“Guarding the Art” Exhibition Guest Curated by BMA Security Officers Opens March 27

Guarding the Art reflects a broad range of backgrounds and interests with officers who are also artists, chefs, musicians, scholars, and writers. Kellen Johnson selected two works that have a connection to music and Black artists, respectively: Max Beckmann’s Still Life with Large Shell (1939), a portrait of his wife, Mathilde, who was a violinist and singer, and Hale Woodruff’s Normandy Landscape (1928), created when the artist was living in France. Joan Smith appreciates objects that are both functional and beautiful and chose a Water Bottle (Early 20th century) by an unidentified Mono artist in the Solomon Islands and a Bottleneck Basket (c.1875) by an unidentified Yokuts artist in California. Ben Bjork brings attention to the humor in art with Jeremy Alden’s 50 Dozen (2005/2008)—a chair composed entirely of Ticonderoga pencils that would break if sat upon—and British designer James Hadley’s satirical porcelain Teapot (1882).

Several objects were selected because of the time the officers spent regarding the works in the galleries. Dominic Mallari chose Sam Gilliam’s Blue Edge (1971), a powerful painting with bursts of color that evoke rings of noise and the sound of music he likens to “a melodic mess, like hearing the instrumental battles of musicians,” and Alfred Dehodencq’s Little Girl (c. 1850), which he admires for its combination of innocence and spunk. Bret Click enjoys interacting with visitors and invites them to find specific details in Entry into the Ark (c. 1575–1580), a grand painting attributed to Jacopo Bassano with assistance of Leandro and Francesco Bassano. Michael Jones designed a special case for Émile Antoine Bourdelle’s Head of Medusa (Door Knocker) (1925), so that he could finally experience the object without worrying about it being touched by visitors.

In some cases, the exhibition brings forward objects and artists that are overlooked or underrepresented. These include the House of Frederick Crey (1830-35) attributed to Thomas Ruckle, which provides an early glimpse of Baltimore’s Mt. Vernon neighborhood where Dereck Mangus lives, and Winslow Homer’s Waiting an Answer (1872), which Alex Lei admitted was one he didn’t notice until he stopped moving. “It’s strangely reflective of the experience of being a guard—a job mostly made up of waiting.” Elise Tensley focused on women artists and selected Winter’s End (1958) by Jane Frank, an abstract painting by a Baltimore-based artist that hasn’t been on view since 1983. Ricardo Castro’s desire to see more works by Latinx artists prompted his choice of a Seated Male Figure (500-1000) by an unidentified Quimbaya artist in Colombia, an Effigy Vessel of Standing Dignitary (500 BCE-CE 500) by an unidentified Jama-Coaque artist in Ecuador, and a Figure of a Shaman (Sukia) (1000-1520) from an unidentified Atlantic Watershed artist in Costa Rica. He also advocated for an empty plinth with an image of the Puerto Rican flag to represent the absence of works from his heritage.

One of the most admired artists is Grace Hartigan, whose Pallas Athena—Fire (1961) attracted Jess Bither with its swirling colors of potential energy, considered by many to be a self-portrait of the artist. She was also drawn to the mysterious melancholy aura of Louise Bourgeois’s sculpture Spring (1948-49/1984). Rob Kempton was inspired by passion, defiance, and revelation in Hartigan’s painting Interior, (The Creeks) (1957). He also chose Alma W. Thomas’s Evening Glow (1972), a painting he describes as a celebration of color and nature that gave him a deep calmness the first time he saw it. Chris Koo selected Philip Guston’s The Oracle (1974), which inspires him to create art with freedom and honesty rather than the approval of others. He also chose Mark Rothko’s Black over Reds [Black on Red] (1957) as a moment for meditation.

Several guest curators are interested in works that speak to social justice and resilience. Resist #2 (2021), by Mickalene Thomas, spoke to Traci Archable-Frederick as a representation of “then and now” from the 1960s Civil Rights Movement to the protests following the murders of Freddie Gray and George Floyd. Sara Ruark sees Karel Appel’s A World in Darkness (1962) as a reminder of how mankind falls apart during times of suffering, trauma, and horror. She also interprets Miniature Totem Pole (mid-20th century) by an unidentified Haida artist as a means of economic survival amidst the continued injustices faced by Indigenous people. Alex Dicken was drawn to the unusual color palette and absence of figures in Max Ernst’s Earthquake, Late Afternoon (1948), an ecological catastrophe that he noticed appears almost serene, but indicates a hidden crisis from a vantage point of a world without human observers.

“It’s been really meaningful to work with Lowery Sims.  Her prestigious career and hands-on experience and knowledge have been huge to this entire process,” said Rob Kempton. “I especially appreciate that she hasn’t limited us in terms of what we shouldn’t do, but has focused our ideas toward creating a really stellar show. She’s given us the confidence and ideas to make all the connections happen.”

The guest curators have planned three days of gallery talks, presentations, and a performance inspired by Guarding the Art. The participants will discuss their art selections as influenced by their creative careers, intellectual backgrounds, and experiences as gallery officers. The dates are Thursday, April 28, for Jessica Bither, Alex Dicken, and Dereck Mangus; Saturday, April 30, for Bret Click and Rob Kempton; and Sunday, May 1, for Kellen Johnson and Sara Ruark. Each event will include a Q&A session and RSVP is required. 

A fully illustrated catalogue includes introductions by BMA Trustee Amy Elias and art historian Dr. Lowery Stokes Sims, an essay by Hyperallergic writer Hakim Bishara, a roundtable conversation between the guest curators, and a biography of each curator.

Guarding the Art is curated by Traci Archable-Frederick, Jess Bither, Ben Bjork, Ricardo Castro, Melissa Clasing, Bret Click, Alex Dicken, Kellen Johnson, Michael Jones, Rob Kempton, Chris Koo, Alex Lei, Dominic Mallari, Dereck Mangus, Sara Ruark, Joan Smith, and Elise Tensley, with support from Dr. Lowery Stokes Sims; Dr. Asma Naeem, BMA Eddie C. and C. Sylvia Brown Chief Curator; Sarah Cho, BMA Curatorial Assistant for American Painting & Sculpture and Decorative Arts; and Katie Cooke, BMA Curatorial Assistant to the Chief Curator and the Curatorial Division.

This exhibition is generously sponsored by Amy Elias and Richard Pearlstone/The Pearlstone Family Fund, Mr. and Mrs. Jeffrey Legum, Kwame Webb and Kathryn Bradley, David and Elizabeth Himelfarb Hurwitz, and Michael Sherman and Carrie Tivador.