Nov 22 Saturday
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.
For thousands of years, East Asia’s cultures have viewed human life as part of a much larger system that encompasses the natural world. Drawn from the BMA’s collection, this exhibition boasts more than 40 objects—from magnificent ink drawings to beautifully crafted stoneware and poignant contemporary photographs and prints. They bring into the galleries the mountains and seas, wild and supernatural animals, and plant life that are extensive across East Asian imagery and often carry symbolic meaning.
Works on view include robust 13th-century ceramic vessels, delicate porcelain, carved jade, intricately sewn textiles, and large-scale photography; collectively, these artworks represent the impulse to fully understand the natural world as foundational to our existence, as shaped by human life, and as an enduring metaphor of survival.
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: 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
Every Saturday is Orange Out Saturday
Fans are encouraged to wear their best orange O's gear. Enjoy live music at the Coors Light Stage at Legends Park, orange-themed food and beverages, and more!
And to cap it off, the return of the iconic all-orange uniforms will be featured on select Saturday home games.
THE THANKSGIVING PLAY
BY LARISSA FASTHORSEDIRECTED BY SUZANNE BEAL
NOVEMBER 7 – DECEMBER 7
Preview November 6ASL 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.