Wednesday, November 25, 2015

Handmade Gifts for Your Season of Giving!

Need some handmade gifts to give? We have Contemporary Worry Dolls available for purchase! Each one is uniquely made in the loving hands of a local feminist artist, and they are only ten bucks!

"Own a hand-made Contemporary Worry Doll figure! Tell the doll your worries before bedtime, and while you sleep soundly, it'll take on those Big Bads like an itty-bitty warrior."

Available on the purchase tab up top, your purchase of TFAPB products help us present new, enriching programs to our Baltimore community.

Wednesday, October 21, 2015

Relaxy November Meeting

Missed a few of our meetings, and want to catch up while having a relaxing drinky-drink and maybe some awesome food? Join our Assistant Director, Cait Byrnes on November 3rd for this informal meet-up!
Tuesday, November 3, 2015
7-8 PM
Liam Flynn's Ale House
22 W North Ave, Baltimore, MD 21201

Still Life with Ham Anne Vallayer-Coster

See you there!

Tuesday, September 8, 2015

TFAPB's Weekend Helper Elving

Artist Dafna Rehavia put this very nice portfolio of images together for us! Check it out, it details our performance workshop at Gallery CA this past weekend for Dafna's exhibition, Rituals and the Docile Body.

Artist, Dafna Rehavia

We were also "seen" by Bmore Art and Cara Ober at Alloverstreet!

Friday, August 7, 2015

Call for Curators!

Call for Curators - NEW! Curator-In-Residency Program!*

The Feminist Art Project Baltimore (TFAPB) is seeking a qualified and creative Curator for our new Curator-In-Residence program! CIR’s must be willing to serve a term of one year in the Baltimore City area. This call is open to Baltimore-area, self-identified women artists/curators. Women of color are highly encouraged to apply. CIR’s will be chosen by a diverse committee of professionals in the area. Please review the expectations and requirements for this position, and tell a friend that we’re looking too! 

This call will be available until November 1, 2015

Complete call available here.
Curator-In-Residency Application Form available here.


*Information cross posted in Call For Artists tab

Wednesday, August 5, 2015

Body Rituals

At the end of this month, and beginning of next, you'll be able to catch us at Rituals and the Docile Body, an exhibition by Pennsylvania artist, Dafna Rehavia, at Gallery CA! We'll be assisting Dafna with a performative workshop on the night of the Friday, September 3rd! (We'll also be at Alloverstreet, the week before)

Friday, July 31, 2015

Friday, May 29, 2015

For the Love of Summer

We were lucky to score an intern this summer, for about eight weeks. This is a trial run for us, being that we are a nomadic organization and are volunteers, ourselves, this creates several unique challenges for an internship. Ingrid has agreed to be our test subject, and feedback-giver this summer, and she started yesterday.

Our first order of business, was organizing the donators and prizes from our recent indigogo campaign! After that we had Ingrid make a whole TON of thank you postcards, hand printed and in various, cool colors!

   dig the dragon doodle at the top

Look for the prizes coming to you soon, generous donors!

If you missed the campaign and would still like to donate to TFAPB, you can always hit up our paypal account through Fusion Partnerships, our fiscal sponsor in Baltimore!

Friday, May 22, 2015

Last Week, Today II

TFAPB at the opening for breathe in gold light

At this point, we're at (beyond) the close of Kelly Johnson's exhibition, breathe in gold light, but last week, I attended a self-care workshop for artists with our Special Events Coordinator, and Holistic Health professional, Cait Byrnes. Here are some in-gallery images from this great event!

You can check out what other services Cait Byrnes, Holistic Health Coach provides on her website, here.

Saturday, May 9, 2015

Last Week, Today

Last Friday we hosted our annual Feminist May Day event, Walpurgisnacht, at City Arts Apartments. We had had this event planned for months in advance, but due to the occupation, we had to shift our focus, and our time of the day (curfew). We offered the Oliver Street community a small breath in the way of potluck, artmaking, seedbombs, historic rituals, conversation, and at the close of the night, a few awesome performances. We had quite a few people stop in after the protests, as they were walking by on their way home.

It was a much needed break for us, and I personally met a lot of new furry friends in the neighborhood, and really TALKED to PEOPLE for the first time in what felt like weeks...

Maiden Raven

Maki Roll

Here are a few short clips of the performances by Maiden Raven and Maki Roll...


The next day, Saturday, was World Labyrinth Day! We recognized this by visiting Kelly Johnson's thesis exhibition, breathe in gold light, at New Door Creative gallery. There was a short lesson on the origins and significance of labyrinths from artist Sandra Wasko-Flood, and then we all headed outside to get walking by 1:00 pm local time to walk as one in the labyrinth space. It was a pretty cool experience, especially with the accompaniment of the snare drum.

"The goal of life is to make your heartbeat match the beat of the universe."
-Joseph Campbell


Today's TFAP-B programming event is a Self-Care Workshop for Artists, with our Special Events Coordinator, Cait Byrnes, Holistic Health Coach (above). Updates on this weekend, might be reported next weekend, as I signed up for this self-care session as well!

--Posted by Shana

Thursday, April 30, 2015

Baltimore, Now

So. There are some heavy things happening in Baltimore right now.  #blacklivesmatter  We are in the midst of a week long (heavily armed) curfew and tensions are still high. We know that there will be very important marches and protests to attend in the next few days, but we have a few (previously planned) ways to collect and center yourself this weekend, if you so choose.

After much consideration and debate with Cait, our Special Events Coordinator, we have decided to go forward with our May Day event, Walpurgisnacht, on May 1st at City Arts Apartments. We're still on, but shifting things a little earlier to give everyone time to get home before curfew. We'll start at 6:30 pm and wrap up by 9:00 pm. We're working hard to create a space of personal growth, processing, and healing from the last few days. So our offerings will be altered from our original plan. We'll have some sage-smudging, and art projects focused on healing and keeping negative energies at bay. But we'll also have dancing, food and performers...because, "Baltimore".

More (original) Info:


This Saturday, May 2nd, is World Labyrinth Day. All around the globe people will be walking labyrinths for peace.

Over four thousand years old and found worldwide, labyrinths are ancient symbols for wisdom and peace. Many people find that walking the single meandering path slows breathing, focuses the mind, and induces a peaceful state.

Learn more about the history and significance of labyrinths from a presentation by labyrinth expert Rev. Dr. Virginia LoneSky and walk the meditative path created specifically for the exhibition at New Door Creative Gallery. Free and open to the public, no prior experience necessary! Stay and view the exhibition inside the gallery!

More Info:

Please check for updates on our facebook page in the next few days, to see if things may have changed!

Chin up, Bmore. We're beautiful. 

Tuesday, April 21, 2015

Walpurgisnacht II - May 1 at City Arts

Potluck! Seed Bombs! Performances! Cleansing Fire! Our now annual feminist May Day Celebration is ON! Join us, the evening of May 1, 2015 at City Arts Apartments, for some Springtime revelry...

Walpurgisnacht, or “Walpurgis Night” has historically been held on the eve of St Walpurga's day, which interestingly, coincides with May Day. A formerly pagan, Celtic festival was transformed into a Christian Saint's day, primarily due to the Springtime date which coincided with her canonization. Saint Walpurga is said to be the patron saint against evil spirits.

Traditionally, on the eve of May Day, witches were said to ride to the Blocksberg mountain in Germany, to celebrate the arrival of Spring. “Non-magicians”, and other ordinary people in Germany, would typically hold parties called Tanz in den Mai (“Dance into May”) on Walpurgisnacht, in order to welcome Spring and the warmer weather with lots of singing and dancing. Some people would also light May bonfires to chase away the evil spirits of Wintertime.

For the first officially organized celebration of Walpurgis Night in 1896, only male guests were allowed. Today however, the “witch” is often thought of as a symbol for independent and strong women.*

We hope that Walpurgisnacht continues to be seen as both a space for reflection and ritual, as well as a celebration of art, fun and Springtime revelry.

This free, open-engagement May Day event includes a potluck, fire, performances, artmaking and seedbomb stations, as well as purifying historic rituals. We’ll celebrate the advent of Spring, and the many powerful and supportive women in our lives.

Our version of Walpurginacht focuses on the concepts of Purification, Renewal, Personal Growth and Joy. We invite you to “Dance into May” with us.

*The above information sourced from “UK German Connection”  

Flier created by Cait Byrnes, Special Events Coordinator for TFAP-B. 

Tuesday, April 14, 2015

A Baltimore Minute: Director, Producer & Writer, Brenda Hayes

Last summer, Allison Gulick and I were very lucky to be interviewed by the lovely Brenda Hayes for her program, This Light: Sounds for Social Change. With TFAP-B being very new to the world at the time, I was delighted to be allowed such a lengthy expanse of time with which to speak about our mission and programs. Brenda is a writer, radio producer and film director in the DC area, whose work focuses on the arts in connection with social justice. She has some impressive new projects in the works, including directing a film, Back Burner Dreams, which is detailed in the interview below. Beyond that, Brenda is warm, welcoming and continually supportive, and I'm very glad to know her, even a little bit.

And now...the interviewer becomes the interviewee!

 Director, Producer and Writer, Brenda Hayes

Shana Goetsch: Hi Brenda! I was wondering if you could tell us a little about your background,
to start? Are you a Washington DC or east coast native?

Brenda Hayes: Hi Shana - My family migrated from New Orleans to Washington, DC when I was about 2 years old, so for all intents and purposes I’m a DC “native”.

Shana: What was it that encouraged you to initiate the project, This Light: Sounds for Social Change with Ben King?

Brenda: I wanted to create a platform for artists activists to tell their back stories, share their lived experiences and what informs their art. I heard a public radio interview of Dr. Vincent Harding, a close friend of and speech writer for Dr. Martin Luther King Jr. Dr. Harding told the story of Betty Mae Fikes, the youngest member of The Freedom Singers, the musical arm of The Student Non-Violent Coordinating Committee (SNCC.) At the tender age of 16, Ms. Fikes was arrested in Birmingham, Alabama for singing This Little Light of Mine. That and other “freedom” songs were rallying cries for justice; those songs were sung to galvanize, encourage, uplift, and though the lyrics and beats are different some decades later, the message behind the music remains the same, freedom, justice, peace. Dr. Harding also spoke of the intergenerational dialogue and work that existed during the Civil Rights Era. I am some decades older than most of my guests, so each time I broadcast there’s usually at least two generations having a dialogue about progressive social change using art as a catalyst.

 The seriously fantastic logo for "This Light: Sounds for Social Change"

Shana: As I know you have a discerning eye, I'm wondering how you decide on a subject matter? Do your interviewees, collectively, tell a larger story?

Brenda: Yes, my all of my guests tell a larger story — they create their music, poetry, visual art, dance, spoken word, film to foment change; the medium might be different but the intent is the same.

(*ahem*, I had to look up the definition of the word "foment", which is "to instigate or stir up", OR "to bathe in warm or medicated liquid". I really like the idea of "bathing in change".—sg)

Shana: You have a new project coming up in which you are directing, Back Burner Dreams. Is that a new role for you to play creatively? Or maybe a better question is: out of all your roles writer, producer, director which are you most comfortable in playing?

Brenda: I am so excited about Back Burner Dreams - A Women’s Passion Project, I am excited about the lives that will be touched, the discussion for change, (there’s that word again), I trust it will create, and the women who are inspired to live their dreams and become their “whole” selves. I co-produced Vow Of Silence, a short by Be Steadwell in late 2013, I must say that producing is not for the faint of heart. I wrote and directed a short while at Howard University for a cinematography class I was auditing at the time, but Back Burner Dreams is the first film where I’m really at the helm as director / writer; can I say I enjoy it all?

This screening is coming right up, Ohio!

Shana: What is your most important tool?

Brenda: I think my lived experiences are my most important tool. I grew up during the Civil Rights and Black Power Movements. Those eras were filled with evocative art and artists, Odetta, Nina Simone, Joan Baez, Richie Havens, Pete Seeger, Curtis Mayfield, James Brown, visual artists Romare Bearden, Emory Douglas of The Black Panthers, James Baldwin, poets Nikki Giovanni, Sonia Sanchez, the Black Arts Movement. They were who I listened to, their songs were in heavy rotation during the 60’s. The fervor, energy and events of that time were documented in song, poetry, and stories, and I still feel that each time I meet and interview my guests.

Shana: Do you have a particular female artist, author, or musician that you feel has influenced you or your practice (working in any medium, historical or contemporary)? You can always choose several...

Brenda: Lorraine Hansberry, who wrote the seminal play A Raisin In The Sun, has to be at the top of the list. Eartha Kitt, who was “black listed” for speaking out against the Vietnam Conflict while at a “ladies” luncheon hosted by Lady Bird Johnson at the White House during her husband’s administration, Nina Simone, Octavia Butler, Katherine Dunham, June Jordan, emma’s revolution, Sweet Honey In The Rock, so many, and of course the guests featured on This Light: Sounds For Social Change.

Shana: How do you decompress, or what allows you a stress-free or "quiet space"?

Brenda: I love having friends over especially for game night, we’re all competitive, it gets crazy and it’s always fun. I love music, so just listening to the music of my guests, I have quite the music library thanks to my past guests. I also enjoy relaxing by an ocean, river, lake, it’s rejuvenating for me.

Shana: Thanks so much Brenda, for spending some time with us. When can we hear your voice next? What's coming up for you?

Brenda: This Light’s next show is April 19, my featured guest is Miss Justice Jester, what a story she has to tell. Hopefully, Back Burner Dreams will have its first screening late June, early July - hope to see TFAP-Baltimore there. Thanks for the opportunity to spend a little time with you.

Shana: We'll be there!

                Image courtesy of Brenda Hayes

Tuesday, March 24, 2015

Support Your Local Baltimore Artists!


As many of you know, I am a proud, founding member of The Feminist Art Project - Baltimore, and I'm here to ask for a little support from you, and hopefully others in your network! We started an Indigogo campaign this week, with a very cute video made by my buddy, Jessica Wyatt.

 Click here to check out our crowdfunding page!

The Feminist Art Project - Baltimore recognizes the aesthetic, intellectual and political impact of all women on visual arts, as well as history and culture, regardless of race, class or creed. We are a grassroots, non-profit arts organization which aims to be inclusive; supporting local, self-identified female artists, as well as men, who recognize and promote Baltimore area women in the arts.

We are seeking funding, in an effort to continue our free programs, events and opportunities for artists and neighbors in Baltimore City and the surrounding area. In our less than two years of operation, we've held a range of free artistic and cultural events...with an operating budget of exactly ZERO. We'd love to change that! Seriously, imagine what we could do with a little money and the backing of all of our friends!


Last week, during my Women, Arts and Culture course, I shared some of the principles/efforts of the Guerrilla Girls with my students. We looked at this piece (below), and I asked them, "What DOES happen next month? And what if I don't have work to show in March--and March only--of every year? Do I have to wait a whole year to be recognized?"

That's actually why I founded this chapter of The Feminist Art Project. I was searching for art exhibitions with themes of women and women's subjects/bodies. I unfortunately completed my google searching in April of that year. And I'll tell you honestly, I couldn't find anything that related to my work thematically. I had JUST missed all of the calls that fit my March, "Women's Month". It was frustrating, to say the least, so I created an Action Plan, and did something about it!

Please help support this effort by Sharing or Donating! And please let me know if you have any questions, or an interest in getting involved! Thanks so much for your time!

Shana R. Goetsch
Visual Artist, Community Arts Facilitator
Regional Coordinator, The Feminist Art Project-Baltimore


Sunday, March 8, 2015

A Baltimore Minute: Artist, Katie Duffy

It's time again for a little peek into another artist's world! For this Baltimore Minute, we'll be talking to the awesome, active local artist, Katie Duffy! Katie actually performed in our first TFAP-B event, Speak Up. And recently, she was kind enough to create our really incredible new logo design (incidentally, I'm pretty sure I was a real pain in the ass about it, so kudos to Katie for putting up with my often creative willfulness).

Now, let's learn more about Katie and her creative process, here we go!

  Katie's performance at our Speak Up event, Winter 2014

Shana Goetsch: Hi Katie! Let's start by telling us where are you from, and how did you arrive in Baltimore City?
Katie Duffy: I am from the Chicago. I grew up on the south side about two miles west of Midway Airport in a neighborhood called Clearing. I came to Baltimore because I thought going to grad school was a good idea :) ~ I'll let you know if it was or not in about 10 years. 

Prior to grad school I was living in Dubuque, Iowa, most recently known for its sledding ban. I went to undergrad there graduating with a BA in Social Work and Integrated Visual Arts. In retrospect, I stuck around post graduation for a while because I was unsure of what aspect of my studies I was most interested in pursuing.

So I found myself in this really small community that was very different than all of my experiences growing up in Chicago. To be honest I was very unhappy there, which was the result of a combination of my post grad directionlessness as well as my fish-out-of-water feelings within a city that had a lot glaring social imbalances. All that being said I was fortunate that I had a really supportive community there that allowed me to do all these projects and shows that I don’t think I would of been able to do in Chicago. The women in my life there taught me some incredibly valuable lessons about living, working, and how art fits into all that, that have contributed to the projects I am most passionate about today. I had a professor there that was pretty fresh out of the new media program at SFAI who totally changed my entire definition of art making. I also had some really great friends who, at the drop of a hat, were willing to help me with literally whatever crazy project or installation I had cooked up. Looking back the amount of support I had was pretty ridiculous and I feel a great amount of gratitude towards many people who are still living there and working super hard to make the creative community there vibrant and sustainable.

After all these DIY and non profit experiences I felt that it was time for me to take the next steps in my career. I was looking for a program that would allow me to continue the type of work I was doing, which was somewhere between venn diagram smashed in between community organizing, design and fine art. I was really fortunate that I got into more than a few schools and had options. Upon visiting Baltimore to check out the Mt. Royal School of Interdisciplinary Art I kinda fell in love with Baltimore. The community here felt a lot like the community I had in Dubuque, but it also felt a lot like where I grew up. It sounds really silly I guess but everything about the program and the city just felt weirdly right.

Since I graduated in May, I have been fortunate and have had the opportunity to collaborate with some really incredible artists, but I have also continued to learn many lessons about living, working, and how art fits into all that. I will admit some of these lessons have been harder than others. Baltimore has started to feel like home because of those harder experiences though. My partner, who I met in grad school, also relocated here most recently from the midwest. We have started to carve out little life here. We both feel like the MICA community and the larger Baltimore community have given us some good opportunities and that we can contribute to these communities in meaningful ways. 

S: As an artist who recently graduated with my masters as well, I noticed you are a fellow college adjunct professor! I'm curious, do you find teaching to be something that helps your art practice or hinders it (because of time spent away from artmaking, etc)? Is it a difficult balance for you to strike?
K: Oh jeez. Balance. I’ve always been doing a million things at once. I think I do this because I am in constant competition with myself. I don’t care much for competition when it comes to other people, I prefer collaboration. But for myself, I think my perfectionist streak kinda drives me. I think I used to feel bad about this aspect of myself. Always wanting to turn in the perfectly formatted and binded homework assignment, but I have been trying to embrace this as a good thing and channel it, thanks to one of my mentors and of course, Leslie Knope.

So currently, I am working full time as a Designer and Creative Director at an app company, I teach Electronic Media and Culture at MICA, and I am the Co- founder and Designer/Developer of a collaborative digital project space called BrowserAs. All of this on top of my studio practice, which consists of both collaborative installations as well as my own individual work. I find that all of the various projects I am working on at a given time start to influence each other in really exciting ways. For example, I have found that my own practice has been increasingly influenced by my job as a designer and its close proximity to development. My job has given me an introduction to this whole new medium of coding and screen based experiences, which led to the creation of BrowserAs. Now, in my own practice I have started to make these digital prints that deal with the fact that I am always bouncing between these creative personas and different realities - real life - collaboration involving physical presence and verbal communication, - and digital life- the interactive outcome which exists in a digital reality built with code.

Considering my teaching practice, I think all of the above makes me a better facilitator. I don’t want the class I teach to only be about teaching digital skills and how to use programs. I think its super important to also impart on the students that I am teaching them how to access and critique information themselves. I think the best thing I can do as a facilitator is lead by example and hope that having a guide will show the students how to start to piece it all together. As much as I hope I am influencing them, they are also influencing me. I find teaching to be a really sustaining practice. I must admit there are times I am sitting alone in the studio thinking, "Wait why am I doing this"? I find that teaching makes my occasional unease about my career choices subside. My students really inspire and challenge me and I always leave the classroom feeling exhausted but excited.

All this being said, YES. I 100% crave more studio time. I have to work really hard managing and organizing my life and various projects to get to the studio. So when I do get studio time in, it really is a reprieve. Which leads into your next question (this was actually second to last question, I hope you don’t mind me reorganizing #perfectionistproblems)

S: (No problem, and I completely understand the "in competition with myself" bit.) So then, how do you decompress, or what allows you a stress-free or "quiet space"?  
K: I think I’m bad at this aspect of my life, but the whole stress-free thing was never my style. I guess hanging out with my partner Ali is pretty stress free, and he's not like, screaming all the time so its quiet-ish. I also run, do yoga, read and I like to go to artist talks. But most of the time I'm working. I guess I find my quiet space in my work, especially in the studio. Getting the chance for some really focused time to dive deep into something. That’s the best most stress free time for me, kinda hitting the stride and really starting to articulate something in the studio.

 Katie working on site for Co(Lab): Pattern Perception at School 33. Image courtesy of Katie Duffy.

S: Do you have a particular female artist or writer that you feel has influenced you or your practice (working in any medium, historical or contemporary)?
K: I’m going to go with one musician, one writer and one artist.

Annie Clark! Watching her play guitar is revelatory. This is one of my favorite things on the internet.

The work of Ayaan Hirsi Ali was incredibly influential to me when I was younger. My senior Social Work research on Female Genital Mutilation (FGM) led me to a lot of her texts. Her work, particularly The Virgin Cage, really inspired me to begin to combine the interests I had as a social worker and my studio practice.

Zoe Beloff - Zoe was an interdisciplinary artist before it was cool. She is an artist who exists in all of these different worlds, from live performance, to CD- ROM games, to installations. What I love about her work is that she is mining all these historical concepts that have contributed to contemporary stereotypes or states of existence. Within her retelling of them are also these bits of false history, whether it be intentional or just a symptom of translating something that was written from a very limited historical perspective into a contemporary time frame. She totally dismantles our understanding of whose experiences are deemed worth remembering. #badb

S: As a multi-disciplinary artist (do you consider yourself that?), What is your favorite medium to work with?
K: Yeah, I think I would call myself a multidisciplinary artist. I spell that wrong every time I type it so maybe that means I'm actually not that... Anyway, most days I think that what I'm really passionate about falls pretty far outside the purview of normalcy, and that declaring myself anything is just an absurd concept.

When I try to find the common threads that run through all my work, the one thing that stands out is that I am always shifting my mediums and materials. Whatever is around me will end up in my artwork. If I come across something I don’t know much about I immediately want to understand it by taking it all apart to see how it all intersects, then fits back together. I got really into sculptural processes in grad school, most likely because my roommate was in the sculpture program and I knew almost nothing about sculpture. Now I am getting more and more into computer-y types of processes because of my job working closely with developers.

But If I had to choose a favorite medium, I think I like making art on my computer the most. I take my computer everywhere with me. I am on it all of the time. I cuddle with it at night and watch The Nightly Show. I like how immediate it is, and I think it’s an incredible art making tool that allows you to do so much! Plus you can hook little art robots up to it, and make things for you, like you are some type of god. No matter what I am doing, even if I am say working on a drawing or a sculpture, a significant amount of the works in various stages has been done on my computer.

I really love the idea of “computer as medium,” because it’s kind of cheating. I literally have access to all of the tools and all of the time collapsed into a nicely designed silver box. This concept of collapsed space and time has just as many problematic implications as it does good ones, but I think I am interested in dealing with internet as a material from both sides of this argument.

Katie working on site for Co(Lab): Pattern Perception at School 33. Image courtesy of Katie Duffy.

S. Most important tool as an artist?
K: Computer with internet.

S: Thanks for sharing your time and thoughts with us, Katie! I know you've got an opening coming up, tell us a little more about that....where else can we find your work right now?
K: Just finished an installation with Dave Essau and Ali Seradge at the Koban Project that will be up through March. Also just finished a collaborative Installation with Cici Wu for BrowserAs called The Phone Rang, so it Started to Snow, which you can see here. Upcoming with BrowserAs I am designing and developing a Pay Per View Performance interface with Lab Bodies as well as a curatorial project from Ashley Molese. I am always posting new studio stuff to my website too!

Katie projection mapping on site for We Should See Each Other More Often at the Koban Project. Image courtesy of Katie Duffy.