Community Calendar

On View: September 12 - December 6 (closed Oct. 17 & Nov. 25 - 29)
Gallery Hours: Tuesday - Saturday, 11 a.m. - 8 p.m.

The work in this exhibition compresses and expands expectations of depth as moderated by a post-image visual culture. The artists adhere to neither medium nor dimensional restrictions, but manipulate the viewer’s relationship to the image as a temporal document, compressed and fractured, through the singular eye of the lens. This expectation, no longer warranted in the age of computer generated images, becomes a fallacy of both the eye and of the language used to comprehend it. The image is untethered from representation and logical spatial association. Spatial continuity and discontinuity run amok in playful fracture--the work pushes and prods the amorphous opening left in the wake of this rupture; what was flat is unmoored of grounding, what was solid is now compressed.

Reception September 11 following the 6:30 p.m. lecture.
For parking information visit towson.edu/parking/visitors

September 10 - December 6 (closed October 17 & November 26 -29)
Gallery Hours: Monday - Saturday, 11 a.m. - 4 p.m.
Opening reception Wednesday, September 10, 7:30 p.m.

How have recent upheavals—from the pandemic to global conflicts, amplified by media—reshaped our private lives? How do personal memories become collective history? In a world forever changed, how do we find our way forward? Elaine Qiu’s awe-inspiring installation of painting, video, and sound invites visitors into a multi-sensory exploration of communal consciousness, connection, and healing in a fragmented, post-pandemic world.
For parking information visit towson.edu/parking/visitors

On View: October 24 - December 6 (closed November 25 - 29)
Gallery Hours: Tuesday - Saturday, 11 a.m. - 8 p.m.
Reception October 23 following 6:30 p.m. lecture.
Artist talk October 29 at 12 noon in the Holtzman MFA Gallery

Enjoy the works of Alexis Ibry and Zachary Diaz.
Alexis Irby collects physical evidence of places and moments, bringing them together into a constellation of disparate memories. Her sculptures encourage a sense of absurdity by documenting aspects of reality in ambiguous combinations. She highlights the interconnectedness of the physical world and the encompassing layers we cannot fully perceive in her exhibit Manifesting the Unheard Layers of Reality.
Zachary Diaz presents MOTUS an interplay of color, movement, and texture through large-scale oil paintings, drawings, and monotypes by blending intuition and intention. The artworks emerge as intuitive puzzles, balancing spontaneous marks with deliberate layering to evoke emotional responses. With a classical training foundation and heavy influence of abstract expressionist techniques, Diaz’s work uncovers hidden narratives with seemingly simple marks.

The CCBC Dance Company presents the Fall 2025 Dance Concert sharing new and restaged works. The company welcomes guest artist Tanya Chianese, Artistic Director of the ka·nei·see | collective. She is creating a new piece for the company, as part of our MERGE! collaboration with BCPS. The Concert will also include new works by CCBC Faculty.

November 13 at 11:10am
November 14, 15 at 7pm

In honor of Native American Heritage Month, we invite you to join us for a special evening featuring a screening of Without Arrows, a film that chronicles the vibrancy and struggle of a Lakȟóta family and the ways long-held traditions live on today.

The film focuses on Delwin Elk Bear Fiddler, a champion grass dancer from the Cheyenne River Sioux Tribe, who left his reservation as a young man to escape a trauma that splintered his family and to build a new life in Philadelphia. A decade later, he abandons his new life and returns home to his reservation to fulfill his mother’s ambition and carry on the legacy of their thiyóšpaye (extended family). Following the screening, enjoy a traditional dance performed by Delwin Elk Bear Fiddler and a Q&A with Delwin and Jonathan Olshefski, one of the film’s directors.

“Her voice gets under your skin. It is idiosyncratic, but it is trustworthy in its clarity and almost physical in its intimacy… her intuitive interpretations and riveting voice make you sit very still in your chair.” - Stereophile

Singer Gabrielle Cavassa's performances and songwriting are steeped in sensuality, melancholy, humor, and soul. Gabrielle won the International Sarah Vaughan Jazz Vocal competition in 2021 after the independent release of her eponymous debut record in 2020. She was ushered into the spotlight through her collaboration with renowned saxophonist Joshua Redman on his 2023 record ‘where are we’. In a five-star album review by Downbeat, Cavassa is hailed as “a young singer with a deep, rich, and fragile voice…a star in the making,” and that her work with Redman “evokes another, historic saxophone-vocal pairing, that of Lester Young and Billie Holiday.” Like Holiday, who she cites as her greatest teacher, Cavassa’s expression contains a vulnerability that reaches at the crux of our humanity. She was signed to Blue Note Records in 2023, and is poised to release her debut with the label Spring of 2026.

THE THANKSGIVING PLAY

BY LARISSA FASTHORSE
DIRECTED BY SUZANNE BEAL

NOVEMBER 7 – DECEMBER 7

Preview November 6
ASL Interpreted Performance November 14

Good intentions collide with absurd assumptions in this biting satire, as a troupe of performatively “woke” thespians scrambles to create a pageant that somehow manages to celebrate both Turkey Day and Native American Heritage Month without any cultural stumbles.

Back for its second year, Abbott and the Big Ten Conference are hosting the We Give Blood Drive competition to entice students, alumni, fans, and community members to rally around their Big Ten school to donate blood, save lives, and address the country's ongoing critical blood shortage.

From August 27 to December 5, anyone eligible to donate blood can do so anywhere, anytime in the U.S. to count for their school. The school with the most donations at the end of the competition will receive $1 million to advance student or community health.

New this year, everyone who donates or attempts to donate blood throughout the competition will receive an exclusive, limited-edition, Homefield-designed T-shirt specific to their school. To receive the shirt:

1. Show up to donate
2. Submit your donation (or attempt to donate) at BigTen.Org/Abbott or by texting DONATE to 222688 (ABBOTT).
3. Click the link sent to your email
4. Use your redemption code
5. Your shirt will be shipped to the address of your choice. 

Last year, the University of Nebraska won, and is using the funds to advance student health on campus. The University of Maryland is competing this year and will host several blood drives on campus and in the surrounding area throughout the competition. To find a blood drive near you, please visit: https://bigten.org/abbott/maryland

This focus exhibition of 10 works explores the relationship between burning fossil fuels—namely, coal—and the emergence of European modernism. Drawing on research conducted by climate scientists and art historians, the exhibition presents a range of paintings and works on paper by Henri Matisse, Claude Monet, James McNeill Whistler, and others to explore the ways that their artistic practices and style emerged, in part, in response to widespread pollution in London and Paris.
Presented as part of the Turn Again to the Earth environmental initiative.

More than 50 works on paper investigate how artists working in Europe and French-occupied northern Africa watched and participated as nature became a resource for people to hoard or share.

Drawn from the BMA’s George A. Lucas Collection, this exhibition of 19th-century art foregrounds the many ways that human relationships, including imperialism and capitalism, affect the environment. Deconstructing Nature is organized thematically, focusing on five environments and the ways artists explored them in their work: The Desert, The Forest, The Field, The City, and The Studio.

Born and raised in Baltimore, George A. Lucas (1824–1909) spent most of his adult life immersed in the Parisian art world and amassed a personal collection of nearly 20,000 works of art. In 1996, the BMA, with funds from the State of Maryland and the generosity of numerous individuals in the community, purchased the George A. Lucas Collection, which had been on extended loan to the Museum for more than 60 years.