Author: Beth Saunders

August 30–December 15, 2023

Lost Boys: Amos Badertscher’s Baltimore is the first career retrospective of artist Amos Badertscher (American, 1936–2023) in the United States. Between the 1960s and 2005, Badertscher documented hustlers, club kids, go-go dancers, drag queens, drug addicts, friends, and lovers who were part of LGBTQ+ life in Baltimore. A self-taught photographer, Badertscher worked on the fringes of the polite society into which he was born as an upper-middle class white Baltimorean. “Breaking all the rules of documentary photography,” as he has stated, he developed a signature style of spare portraits staged in his home studio. 

Taking his camera into the city’s clubs and gay bars, Badertscher recorded the shifting geographies and personalities of queer Baltimore pre-Stonewall and through the height of the AIDS epidemic. In the early 2000s, he captured the urban decay, economic devastation, and rampant drug use of sex workers in the city’s post-industrial landscape, in a body of work foregrounding aspects of Baltimore’s queer history that have rarely been acknowledged. Badertscher returns repeatedly to his personal photographic archive, inscribing his prints with handwritten notes on his subjects’ personal histories, filtered through his own recollections. This exhibition explores the power dynamics and desires embedded in his photographs, which memorialize people often marginalized by society.

Header image: Amos Badertscher, Voice Wafers in Time #1, 1975. Gelatin silver print. Courtesy Amos Badertscher Estate.

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Selected works

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In Memoriam

Amos Badertscher | “Who Documented the Sexual Underground,” The New York Times August 9, 2023

Amos Badertscher | “Baltimore photographer who chronicled queer scene . . .,” The Baltimore Sun August 1, 2023

Amos Badertscher | “Remembering Amos Badertscher,” artnet News July 28, 2023

Amos Badertscher | “Amos Badertscher, photographer of Baltimore street life, 1936–2023,” ArtReview July 28, 2023

In Memoriam: Amos Badertscher (1936-2023) | CLAMP Art July 26, 2023

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Distant Early Warning, a multi-year project (2015-2018) by Canadian/American photojournalist Louie Palu, provides a look at the evolving militarization in the North American Arctic driven by invented narratives and imagined threats. Now, decades after the end of the Cold War, debates have emerged over more efficient shipping routes, opportunities for resource extraction and the future of the Arctic related to climate change. Along with the six other Arctic nations (Finland, Greenland (Denmark), Iceland, Norway, Russia, and Sweden), the United States and Canada are maneuvering to assert and defend their claims over the territory. Consequently, some Indigenous communities in the region are slowly coming face to face with increased geo-political activity and tourism. This exhibition examines operations of power and bears witness to a culture of fear and hyper-preparedness as we brace for an unknown future.

Palu’s work was supported by funding from the John Guggenheim Memorial Foundation, National Geographic Magazine, and Pulitzer Center. The presentation of this exhibition is supported by a project grant from the Baltimore County Commission on the Arts & Sciences and an arts program grant from the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts. Additional support comes from the Libby Kuhn Endowment Fund, as well as individual contributions.

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Once considered nearly impenetrable, the Arctic is losing roughly 21,000 square miles of ice each year and warming faster than any other place on the planet. As climate change melts its icy armor, the region is taking on strategic importance. This panel discussion explores contemporary geopolitics and geology in the Arctic from a variety of artistic, scholarly, and scientific perspectives. Topics include: new scientific methods for measuring and analyzing the influence of sea ice thickness on the climate, the future of national competition and claims over the Arctic, and impact of climate change on the indigenous communities in the region.

Join us before the panel discussion for a participatory installation of photographs from Distant Early Warning encased in blocks of ice in the plaza outside the Albin O. Kuhn Library and in a hands-on display in the Library Gallery.

Panelists:

Louie Palu (bio below)

Dr. Nathan Kurtz is the Chief of NASA’s Cryospheric Sciences Laboratory, Deputy Project Scientist for NASA’s ICESat-2 satellite mission, and UMBC alum (PhD Atmospheric Physics, 2009). His research involves remote sensing of the polar regions with an emphasis on the use laser and radar altimetry data to study the impact of sea ice on the climate. He has traveled to both the Arctic and Antarctic numerous times as part of ship-based and airborne field campaigns.

Dr. Brian Grodsky is a Professor of Comparative Politics and Chair of the Political Science Department at UMBC. His research interests include various aspects of democratization and human rights, as well as the politics of disaster response and climate change. His books include, The Costs of Justice (University of Notre Dame Press 2010); Social Movements and the New State: The Fate of Pro-Democracy Organizations When Democracy is Won (Stanford University Press 2012); and The Democratization Disconnect (Rowman & Littlefield, 2016).

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Virtual Artist’s Talk: Louie Palu
5:00 pm (EST)
February 22, 2022

Register here (via Webex)

Peggy Fox’s career as a photographer spans assignment-based work and her own fine art practice. For clients, she produced picture stories aimed at conveying a narrative within a single image. Meanwhile, her photographs recording street life in Baltimore, documenting the vanishing towns of Maryland’s Patapsco Valley, and chronicling her extensive travels across the globe provided opportunities to tell stories shaped by personal encounters and characterized by a strong sense of place. Fox’s experiments in collage expand the existing imagery of those photographs. Combined with transparencies, layered upon aluminum ground, and embellished with hand-worked details or digital manipulation, the resulting images engage the surrealist tendencies of collage to render reality into fantasy and to juxtapose subjects in new, unexpected ways. Certain motifs recur across the body of work, including enshrouded, falling, or diving figures; architectural features of arches, portals, and stairways; and references to religious iconography, mythology, and physics. This virtual presentation is structured around three groupings, intended as three possible unfolding paths that emphasize the inherent narrativity of the artist’s constructions. These sets of collages are not prescriptive, but are rather evocative of emotions, impressions, and symbols. Viewed as “morality tales,” the images conjure stories but remain ambiguous, their lessons open to multiple interpretations. 

* The images below will scroll automatically. They can also be advanced using the arrows at right and left. To pause the slideshow and to view titles, hold the cursor over the image.

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The work begins with my black and white photographs. It grows out of a desire to personalize and elaborate on these initial images by joining them, collaging them, and painting on them to enlarge the story. The particular quality of the photographs is integral to, and is the dominant feature of, the images.

As an independent contract photographer I was part of a genre of “what makes a one shot, picture story?” There were parameters, there was an approach. There were stories to be told, in schools and hospitals. It was very traditional storytelling taken to the highest level. This work, while honoring that, is storytelling of a different nature.

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As described by the artist, West Baltimore Ruins is “a visual story told by West Baltimore’s daughter.” McCoy created the series between 2018 and 2020 as a means of documenting the architectural landscape of the neighborhood in which she was raised, where an estimated one third of buildings are now abandoned. In addition to her digital camera, McCoy also used a cell phone camera to record her impressions, noting that its mobility and discretion enables photographs to be made easily while on the move. The resulting images take the viewer on a walk through the neighborhoods of West Baltimore as viewed through McCoy’s observant eyes,  capturing the vibrant colors of empty row house facades, the charm of the area’s neglected historical architecture, unruly vegetation reclaiming empty houses, and signs of encroaching gentrification.  

As physical remains of the past, ruins are typically associated with disuse and decay. McCoy’s photographs point toward the causes behind this deterioration in West Baltimore: housing discrimination, urban blight, voucher programs that have relocated residents rather than reinvigorated neighborhoods, and lack of investment in commercial renewal that has benefitted other parts of the city. By turning attention—and her camera—to this landscape, McCoy also enlivens it. Her connections to the area and interviews with residents that helped shape the project invest the photographs with a personal perspective, preserving the memories and histories embedded in the vanishing architectural structures of West Baltimore.

This virtual presentation displays a selection of images and interviews from the project. Photographs from the series have been presented both in black and white and color on the artist’s Instagram and the entire series is published in McCoy’s 2021 book West Baltimore Ruins.  

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Public Program

Virtual Artist’s Talk: Shae McCoy in Conversation with Dr. Ashley Minner (UMBC)
12:00 noon
March 11, 2021

Register here (via Webex)

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West Baltimore Ruins

West Baltimore has aggressively opened my eyes to the irresponsibility and disservice of city officials done to urban black communities. Ironically, these communities once thrived with culture and now they decay as new developments await.

Shae McCoy, West Baltimore Ruins (2021)

This project is an in-your-face first account of what Baltimore residents in these mentioned communities experience everyday. It is an artistic call-out for city officials to see the cause of their neglect.

Shae McCoy, West Baltimore Ruins (2021)

In 2018, then mayor of Baltimore Catherine Pugh targeted corner stores in West Baltimore as sites of drug dealing and crime that did little to benefit the community. However, corner stores and convenience stores often provide basic necessities to residents in areas defined as food deserts and where commercial service establishments are otherwise lacking. McCoy notes that the first sign of gentrification in her neighborhood was the closure of the corner stores.

In the 1950s and 60s, Sandtown was known as “Baltimore’s Harlem” where musicians like Diana Ross and Billie Holiday performed and where jazz legend Cab Calloway was born. After riots in 1968, the population began to decline and now one third of buildings in the neighborhood stand vacant. The neighborhood was locus for the 2015 Baltimore Uprising in response to the arrest and death of Freddie Gray while in police custody. Residents of the area report feeling harassed by police presence. 

I am no stranger to vacant houses. As a matter of fact, I still live next door to one in my current neighborhood of Park Heights. Many of the vacant houses in my old neighborhood of Sandtown served as playgrounds and meeting places for my friends and I as children.

West Baltimore Resident Otis Eldridge in Shae McCoy, West Baltimore Ruins (2021)

*Click images in galleries above to enlarge

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Interviews

McCoy interviewed current and former residents of West Baltimore during the making of this project. Their words and recollections appear in her book, creating a dialogue between her images and the community that calls these neighborhoods home.

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About the book

West Baltimore Ruins is available to purchase here.