BmoreArt News: John Waters, Nia Hampton, Little Feat

This week’s news includes: John Waters’ guide to Baltimore, filmmaker Nia Hampton interviewed by Rob Lee, Little Feat’s Baltimore connection, Trans Pride Day photo essay, criticisms of Baltimore Pride, The Coral Wig gets national attention, Ellyn Weiss and Sondra Arkin at the American University Museum, Hank the G.O.A.T., Paint Out in Mount Vernon, Walter Cruz, colorful new construction in Remington, 4th of July tribute to Key Bridge workers, and more BOPA news, — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image: Iya Dammons, executive director of Baltimore Safe Haven, poses for a portrait. (Eric Thompson/For The Baltimore Banner)

by Megan McCrea

Published July 1 in The New York Times

Excerpt: The 1998 John Waters film “Pecker” ends with an unlikely crowd carousing in a seedy basement bar/impromptu photo gallery in Baltimore. Strippers and one busty, enthusiastic art collector dance on tables as a talking Virgin Mary icon watches. It’s a jubilant, chaotic and naughty party open to anyone with a sense of humor, just the way the director likes it.

Mr. Waters, 78, gained a cult following in the 1970s with delightfully shocking films like “Multiple Maniacs,” “Female Trouble” and, of course, the raunchy “Pink Flamingos” before breaking big with “Hairspray,” in 1988.

Since then, Mr. Waters has built an empire of camp, now comprising more than a dozen films, spoken-word shows and numerous books, including his 2022 debut novel, “Liarmouth,” which has been optioned for a movie that Mr. Waters hopes will star Aubrey Plaza.

The Truth In This Art with Filmmaker Nia Hampton [Audio]

by Rob Lee

Aired June 24 on The Truth in This Art

In this episode of “The Truth In This Art,” host Rob Lee welcomes filmmaker and conceptual artist Nia Hampton from Baltimore. They discuss the significance of glasses in their lives, reflecting on how COVID-19 has influenced health trends. Nia shares her journey, including her MFA program and the founding of the Black Film Supremacy festival, inspired by her friends and speculative fiction writers. She talks about her film “My Mother the Clown,” a social realist comedy based on personal experiences. The conversation covers the collaborative nature of filmmaking, the importance of storytelling, and Nia’s personal interests in reality TV and astrology.

by John Lee

Published July 1 in WYPR

Excerpt: 50 years ago the band Little Feat came to Baltimore to record the album Feats Don’t Fail Me Now. The band was critically acclaimed but their first three records didn’t sell and they were on the verge of splitting up.

But a combination of luck, happenstance, raw talent and Charm City gave the rock and blues band what it needed to launch a successful run that continues to this day.

This story ends with a recording studio sinking into Baltimore’s inner harbor. But let’s start at the beginning.

by Eric Thompson

Published June 30 in The Baltimore Banner

Excerpt: An estimated 2,500 people attended Saturday’s Baltimore Trans Pride, which celebrated its third year.

Held in Old Goucher, the Saturday event featured a parade, vendors and performances. Rapper KenTheMan headlined the event, and actress Dominique Jackson from the FX television drama “Pose” also appeared.

Here are images from the event.

by John-John Williams IV

Published June 28 in The Baltimore Banner

Excerpt: This year’s Baltimore Pride Week attracted 150,000 people — record attendance that far exceeded initial projections of 100,000.

But some see room for improvement and want organizers to address safety issues and make changes so the annual event that celebrates the LGBTQIA+ population is better run.

In comments on social media, people expressed concern about a stampede at a Pride block party after two people got in a fight and a chemical agent was sprayed. Others said the area at North Avenue and Charles Street where Pride was held was left with piles of trash. High fees priced out potential vendors and parade participants, others said.

Some have complained that when they raised these issues that Pride organizers ignored them.

… this story continues. Read the rest at The Baltimore Banner: Despite record crowds, Baltimore Pride’s LGBTQ critics say organizers dropped the ball

by Christina Tkacik

Published July 1 in The Baltimore Banner

Excerpt: We love to see Baltimore’s criminally underrated bar scene get national recognition — especially on the heels of a somewhat disappointing James Beard Award ceremony.

The Coral Wig, located in the alley next to Hotel Ulysses, was named one of the 11 best new bars in the country by Arbiters of Good Taste, Bon Appétit magazine. The author praised the “moody, tropical-but-decidedly-not-tiki lounge” by Lane Harlan and her husband Matthew Pierce, who also own Clavel, Fadensonnen and are working on launching a hotel in Spain.

In a text message Monday, Harlan specifically singled out her pride in Coral Wig manager Pam Haner, who is also the manager of their speakeasy W.C. Harlan. “Because of her guidance, our team is able to execute a difficult menu while also providing true southern hospitality,” Harlan said. Though the Wig has only been open for one year, she said, “the space already feels like it’s been there forever. It’s a testament to the ambiance created and to the grace of the team.”

… this story continues. Read the rest at The Baltimore Banner: This Baltimore bar made Bon Appétit’s list of the 11 best in the nation

by Claudia Rousseau, Ph.D.

Published June 27 in East City Art

Excerpt: An extensive installation titled The Human Flood continues on view at the American University Museum in the Katzen Center through early August. The collaborative project of local artists Ellyn Weiss and Sondra Arkin, the exhibit occupies a large part of the museum’s ground floor and part of the outdoor sculpture area.

Curated by Laura Roulet, it includes a wide variety of individual works intended to create an immediate sense of the immigration crisis that has become a front and center issue in many countries including the United States. As Arkin articulated it in the catalog to the show, the artists’ intention was “to investigate a complex topic through a variety of media in an effort to elicit an empathetic response to a wid­ening crisis that is disproportionately affecting vulnerable populations.” For Arkin and Weiss, that crisis is climate change propelling human migration.

Comprised of multiple parts, the viewer is first confronted by a series of flag-like scrims hanging in rows facing the entrance to the gallery space. Painted by both artists, and titled We All Had A Home Once, their lightness and translucence gives them a mobile quality intended to evoke memories, “a fragment of a life upended.”

by Jasmine Vaughn-Hall

Published June 29 in The Baltimore Banner

Hank is in his own world as he follows his buddy Todd “Gready” Cornish up Pratt Street in Southwest Baltimore. The black and white Nubian goat sniffs rowhome porches, his goatee grazing doormats. He nibbles on neighborhood shrubs and windowsill herbs before a sharp whistle from Cornish summons him to pick up the pace.

For nearly six years, Cornish and Hank have routinely walked the city hand and hoof. They hang out mostly in Mount Clare, Franklin Square and other Southwest Baltimore neighborhoods, where they have become a fixture. Hank sticks so close to his owner that Cornish casts two shadows — onea lanky body with a wide, cowboy hat and two legs and the other four-legged with horns.

Hank has built quite the reputation with his entertaining antics, like sporting a matching Steelers jersey to the Ravens’ tailgate to torment fans and pushing strangers with his horns.

Hank’s a bit intimidating at first glance — a 6-foot goat clomping along busy city blocks. To Cornish, he teeters the line between funny and menacing. For others, who have gotten used to seeing him, he’s just Hank from around the way, a part of the neighborhood.

Things were quiet on one of the pair’s recent walks until a man spotted Hank. “I seen your crazy ass on TV with that goat,” the man yelled at them. Cornish laughed it off and kept walking. Around the corner, another neighbor speed-walking to work stopped for a few moments to rub Hank’s head.

Hank’s usually calm during their walks, but there’s one little tree he doesn’t seem to like. Countless times, Cornish said, Hank has stopped to ram the tree or try to uproot it

“He’s got a good personality when he’s not revved up. I’ve never seen an animal with that much personality,” Cornish said.

Hank lives among other horses at the stables on South Carlton Street in the Hollins Market neighborhood, including Miss Pearl, who has one pale, blue eye, Pimp and Kitty, who is Cornish’s favorite to ride.

When Hank is ready for a walk, he raises himself out of his bed, made out of an old storage tank and layered with hay. He swings his head enough so the rope connected to his spiked collar wraps around his horns and he starts to pull.

He wants out.

Hank can be a little hard-headed, and it isn’t because of the horns. When Cornish isn’t getting ready fast enough, the goat rams his head into an old pool table. When it’s time to go, Hank grabs his own snack, a whole bag of purple grapes, off an arabber’s cart, leaving behind a few stray grapes for Charlotte the pig.

Aside from Cornish, nothing comes between Hank and a meal or snack, and it’s been that way since he first got to Baltimore.

Cornish wasn’t expecting to get a goat the day he went to a farm in New Holland, Pennsylvania, to check out the livestock and horses with a group from the stables. When he did see what seemed to be a thousand small goats, he said, he considered getting a brown and white one.

Then he saw baby Hank.

Maybe it was his little tilted head or docile eyes, but Cornish somehow knew there was something about him. “Out of all of them goats,” he said, “you could tell he was different.”

Cornish and a few others took turns hand feeding Hank or giving him formula in bottles. He often bit the nipples off.

Cornish has always had animals or pets since he was 8 or 9 years old. He loves them so much his mother calls him “Doctor Dolittle.” He started off with a bunch of hamsters before learning from the older men in his neighborhood how to train and keep pigeons. He has his own lime green pigeon coop at home and a bowlegged American bully mix with a stout body named Magic.

Charles McLean, a longtime arabber, said despite Cornish’s other animals, Hank only wants eyes and attention on him. He’s seen the goat get jealous when Cornish’s attention is elsewhere. Hank is spoiled, he says.

“I think he [Cornish} is more closer to Hank than any other animal other than his birds and horses,” McLean said.

Even when Hank was little, Cornish could be spotted with him “all over the place,” he added.

Hank doesn’t like Cornish to be out of his sight and all bets are off if food is involved. Cornish made a pit stop at a corner store during their walk to get Hank potato chips. But Cornish took too long, and Hank, who was waiting outside, grew impatient and shoved his way inside the store the second someone exited. Luckily, Cornish was close enough to the door to grab Hank by the horns and usher him out.

Multiple videos of Hank on TikTok and Instagram show Cornish feeding him or Hank following someone who has food he wants. Then there are those who mistakenly think Hank will back down from a play fight. He often nudges them with his head and snout and backs them into a corner or up a few rowhome steps. But it’s all in good fun.

As the two pass the B&O Railroad Museum, a man calls out to Cornish. “Don’t bring him over here. I’m not trying to fight today,” he said, before asking where Hank’s hat was.

The hat is a fedora. Hank made the local news while wearing it a couple years ago while walking down Washington Boulevard with a lady goat named Jill. One onlooker told a reporter that Hank was dressed even better than his owner.

”Man, you didn’t even have to put me out there like that,” Cornish remembers saying.

That 15 minutes of fame caught the attention of folks at Pickett Brewing Company in Pigtown, who thought a goat in a fedora embodied the quirkiness of the neighborhood.

So much so that they created “Goats in Hats,” a dark stout.

One of the owners said she hasn’t met Hank in person, but isn’t opposed to chatting about how they can partner more with him in the future.

Cornish wants to create a hat line for Hank and hopes to train him to pull a carriage for kids at parties. He already uses his birds for funerals, weddings and gender reveals.

On the way back to the stables during their recent walk, some people were taken aback by Hank’s size and slowly backed into their front doors or back gates when he passed by. Cornish patted him on the head and scratched him behind the ears as his tail flicked away gnats.

One woman called her grandbabies on FaceTime so they could see Hank walk past her house. Another woman stopped her car in the middle of the street so her son could take a picture.

Here and there, Cornish pulled down tree or bush branches for Hank to get a bite.

“He definitely became apart of my life. I’m attached to him,” Cornish said.

His second shadow, with a mouthful of shrubs, doesn’t seem to mind.

This story was republished with permission from The Baltimore Banner. Visit www.thebaltimorebanner.com for more.

Press Release :: June 27

Plein Air Painters to Hold July “Paint Outs” in Historical Mount Vernon Place

This summer, watch plein air masterpieces come to life in one of Baltimore’s grandest public spaces, Mount Vernon Place, when painters from the Mid-Atlantic Plein Air Painters Association (MAPAPA) will convene for two “Paint Outs” on Thursday, July 4 and Wednesday, July 10, 2024. These events are free, and the public is invited to observe the creative process of en plein air (or, “in open air”) painters as they interpret the historic buildings, sculptures, and parks that surround the Washington Monument.

Visit Mount Vernon Place on Independence Day, Thursday, July 4, 2024, starting at 2 p.m., when the public is invited to observe artists from the Mid-Atlantic Plein Air Painters Association (MAPAPA) as they gather to for a patriotic “Paint Out.” This event will be held in conjunction with Mount Vernon Place Conservancy’s 4th of July Concert, part of their “Summer in the Squares” series of musical performances that feature some of Baltimore’s most talented musicians. Come enjoy live music, relax in the parks, view the Washington Monument decked out in Fourth of July bunting, and see artists create a masterpiece on site.

Then, on Wednesday, July 10, 2024, MAPAPA artists will gather for a second “Paint Out.” Following a 10 a.m. walking tour of Mount Vernon Place, led by Baltimore Heritage, MAPAPA artists will spend the rest of day painting. Visitors are encouraged to stop by and ask the artists about their work and process.

The resulting paintings, along with others created during the upcoming spring and summer months, will be exhibited and made available for sale at the Mount Vernon Place Plein Air Art Show, to be held at the Garrett-Jacobs Mansion, 11 West Mount Vernon Place, on Sunday, Sept. 22, 2024, from 1-4 p.m. Art Show tickets are $15 at baltimoreheritage.org or $20 at the door and include wine and cheese refreshments. Learn more at www.facebook.com/MVP.Plein.Air.Art.Show

This Mount Vernon Place Plein Air Art Show is co-hosted by the Garrett-Jacobs Mansion Endowment Fund (GJMEF), Baltimore Heritage, the Mount Vernon Place Conservancy, the Engineering Society of Baltimore, and the Charles Street Development. Proceeds will go to the GJMEF to aid in their efforts to preserve the architectural and historical character of the mansion.

July 2024 “Paint Outs”

699 Washington Place, Baltimore (Washington Monument, Mount Vernon Place)

Thursday, July 4, 2024, beginning at 2 p.m. (during the “Summer in the Squares” Fourth of July Concert)

Wednesday, July 10, 2024, beginning at 11 a.m.

Contact Sally Johnston at [email protected] or 410-340-6486.

About the Mount Vernon Place Plein Air Art Show

The Garrett-Jacobs Mansion Endowment Fund (GJMEF)—along with co-hosts the Engineering Society of Baltimore, the Mount Vernon Place Conservancy, Baltimore Heritage, and the Charles Street Development Corporation—is pleased to announce the 2024 Mount Vernon Place Plein Air Art Show. The event will be held at the Garrett-Jacobs Mansion (home of The Engineers Club) on Sunday, Sept. 22, from 1 to 4 pm. The event, a fundraiser for the GJMEF, will showcase the beauty of Mount Vernon Place as seen through the eyes of 30 talented artists—all members of the Mid-Atlantic Plein Air Association (MAPAPA)—whose work will be displayed within the magnificent 19th century Garrett-Jacobs Mansion.

For the Sept. 22 show, the en plein air artists will display their work for view and purchase in the enclosed light-filled courtyard of the Garrett-Jacobs Mansion. “We are pleased to have the opportunity to share the elegance of the Garrett-Jacobs Mansion, and feel it is fitting that paintings reflecting the beauty of Mount Vernon Place will be displayed within it,” GJMEF Board President Carl Eastwick said. “We look forward to attendees admiring these artists’ works, along with the mansion’s Tiffany windows, carved spiral staircase, and gilded ballroom.”

The event is co-hosted by the Garrett-Jacobs Mansion Endowment Fund, the Engineering Society of Baltimore, the Mount Vernon Place Conservancy, Baltimore Heritage, and the Charles Street Development. For more information on the Mount Vernon Place Plein Air Art Show, contact Sally Johnston at [email protected] or 410-340-6486.

About Plein Air Painting

With the inventions of transportable paint tubes and the box easel, artists were able to leave the studio and enter the landscape itself. The freedom of painting en plein air, or “in open air,” was embraced by French Impressionists, whose work valued the ephemeral and changing nature of light. Today, plein air painting is flourishing, and artists who gather for “Paint Outs” experience the same freedom and satisfaction as painters from the past.

About the Garrett-Jacobs Mansion

The Garrett-Jacobs Mansion was initially a wedding gift from B&O Railroad President John Work Garrett to his son Robert Garrett and bride Mary Sloan Frick. The mansion was a lifelong project for Mary Frick Garrett Jacobs, through her first husband’s illness and death, widowhood, and her marriage to second husband Dr. Henry Barton Jacobs. Ultimately, the mansion incorporated four existing houses and contains 40 rooms, 100 windows, and 16 fireplaces. It housed Mary Frick’s illustrious art collection, donated at her death to the Baltimore Museum of Art and now displayed in the museum’s Jacobs wing. Since 1962, the mansion has been home to The Engineers Club.

About the Garrett-Jacobs Endowment Fund

The mission of the Garrett-Jacobs Mansion Endowment Fund is to preserve and restore the Mansion as a National Historic Landmark and to share the historical, architectural, and civic legacy of the Mansion for the benefit and education of the public.

The Garrett-Jacobs Mansion Endowment Fund (GJMEF), a 501 (c)(3) organization, was formed in 1992 with the sole mission to preserve the architectural and historical character of this important and unique structure. The ongoing rehabilitation preserves the Garrett-Jacobs Mansion, a showcase of Gilded Age design and craftsmanship, and returns it to its rightful role as a gathering place for social, business, and civic functions. A “Friends of the Mansion” public membership program brings additional financial support to the mansion and welcomes visitors to enjoy its beauty and programs. The Engineers Club and GJMEF work cooperatively to present concerts, theatrical performances, symposia, and educational programs for the benefit of the public.

Press Release :: June 28Cara Ober

Heather Grey Gallery presents “Carry on Tradition,” a new solo exhibition by multimedia artist Walter Cruz, showcasing from May 18 to August 3, 2024. Cruz’s textured works explore his Dominican heritage and upbringing in New York City, weaving together influences from Hip-hop, Salsa, Dominican masks, and Congolese sculpture. Through mixed media pieces featuring Cruz’s signature materials, the exhibition delves into inherited traditions and their impact on cultural identity.

Heather Grey Gallery held the opening reception for Carry on Tradition on May 18, 2024, at the historic Hooper House, at 100 E 23rd St, Baltimore, MD.

The opening reception proved that Walter Cruz is truly valued in Baltimore. Even though Walter resides in NYC, Baltimore is definitely a part of him.

On June 15, 2024, Walter Cruz hosted a rope-making workshop prior to an artist talk with Mark Melonas of Lukeworks, moderated by Michael E. Haskins, Jr. of Heather Grey Gallery within the Hooper House.

The ropemaking workshop brought together an intimate group of folks, who were all immediately awed by the instant gratification provided by the teachings of Walter’s ropemaking process.

As for the talk, bringing Walter Cruz together with Mark was a seed surely planted. Outside of getting both artists’ and professionals’ outlook on concrete, Walter discussed his wishes to go big, sculpturally. During the talk, we found out that Mark might be able to assist Walter in that endeavor.

The mood at the talk was curious and eventful. We held the talk on the Hooper House grounds, enjoying how the concrete bleacher-style seating complimented Walter’s indoor work (Walter’s exhibiting pieces bring outdoor elements inside). Sharing the outdoors with us was the concurrent Pride Festival and Fleet Week.

We have decided to extend Walter Cruz’s show through Artscape, with the closing reception for Carry on Tradition on August 3, 2024.

Artscape is one of America’s largest outdoor arts festivals. Originally crafted to showcase Baltimore’s cultural flair, Artscape has been a driving force for community support, economic growth, and investment in the Mount Vernon, Bolton Hill and Charles North and Station North Arts District.

“Carry on Tradition” will be on view at Heather Grey Gallery’s Hooper House location from May 18, 2024 to August 3, 2024, Heather Grey Gallery at Hooper House is located at 100 E 23rd St, Baltimore, MD 21218. For press inquiries or further information, please contact [email protected].

This article is provided to you via a text interview between Alicia Astronomo, director and editor-in-chief of vomitmouth blog and magazine, and Michael Haskins, Jr., visionary and director of Currency Studios and Heather Grey Gallery. The content has been edited for print by Alicia Astronomo and Michael Haskins, Jr.

Artist: @2oceans

Place: @athooperhouse

Gallery: @heathergrrey

by Ed Gunts

Published June 28 in Baltimore Fishbowl

Excerpt: The one-story structure that houses a 7-Eleven convenience store at 211 W. 28th Street in Remington would be replaced by a six-story apartment building that’s all the colors of the rainbow, under a design proposal unveiled this month.

The development site is a triangular parcel bounded by 28th Street, Remington Avenue and Cresmont Avenue. The developers are Seawall and Charm City Buyers. Seawall, which owns the land and leases it to 7-Eleven, has given notice that it plans to replace the building that contains the convenience store with a mixed-use development after the store’s lease expires around the end of this year. According to Katie Marshall, director of communications, Seawall is committed to bringing 7-Eleven back as a tenant of the new building. The architect for the project is PI.KL Studio and the landscape architect is Floura Teeter.

Preliminary plans for the proposed building were presented to the Land Use Committee of the Greater Remington Improvement Association (GRIA) on June 5 and to the Baltimore Planning Department’s Urban Design and Architecture Advisory Panel (UDAAP) on June 13.

by Ed Gunts

Published June 27 in Baltimore Fishbowl

Excerpt: Baltimore’s July 4 celebration will include a tribute to the Francis Scott Key Bridge and the six workers who lost their lives when it collapsed.

The tribute will come during a 15-minute drone and fireworks show that will start at the Inner Harbor at 9:30 p.m., the final event in a day of activities marking Independence Day in downtown Baltimore.

Produced by the Baltimore Office of Promotion & The Arts (BOPA), the Waterfront Partnership of Baltimore, the Baltimore Symphony Orchestra and the City of Baltimore, the event will be the first time a drone show has been added to Baltimore’s traditional fireworks display on the Fourth of July. BOPA first put on a combination drone and fireworks display last New Year’s Eve.