Baltimore Design School
The Bloomberg Arts Internship program is coming to Baltimore this summer, placing 25 Baltimore City rising seniors in paid internships at 14 local arts and cultural institutions. Students will participate in a rigorous six-week program, providing crucial college and career readiness preparation through hands-on, real world workplace experiences and professional development.
Managed by Young Audiences/Arts for Learning and the Greater Baltimore Cultural Alliance (GBCA), the program includes work at an arts organization, visits to arts and cultural organizations, and professional development training. The Baltimore Bloomberg Arts Internship Program runs June 20-August 4, with Baltimore being the third city to host the program along with New York City and Philadelphia.
Participating institutions include performing arts centers focusing on dance and music, art museums, libraries as well as film festivals and television studios. The organizations welcoming Bloomberg Arts Interns include:
Baltimore Center Stage
Baltimore Museum of Art
Baltimore Symphony Orchestra
Center for Innovation, Research and Creativity in the Arts (CIRCA) – UMBC
Dance & BMore
Hippodrome Foundation, Inc.
Maryland Film Festival
Maryland Institute College of Art (MICA)
Maryland Public Television
Peabody Institute of The Johns Hopkins University
Port Discovery Children’s Museum
The Reginald F. Lewis Museum of Maryland African-American History & Culture
Sheridan Libraries and University Museums, Johns Hopkins University
“Through our arts internship program, we’re working to change how the next generation of employees and leaders perceive cultural institutions’ contributions to a city’s workforce, economy, and identity,” said Patricia E. Harris, CEO of Bloomberg Philanthropies. “As part of the program, interns will develop critical workforce skills at select non-profit cultural organizations, meet with professionals in the field, and attend career and college readiness workshops as part of their summer experience. We are delighted to expand this program to Baltimore.”
The 25 Bloomberg Arts Internships interns were selected through a multi-step application and interview process. They will work with arts organizations three days a week, go on field trips to cultural institutions once a week, and engage in professional development trainings once a week. Through the internships and trainings, students will develop organizational work plans, begin their college applications, write analyses of art performances, and complete final projects on their experiences. Internship focuses vary across organizations to include production, education, development, community engagement, artist engagement, video, music, administration and more.
“The arts have the power to transform lives and the futures of students in our community,” said Stacie Sanders Evans, Young Audiences Executive Director. “Through their generous investment in Baltimore, it is clear that Bloomberg Philanthropies not only agrees, but also can see the vibrant, growing community of artists and organizations that make this city unique. We’re thrilled to coordinate this wonderful opportunity, providing Baltimore students with experiences showing the arts as a viable career pathway and passion. We can not wait to see how this program impacts the ideas and dreams of these interns.”
“GBCA is excited to be part of this new project,” said Jeannie Howe, GBCA Executive Director. “The Bloomberg Arts Internships will help young people develop workforce and college preparation skills, and support an equitable pipeline for talented young people interested in careers in arts and culture. The cohort in turn, many of whom are of color, will help strengthen the equity and inclusion of Baltimore’s wonderful and diverse arts organizations.”
Baltimore Bloomberg Arts Interns come from schools across the city, including REACH! Partnership School, Baltimore City College, Western High School, Ben Franklin High School, Patterson High School, Baltimore School for the Arts, City Neighbors Charter School, Baltimore Design School, Digital Harbor High School, Bard High School Early College, and Mergenthaler Vocational Technical High School.
Before there is art, there is planning- lots of planning. This is something that 7th graders at the Baltimore Design School know all too well. Without it, the mural that these students created under the guidance of YA roster artist Amanda Pellerin and art teacher Stephanie Cafaro would not be the magnificent work that it is.
The class began with brainstorming and list-making. “We asked the students, “What’s important to you?” Amanda Pellerin explained, “And we had different posters that asked, “What’s important to you at home? What’s important to you at school? What’s important to you in your city? What’s important to you in the world?”
From these ideas, Miss Cafaro had the students narrow down what they believed to be most important into one list of possible mural themes. Some suggested a tribute to President Obama or a better Baltimore. Others wanted to illustrate the power of protesting or important issues in the world today. “When I looked at this, I didn’t see 10 different murals,” Pellerin said. So, the artist proposed combining each idea into one single, powerful mural, and the students were all for it.
Before they could get to work on cutting and etching and glazing their tiles, however, the group first had to decide what the project was going to actually look like. After discussing composition and scale, and considering how the piece would flow visually, the group decided that the mural would feature three “larger than life” role models among a crowd of protesters. The class felt that President Obama, Harriet Tubman and a native American should stand out. The choices that the class made in the design process were purposeful. Role models weren’t chosen randomly, they were justified and carried significance for each student.
Small teams of students worked together to create each larger than life figure, then reunited to complete the picture and piece the mural together. In their finished artwork, historic role models protest alongside important figures of the present. The figures carry protest signs that reflect current issues with sentiments that students imagined each role model might express if given the chance today.
“We’re trying to help them understand that designers work as teams.“
From conception to execution, the class was instrumental in seeing the project to completion. Directing the vision of the finished piece allowed the students to take ownership of the artwork and truly see it as their project. “I love that they had to come up with a concept and work together,” noted Miss Cafaro. Every material that needed to be prepped and every decision that needed to be made happened because the class took charge, collaborated, and cooperated. “We’re trying to help them understand that designers work as teams,” Miss Cafaro said. “Even if it’s not their favorite idea, they’re part of a team and still need to contribute.”
Amanda Pellerin specializes in handmade tile murals and clay sculptures and has 20 years of experience in teaching both children and adults. Learn how to bring Amanda’s residency, Handmade Tile and Mosaic Murals, into your school.
By Elaine Eff, folklorist, author of “The Painted Screens of Baltimore: An Urban Folk Art Revealed,” and co-founder of the Painted Screen Society
The recent Young Audiences artist-in-residence at the Baltimore Design School was one of those serendipitous and wonderful coincidences you don’t often come across. John Iampieri, a member of the Painted Screen Society who we’ve been working with for a number of years, has taught all over Maryland through his work with Young Audiences. When he announced that there was going to be a residency at the school, it was like all of our dreams come true!
The Painted Screen Society has been involved in residencies since the society began in 1985 for the purpose of keeping rowhouse arts alive in Baltimore. The whole idea behind the society is to get the art form into the hands of people who are more likely to carry it on or would benefit from knowledge of the indigenous tradition. Nothing could be more useful than to maintain it in the hands of Baltimore students who are being schooled to be artistic in some way.
I wanted to make sure that the students working with John would get the full experience of the history of painted screens, so they came to MICA, and together we toured the recent exhibit, Picture Windows: The Painted Screens of Baltimore and Beyond (Meyerhoff Gallery, December 13, 2013 to March 16, 2014), which was a three-dimensional embodiment of everything in my book, “The Painted Screens of Baltimore: An Urban Folk Art Revealed,” and focused on passing the tradition on. The students also saw the documentary film “The Screen Painters” and got to see the painters in action. They learned that painted screens were not just meant to be beautiful, but were also a practical innovation, used in private homes to discourage individuals from seeing into windows while still allowing those inside to see out. I wanted students to understand that this is something that is relevant to their lives and their environments, because this is a Baltimorean art form–born here, created here, consumed here, and beloved here for many years.
Anybody who is able to get one more person to understand the value of painted screens in his or her own community is important, but John just happens to be an incredibly organized, thoughtful, and patient teacher. He has the right combination of creative ideas because he thinks in terms of the group working together as opposed to individuals creating single products.
John thinks beyond the screen. He isn’t thinking merely about putting an image on your window; he’s thinking about images that can be adapted to all sorts of applications, and the fact that he thinks big, in terms of banners and murals, brings him right into the intersection of the new breed of screen painters and the whole digital evolution. His approach allows many hands to collaborate to make large screens that can have a variety of installations. With his help, the students at the Baltimore Design School came together with a single purpose, which produced really impressive results that they can be proud of.
What was really important throughout the project was that the students realized that everything was up to them. They chose the subjects and the teams. They then learned about design, color, and new materials they never would have heard of. They were also learning to work as a group. Learning to do something in a prescribed manner sometimes trumps being an independent artist—a status they may not be ready for.
I’m hoping that, after this project, some of them say, “Wow, I can do that!” and will go home and add value to their own homes. I hope the students’ eyes have been opened to possibilities they didn’t even know about and also to a really important traditional art that is native to their city, one that couldn’t be more relevant to the rowhouses they live in and the lives that they lead. I’m hoping that connections were made and that one day they’ll say, “I remember that.” I hope they some will keep the tradition alive, because without people who know and value them, traditions do not endure.
Part of the beauty of this art form is that there’s always been an ebb and a flow. Painted screens have been everywhere and nowhere in the course of a hundred years, and my sense is that they’ll be back, and they’ll be in another form, and let’s hope that Young Audiences continues to play a role.