Annapolis Arts District and it’s creative verve. Create your moment in the cultural hub of the Annapolis Arts District, where creatives and small businesses are serving artistic flavor.
HEALTHY, SEXY, & V ITAL by ANDREA STUART
photography by ALISON HARBAUGH
old breaths exhale from the vents overhead, washing over formerly smooth skin, now puckered with goosebumps. The only movement in the room is a subtle flutter in the fluorescent lights overhead and the pulsation of a heartbeat that grows stronger with each passing second. When the doctor enters, a flush comes over the patient’s face, and fingers become rigid in anticipation. When the doctor begins to speak, her words are drowned out by a parade of thoughts, until the patient hears the following words, “You don’t need your lady parts, anymore. You’re in your 40s.” Integrative Nutrition health coach and proprietor of Whole Health Designs, Lisa Consiglio Ryan was aghast at the idea that a doctor could believe that a woman would not need her reproductive organs at any stage of life. Instead of taking the doctor’s suggestion to have a full hysterectomy to remove the possibly malignant 15-centimeter fibroid inside of her, she opted to have only the mass removed. She left presumption and fearbased decision-making at the door to see the situation from all angles. This was to become the approach she adopted when she later became a nutrition counselor. Ryan trusted her intuition. She firmly took control over the care she received by listening to the voices of reason in her
head, doing research, and working with medical professionals who respected her. The anesthesiologist said a meditation with her as she went under, and a recorded meditation was played during her surgery. Ryan knew she had to create an experience that would promote healing. “When I woke up, I wasn’t the same. Maybe for the first time in my life, I harnessed my personal power,” she says. Taking control over one’s health is perhaps the most personal and challenging decision a person can make. With so many conflicting ideas about what it means to be healthy circulating the health and media arenas nowadays, taking control and making the right decision can often feel overwhelming. Consider this description of a typical advertisement found on the Internet: A Lolita-type young woman is standing on the precipice of a green knoll overlooking a city. A soft halo of light surrounds her as she flips her sun-bleached hair in slow motion while looking over her shoulder at the camera. (Cut scene.) She is now running, her compression pants hugging her hips and buttocks. Her bare midriff is accented by a brightly colored sports bra that enhances her breasts. She stops at a bistro with friends, each of them young, thin, and dressed in suggestive workout attire. Young men walk by, flirtatiously. The narrator says, “Get f it, get him!”
Lisa Consiglio Ryan, Whole Health Designs.
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Ryan has been wrangling messages like this for much of her life, messages that either validate fears of inadequacy or condemn having a body type outside of conventional standards. In her 20s, she experienced a barrage of health issues, including fibromyalgia, hypothyroidism, candida, rosacea, cystitis, and numerous allergies. At the time, her idea of health hung on social expectations, trends, and misinformation. After she had children, Ryan—a triathlete—had a reality check when, one evening after preparing dinner, she stood above the table, watching her family eat. A few minutes into the meal, her daughter asked, “Momma, why aren’t you eating?” “I thought to myself, ‘How did she notice?’ And I knew I needed to get my act together.” Within six months after receiving professional help, she was on track. She figured out how to have a healthy relationship with food. She resigned from teaching and became certified with Integrative Nutrition. “After I healed myself, I was so empowered!” she exclaims. “I wanted to help others live a full life instead of being in pain and on meds.” “I teach people that a diet is like Harry Potter: my magic wand won’t work the same for you as it does for me,” she says of working with clients’ individual constitutions and metabolisms. Her expertise is in finding each person’s “magic nutrition wand.” In Ryan’s new book, Go Clean, Sexy You, she shares her struggles and successes, and illustrates the importance of moderation. It’s not about deprivation; it’s about building communication with your body, which is sacred, and learning its subtle cues so that you can give
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TOP: Lisa Consiglio Ryan of Whole Health Designs stopped by Williams Sonoma in the Annapolis mall recently to demo her juice recipes from her new recipe book, Go Clean, Sexy You. LEFT: Go Clean, Sexy You, a recipe book of healthy smoothies, juices, and foods by Lisa Consiglio Ryan. BOTTOM: A tasty juice made by Lisa Consiglio Ryan.
the body the tools it needs to heal. Once people clean out their systems and unearth the foods unique to their body’s needs, they experience freedom. This self-awareness frees them from physical and emotional discomfort. It’s about knowledge and moderation. Ryan lives an 80/20 life: 80 percent on track, 20 percent off. “We may use food to punish and reward ourselves because we can control what we put in our bodies,” she says. Yet, instead of trying to gain control
Some of Lisa's favorite ingredients for smoothies.
“I want to help children make healthy decisions for themselves. Many of these kids’ families grocery shop at 7-11.”
A variety of juices made by Lisa Consiglio Ryan.
through that system of thought, which is often harmful, we can place our energy on learning what is best for our bodies, and choosing those foods. That’s why she also teaches how to create a dialogue with food purveyors, farmers, and ranchers. “These conversations provide us with information that allows us to make healthy decisions for ourselves,” she explains. It’s not always easy, rewriting previously held truths. For Ryan’s Italian family, her new lifestyle was initially an alien concept. However, with time they have come to respect her drive to create a healthier body and world. This fall, Ryan is taking her viewpoint of sacred bodies to the stage for Ignite Annapolis—a series that hosts 16 presenters who spark new conversations and collaborations with the audience. In five minutes and 20 slides, she will present Lady Parts, a short presentation on our perceptions of our bodies. It is intended to express how thoughts and stress can manifest into disease while sharing how the wisdom in every cell of our bodies is essential for optimal health. She asks people and the medical community to be thoughtful about removing body parts, carefully considering all options and consequences, rather than treating current conventional health practices as standard procedure. She is also applying for a grant, in hopes of educating children in Baltimore about nutrition. “I would be able to work with farmers, co-ops, and other food providers that supply wholesome food. I want to help children make healthy decisions for themselves. Many of these kids’ families grocery shop at 7-11,” says Ryan. Because food is provocative, seductive, and essential, it has the power to build us up or break us down. Ryan uses her experiences and knowledge to guide people in understanding the role of nutrition in their lives so they can harness their own personal power. █
The Art of
ENCHANTMENT 68 | Fall 2017
by KATHERINE MATUSZAK
he audience falls silent as the house lights above their heads dim, then go out. The first notes of the overture float up from the orchestra pit. Together, they’re transported to another place and time, thanks to the magic of the opera. Many will go their whole lives without enjoying this long-loved art that is steeped in tradition. Operas are expensive to produce, and while many companies have opera singers perform, fewer offer the full experience, which includes elaborate staging with sets, costumes, and a live orchestra. For that reason, the Annapolis Opera Company stands apart. In a world of convenience and quick fixes, the company puts in all the work it takes to bring opera to its audiences. Past president Tom DeKornfeld knows how rare a magic is being created. “We’re a little bit unusual,” he says with pride. “We’re proud to have a professional, fully staged opera in a community of this size.” Opera was never intended for the rich or elite. It was the original multimedia experience for the masses and tells stories about the human experience that we can relate to today. Opera incorporates all the arts: visual, performing, and literature (screenwriting) and requires performers to be versed in singing, acting, and dancing. When operas were first written, they were a way to tell a moralistic story or criticize social leaders without bringing trouble to the composer.
Kathy Swekel, Annapolis Opera’s general director, is passionate about opera. “I remind folks that opera is in their everyday life, but they don’t think about it,” she says. “It is in Bugs Bunny cartoons, TV commercial music, and more.” She explains that popular musicals are, in fact, updated operas—Miss Saigon is Madama Butterfly and Rent is La Bohème. This year’s production of La Traviata is popularly known by its film version, Camille, and was used in part to create the musical Moulin Rouge. “Opera is still relevant and expresses our deepest feelings when we take the time to listen.” To help patrons and those new to the art form, Annapolis Opera has its “Insight Series,” which dives deeper into the operas performed during the season and offers new perspectives. This year, for Little Women, county libraries programs and book clubs will explore the book and the opera. At Maryland Hall for the Creative Arts—which has been the company’s home since 1979—the opera’s artistic director, Ron Gretz, will present a lecture on the opera’s music, a scholar on Louisa May Alcott will offer a talk, and a music historian will discuss the music of Alcott’s time. On Saturday, November 4, a highly anticipated visit from Little Women’s composer, Mark Adamo, will offer a glimpse into his creative process and why he tackled such a beloved work. Annapolis Opera’s purpose is twofold: to create great art and to help the next generation of artists. “We want to make artistic contributions to the community, but
Annapolis Opera Chorus members in Madama Butterfly sing to announce the arrival of Cio-Cio-san, the bride to U.S. Naval Officer Lt. Pinkerton. Photos by Web Wright. Madama Butterfly, 2017. Courtesy of Annapolis Opera.
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From left to right: Prince Yamadori, Spencer Adamson; Goro the match maker, Anthony Webb; U.S. Consul Sharpless, Jacob Lassetter. Photos by Web Wright. Madam Butterfly, 2017. Courtesy of Annapolis Opera.
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also develop the careers of young professionals, to let young singers be seen and be heard,” says DeKornfeld. One such opportunity arose this past April, when the 45-year-old company hosted its thirtieth annual vocal competition for young opera singers. Supporting emerging artists is an important part of Annapolis Opera’s mission. Young performers and arts professionals need to hone their craft, and Annapolis Opera offers a professional company where they can develop their careers.
Beyond staged operas, the company also presents concerts throughout the year. Once such offering, at Maryland Live! Casino, Take a Chance on Love, is a fun, light-hearted event that showcases love songs from all genres celebrating the pursuit of love. It is designed to draw a diverse, younger crowd and provide a wonderful gateway to opera. Annapolis Opera also strives to nurture a love of the opera in local schools. Every year, it presents a children’s opera. “We have a turnout
This season’s schedule is available at annapolisopera.org.
The Bonze, Jarrod Lee, is the uncle-priest of Cio-Cio-san and arrives at her wedding to denounce her. Photos by Web Wright. Madama Butterfly, 2017. Courtesy of Annapolis Opera.
Madama Butterfly (Cio-Cio-san), Eleni Calenos, sings “Un bel di” an aria about the beautiful day to come when her husband returns to her. Photos by Web Wright. Madama Butterfly, 2017. Courtesy of Annapolis Opera.
of around 3,500 kids over four days,” says DeKornfeld. “There’s so much excitement and energy in the room.” Due to the expenses of producing an opera, Annapolis Opera was only able to offer one opera per season until last year, when they received an increase of support from the community, individuals, corporations, and businesses. “Now we have one in fall and one in spring, then fill in the rest of the season with concerts. It’s something to build on and connect with donors and patrons,” says DeKornfeld. This season begins with an American classic, Louisa May Alcott’s Little Women. In the spring, the company will perform La Traviata; casting has recently been completed and work is underway on the many preparations involved. The company is excited to offer more operas to its fans, but it hasn’t been easy. “The opera ticket sales only make up about 30 percent of a performance,” explains DeKornfeld. “You do two big performances, there’s a lot more money to raise. [But] it looks like we’ll be able to do it again, this year. We hope Annapolis Opera continues to bring the magic of the opera to our community for many years to come. █
Butterfly weeps after her family has denounced her. Photos by Web Wright. Madama Butterfly, 2017. Courtesy of Annapolis Opera.
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Photos by Alison Harbaugh
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Ronald Markman May 29, 1931–May 30, 2017
e lost a great visionary artist on May 30, when Ronald Markman died after a brief illness at age 86. Markman was a talented, playful soul who created a kingdom, called Mukfa, to present the joys and pitfalls of life and society with humor, wit, and vivid color. His works had a youthfulness that belied his years and a bite that underscored his sagacity. They made people laugh, think, look again, and feel good—and that was the point. Up.St.ART Annapolis featured Markman in its spring 2017
issue, heralding what became his last exhibit—at the Mitchell Galley at St. John’s College—and reconnecting the artist with photographer and filmmaker Alison Harbaugh. Their Up.St.ART photo shoot rekindled in Harbaugh a longtime desire to make a documentary on Markman’s life and work, and shortly afterward they began collaborating. (The film is still in production.) Up to the end, he was engaged, energized, and creating. Here’s to Ron, a luminary in the Annapolis artist firmament. We were so lucky to have him with us. – Leah Weiss Obituary (New York Times): https://tinyurl.com/rmarkman
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Joe Martin IT'S A
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by CHRISTINE FILLAT
here’s always something happening at Metropolitan Kitchen & Lounge. The interior is dark and cool. There’s electricity in the air, due to a state-of-the-art sound system. Every night, the place is booked with some sort of performance art: rock and roll, rap, punk, acoustic, spoken word, improvisation, jazz, electronic dance music. And there are open mic nights. At the front door, you will encounter Joe Martin. He’s a gentle giant with a sweet demeanor, his imposing figure belies the reason he came to Metropolitan in the first place: to be a bouncer. He manages the venue, books talent, schedules security and sound checks, and just makes sure events and nights go smoothly. He is also in a band called 3rd Grade Friends. Martin is the embodiment of Zen. He is calm. You cannot imagine the clash of music lurking within. He loves the recordings of Ornette Coleman, Charles Mingus, LCD Soundsystem, and Miles Davis. He has a four-year-old daughter, Violet. At a recent
3rd Grade Friends show, she approached the stage and yelled at Martin. He couldn’t quite hear what she was saying, as he was in the middle of a song. When the music stopped, he could make it out: “Dad! You’re too loud!” Martin remembers a
Photos by Karen Davies
similar scenario from when he was a child. His mother studied opera at Catholic University, and would sing for him. He remembers covering his ears. It was too loud.
Martin eventually got over his aversion to loud sounds and started making some of his own. In 3rd Grade Friends, Joe plays guitar and Robin Eckman plays drums. Their recent record release party at Metropolitan for #Ourtime, was hosted by Justice the Genius Child. For their schoolyard chums, 3rd Grade Friends provided coloring books, face painting, and candy. Up.St.ART Annapolis recently asked Martin about himself and his music. This is what he had to say. Up.St.ART Annapolis: Tell me how you met Robin. You were in third grade together. Were you both new at school? Did you hang out together? Joe Martin: Robin and I met in third grade. We weren’t like most kids that age. You just kinda knew everyone at the playground; most of you are friends when you’re at recess. We didn’t really hang out on the regular until after high school. I didn’t know we both moved to the school at the same time until a couple years back. Fifth grade, we had drum class together. He had mad chops even then. I didn’t
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keep at it because I wanted the whole drum kit, not just a snare drum. UA: When did you start making music together? JM: Robin and I really connected when we worked at the moving company [Short Hop Moving] together. Robin used to have house shows at Mung Manor on Route 2. I had an improv group I put together called the Blue Shirts, which played with his band, Cookie Head Jenkins, probably before we started working at the moving company. When we worked at Short Hop Moving, we did grueling work and bonded over music and started playing after work for hours at a time. Three to five times a week. We formed a group called Herd of Wookies. We’d make up songs on the moving trucks
and occasionally jam at the moving company’s warehouse. UA: How did the name 3rd Grade Friends come about? JM: Robin and I were getting ready for our first show as a duo, and we went back and forth with some names. Robin came up with the name 3rd Grade Friends, and I was sold. UA: Do you write the lyrics together? JM: I usually write the lyrics, unless we bring in guest singers like Pretty Tony or Justice the Genius Child. We both come up with the song names. UA: I am tempted to call you the Frank Zappa of small bands. The two of you are like a small orchestra. JM: Ha! I’m not a huge Zappa guy, but Robin loves him! UA: So, there is this political undercurrent in #Ourtime. It is so great. There’s this universal response to school. We all go there, we all survive it. JM: You’re def getting our school
Coloring book that accompanies the CD.
“ Third Grade is when you really start to come into the world and realize certain things and remember experiences, develop friendships.” 76 | Fall 2017
Joe keeping an eye on the mischief at Metropolitan. Photo by Karen Davies.
angle. Everyone goes there. Third Grade is when you really start to come into the world and realize certain things and remember experiences, develop friendships. You just want to have fun and live life. US: How did the show go on Saturday ( July 15, 2017, the #Ourtime record release party)? JM: The show went amazingly well on Saturday! We had an awesome turnout, and everyone was smiling at the end of the night. When we took the stage, it was great to see so many people with their faces painted and just having fun. Warmed my heart. Also, I don’t know if I mentioned this, but on Sundays I work at KACHUNK!! Records on Maryland Ave., selling records. CF: If you could do another job, what would you do? What do you see for yourself in the future? JM: I don’t know. I’m not sure. Before I started doing this job, I had gotten laid off and did a ton of odd jobs, and this was one of the odd jobs I fell into. Doing security is how I started out here. Doing all the booking, I feel like the job is a Joe Martin job. It is the perfect fit. █ Third Grade Friends, Rob Eckman & Joe Martin.
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Bridget Cimino of the Baltimore-based gypsy jazz band Tongue In Cheek performs during a recent Dinner Under the Stars along the first block of West Street in uptown Annapolis.
by CHRISTINE FILLAT photography by ALISON HARBAUGH
Dinner Under the Stars happens every Wednesday evening from 6-10 p.m. from late spring to late summer when restaurants along the first block of West Street move their tables out into the street under the canopy of lights. Diners enjoy live music, great food, and drinks.
The inagural Color Run took place among the Arts and First Sunday draws a crowd each month as arts and craft vendors line the streets, Entertainment District with runners running through restaurants create outdoor cafe settings, and live music is heard on four separate neighborhoods off of West Street, ending at the end of Clay stages. Street at Whitmore Park.
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I Participants of the inagural Color Run on August 6, 2017.
t’s 7:45 on a Wednesday evening in July, and West Street between Church Circle and Calvert Street is closed to traffic for Dining Under the Stars. This happens every week from May through October. Lights strung across the street twinkle, bringing a lovely ambiance to what is typically a thoroughfare humming with motor vehicles. Tables line the street, each served by the restaurants that populate this section of West Street. As far as the eye can see, each table is taken, filled with ladies, chic in their summer ensembles, and casually cool men.
have this [vision] of community, good old-fashioned fun.” An artist paints the scene from the front of The Annapolis Collection Gallery. Inside, owner Katherine Burke mingles with the crowd of patrons who are checking out the artwork. She is thrilled with the midweek evening interest fostered by Dining Under the Stars. “Many of us [business owners] on the street are having record days in our slowest months midweek, which is a big deal,” says Brian Cahalan, co-owner of 49 West Coffeehouse, Winebar & Gallery. “It’s really helped us.”
On this particular night, live Brazilian music wafts through the balmy air. The atmosphere is decidedly mellow. A gentleman in a black fedora dances a samba in time to the music. Children ride their bikes, chasing each other. Dogs laze under tables. Alison Harbaugh, owner of ArtFarm, a classroom, art retail, and event space on that block of West Street, books the bands that perform at Dining Under the Stars. “I want people to feel like it’s date night. We get Gypsy jazz, Dixieland . . . a little more culture. I want to see people dancing in the street. I
It is just one of the programs that the Inner West Street Association (I.W.S.A.) sponsors to bring the public to West Street. Actually, West Street could be known as the “Street of Festivals,” because IWSA sponsors, promotes, or participates in so many of them. It also sponsors the Chocolate Binge Festival and the Annapolis Fringe Festival, but its most successful one is First Sunday Arts Festival. From May through November, First Sunday Arts Festival brings 130 artists and performers to this eastern border of the Annapolis
OF FESTIVALS WHISPERERS Local artist and owner of FinArt Gallery and Studios, Charles Lawrance, works on a live painting during the Fringe Festival that took place in the fall on West Street.
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designation there. Tsunami, 49 says Jody Danek, president of Arts District each first Sunday of West, Ram’s Head, they all pay that the IWSA and part owner in the month. Thousands of people entertainment tax. Our goal is to restaurants Metropolitan Kitchen attend each month, according to get the first block included in that & Lounge, Lemongrass, Tsunami, Erik Evans, executive director of designation.” and Sailor Oyster Bar. “We don’t the IWSA and the Annapolis Arts A fleet of giant chicken District. “Street activity sculptures can be seen is important,” states along West Street. Danek Evans. “If it’s a festival and his business partner or a busker, a sidewalk Gavin Buckley sponsored cafe or a flower vendor them as an art project and who sits out on the a fun commentary about sidewalk, it all just gives urban chicken farming. life to a street and makes They had white chicken the street feel fun and sculptures mass produced, safe and comfortable to and then asked artists, be on.” Which all makes community groups, and for a vibrant community. schools to make them The IWSA, whose into works of art. The focus is planning events sculptures are popular— and activities along West tourists regularly pose Street, works closely with them for selfies and with the state-designated post the images on social Annapolis Arts District. media. They also make The latter encompasses West Street a fun place to the geographic area from be. Other "place makers" West Street at Calvert are in the works, including and Cathedral Streets artisan bike racks, to Westgate Circle— illuminated crosswalks, including Clay Street, and murals. the Stanton Community “It’s all about providing Center and the Compass a place for interaction, Rose Theater—and then for people to experience jumps from Maryland West Street,” says Danek. Hall for the Creative “To actually come to Arts down to the the Dinner Under the Stars in Annapolis, Maryland. and experience the Wiley H. Bates Legacy street, it makes them a lot more have to charge an amusement Center and Boys & Girls Club comfortable.” With this much or entertainment tax, whereas on Smithville Street and S. Villa excitement and activity, it’s very the first block of West Street Avenue. likely that the West Street corridor does. Right now . . . a lot of There are advantages to being will just get better and better as [IWSA] events go on in the first in the Arts District. “If artists live time goes by. █ block, but we do not have state in the area, they get a tax break,”
For more details, visit www.annapolisartsdistrict.org
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“It’s all about providing a place for interaction, for people to experience West Street...”
The Johnny Monet Band plays in Wiseman Park during the First Sunday Arts Festival along West Street.
The first block of West Street attracts locals and viisotirs during Dinner Under the Stars every Wednesday.
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JOIN GREAT CREATIVES DOING BUSINESS IN THE WEST STREET COMMUNITY CREATIVE SERVICES
Art at Large | Symmetry Agency | Sugar Farm Productions | Hermmann Advertising The Annapolis Photographer | Rachel M. Fry Photography | Sir Speedy | Weitzman Agency
Maryland Hall for the Creative Arts | Bates Middle School | Compass Rose Theater Naptown Sings | Jeremy Ragsdale Voice Studio | ArtFarm | Wine & Design
GALLERIES & STUDIOS
Maryland Hall for the Creative Arts | Finart | Nancy Hammond Editions | ArtFarm | Tsunami Metropolitan Kitchen | Whithall Gallery | Annapolis Collection Gallery | 49 West Coffeehouse
PERFORMING ARTS VENUES
Maryland Hall for the Creative Arts | Compass Rose Theater | MTPA-Stage One | Fados Metropolitan Kitchen & Lounge Baroak | Tsunami | 49 West Coffeehouse, Winebar & Gallery Stan & Joe's Saloon | Rams Head Tavern & On Stage | Reynold's Tavern | Level
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IN N E R WEST STRE ET A S S O C IAT IO N
A nn ap ol is, M ar yl an
E ne rg iz in g W es t St . Th ro ug h th e A rt s
FIRST SUNDAY ARTS ........................................... October 1 & November 5 THE CHOCOLATE BINGE FESTIVAL .......................................December 3 Follow the Annapolis Arts District on Facebook to see even more West Street events. upstart-annapolis.com | 83
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