The Curator's Choice

Curator Ann Shafer revisits the set of six progress proofs and the final engraving of No Man's Land, 2004, by James Siena. You can imagine that print curators love this kind of object because of its ability to show very clearly how the image was constructed. 

Curator Ann Shafer revisits the linoleum cut Voice of Jericho, 1958, by Charles White, which portrays musician and activist Harry Belafonte singing his heart out. The print is on Ann's top-5 list of objects from the BMA's collection that she would love to have for her own.

Curator Ann Shafer talks about the epic etching, TapHistory, 2005, by Tru Ludwig, which she helped print recently. Taking its form from the Bayeux Tapestry and full of historical notes about conquest and war, the print asks: why do we learn nothing from history?

Curator Ann Shafer talks about three drawings by William Dutterer, which she brought into the collection of the Baltimore Museum of Art. The three are from his later anti-war works of heads that are gagged, blindfolded, and donning a gas mask.

Curator Ann Shafer looks at a set of two etchings by Kiki Smith, which she made at Crown Point Press, San Francisco. Hear how Shafer failed to acquire these pointed and poignant etchings for the collection of the Baltimore Museum of Art.

Curator Ann Shafer looks at a set of four prints by sculptor Anish Kapoor, which he made at Thumbprint Press, London, for the publisher The Paragon Press. Hear how these completely abstract images ask questions about voids, 2D versus 3D space, and moiré patterns. Thoughtful and beautiful.

Curator Ann Shafer looks at three photoetchings by sculptor Alyson Shotz, which she made at Graphicstudio, University of South Florida, Tampa. Hear how their digital birth transforms into a very hand-ed etching--a veritable digital-analog bridge. But one must look closely. As Ann has often said: these print reward scrutiny.

In The Curator's Choice, independent curator Ann Shafer talks about favorite prints, drawings, and photographs. Some are objects she acquired for the Baltimore Museum of Art, some are those that got away, and others are objects of note. In each short episode, Shafer discusses one object or set of objects, including why she is drawn to it and how she did or would present it to a museum for acquisition, as well as some behind-the-scenes thoughts about the business of acquiring art. Short and digestible, Shafer aims to demystify the role of the curator and open up pathways for more meaningful discussions about art.