Baltimore Fish Bowl | BMA receives $ 5 million to create center for prints, drawings and photographs –



Baltimore Art Museum
Photo from Baltimore Art Museum by Ethan McLeod

The Baltimore Museum of Art today announced that it has received a donation of $ 5 million from longtime supporters Nancy Dorman and Stanley Mazaroff to create a center dedicated to the presentation, study and preservation of its collection of 65,000 objects of prints, drawings and photographs.

The 7,000 square foot space will be on the first floor of the museum, adjacent to the previously announced Ruth R. Marder Center for Matisse Studies. It will be called the Nancy Dorman and Stanley Mazaroff Center for the Study of Prints, Drawings and Photographs.

The museum, which will gradually reopen from tomorrow, is raising $ 10 million for the new center, and Dorman and Mazaroff’s donation is the largest donation. Other funds will come from the State of Maryland, the City of Baltimore, the France-Merrick Foundation and the Institute for Museum and Library Services.

The museum’s two new study centers are designed by Quinn Evans Architects and are slated to open in fall 2021.

“For nearly two decades, Nancy Dorman and Stan Mazaroff have been outstanding stewards of the BMA, bringing their passion, expertise and leadership to support the success and growth of our institution,” said the Chairman of the Board of museum administration Clair Zamoiski Segal in a statement.

“Their myriad contributions have helped the museum realize its vision of equating scholarship and accessibility, and today we are again inspired by their generosity and spirit.”

Considered one of the most important collections of works on paper in the United States, the museum’s collection includes approximately 57,000 prints, 4,000 drawings and 4,000 photographs from the 15th century to the present day.

A highlight is the George A. Lucas Collection, a resource for the study of 19th century French prints, featuring works by Eugène Delacroix, Mary Cassatt, and James Abbott McNeill Whistler, among others.

The collection also includes European graphic works by artists such as Albrecht Dürer, Rembrandt van Rijn, Francisco de Goya and Édouard Manet; modernist prints and drawings by Paul Cézanne, Pablo Picasso, Marcel Duchamp and Joan Miró; experimental photographs by Man Ray, Alfred Stieglitz and Edward Weston; and 20th century American photography by William Eggleston, Gordon Parks and Carrie Mae Weems.

As part of its efforts to include more art by women and artists of color, the museum has added contemporary works on paper by Sanford Biggers, Julie Mehretu, Wangechi Mutu, Faith Ringgold, and Kara Walker, among others.

Plans call for the Dorman and Mazaroff Center to include space for changing exhibits, study rooms, conservation, offices and storage. It will have teaching spaces for local colleges and universities, and areas for hosting visiting researchers and hosting public programs.

A member of the museum’s board of directors since 2002, Dorman is currently vice-president and chair of its governance committee.

Prior to retiring in 2004, she was a general administrative partner at New Enterprise Associates, a venture capital firm. She also worked at the Carter White House and in the offices of US Senators Walter Mondale and Joseph Tydings.

Her husband, Mazaroff, is a retired lawyer and art historian. From 1971 to 2001, he was a partner at the law firm Venable, Baetjer & Howard. He also taught at the University of Maryland Law School and served as an arbitrator / judge under the auspices of the American Arbitration Association.

After retiring from Venable in 2001, Mazaroff enrolled full-time as a special student in the Department of Art History at Johns Hopkins University. In addition to being an authority on the Frick Museum in New York, he is the author of two art history books published by Johns Hopkins University Press: Henry Walters and Bernard Berenson, Collector and Connoisseur, published in 2010 , and A Paris Life, A Baltimore Treasure: The Remarkable Lives of George A. Lucas and His Art Collection, published in 2018.

The centre’s vision is in line with the museum’s broader strategic plan to invite more people, from a variety of backgrounds, to familiarize themselves with its collection.

Along with the creation of the physical center, the museum plans to digitize around 40,000 prints, drawings and photographs and make them available online.

“We are committed to the BMA’s mission of making art more accessible to a wide range of audiences and are delighted that our support helps the museum achieve this goal,” Dorman and Mazaroff said in a statement.

“We are delighted that the center also matches our interest in contemporary photography and my research on the George A. Lucas collection,” Mazaroff added.

The center will be led by Andaleeb Badiee Banta, Senior Museum Curator and Head of the Prints, Drawings and Photographs Department, and programmed by the BMA’s conservation team.

Its inaugural exhibition will explore ideas of transfiguration, metamorphosis, masquerade and “the fluidity of self-presentation” through an examination of works produced over five centuries.

Tentatively titled “Shape-Shifting: Transformation on Paper” and curated by Banta and the staff of Prints, Drawings & Photographs, the exhibition will focus on the evolution of expressions of identity and appearance.

According to curators, this will range from “representations of conversion in the natural and spiritual realms, to the splendid deception of early modern masquerades, to the posture and performance of costumes, streaks and bodily reinventions that reflect the specter of subjectivity. modern. “

By creating the center, “we bring together in one space the essential functions of the museum – conservation, study, preparation and exhibition – and make them transparent to the public,” museum director Christopher Bedford said in the announcement.

“At the same time, this dedicated center expands our ability to serve both academics and our wider community, who will have greater access to this incredible range of books. We are very grateful to Nancy and Stan for their generosity and for sharing our vision.



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