Register today for one of the new classes offered during Winter/Spring 2016.  

Children’s Classes

 
PARENT & CHILD FUSED GLASS VALENTINES Ages: 6+ | Clare Shepherd
Class ID# W16-20036 2/6 - 2/6 | Sat (10 -11:30am) Member: $35 | Non-Member: $60
 
PARENT & CHILD GLASS BUGS & BUTTERFLIES Ages: 6+ | Clare Shepherd
Class ID# W16-20037 4/2 - 4/2 | Sat (10 -11:30am) Member: $35 | Non-Member: $60
 
PARENT & CHILD GLASS PET PORTRAITS Ages: 6+ | Clare Shepherd
Class ID# W16-20038 3/5 - 3/5 | Sat (10 -11:30am) Member: $35 | Non-Member: $60
 
EXPRESSIVE PAINTING Ages 6-8 Livia Fiori
Class ID# W16-20042 2/6-2/27 Sat (10:45-11:45am) Member: $110 Non-Member: $135
 
CROSS CULTURAL PAINTING & ART Ages 6-8 | Livia Fiori
Class ID# W16-20044 4/9 - 4/30 Sat (10:45-11:45am) Member: $110 Non-Member: $135
 
MIXED MEDIA APPROACH Ages: 7-10 years | Debra Soreff
Class ID# W16-20051 3/21 - 5/9 | Mon (5 -6:15pm) Member: $135 | Non-Member: $160
 
MAPLE ACADEMY OF IRISH DANCE: CHAMPIONSHIP LEVEL Ages: Level-Based | Maple Academy of Irish Dance
Class ID# W16-20096 1/7 - 3/10 | Thu (6:30-8pm) Member: $305 | Non-Member: $330
 
MAPLE ACADEMY OF IRISH DANCE: CHAMPIONSHIP LEVEL Ages: Level-Based | Maple Academy of Irish Dance
Class ID# W16-20097 4/7 - 6/2 | Thu (6:30-8pm) Member: $305 | Non-Member: $330
 

Teen and Adult Classes

 
TECHNIQUES IN FUSED JEWELRY Ages: 16+ | Clare Shepherd
Class ID# W16-20420 4/26 - 5/10 | Tue (6:30-9:30pm) Member: $125 | Non-Member: $150
 
TECHNIQUES IN FUSED JEWELRY Ages: 16+ | Clare Shepherd
Class ID# W16-20421 4/26 - 5/10 | Tue (1 -4pm) Member: $125 | Non-Member: $150
 
PAINTING WITH GLASS Ages: 16+ | Clare Shepherd
Class ID# W16-20424 2/23 - 3/8 | Tue (6:30-9:30pm) Member: $125 | Non-Member: $150
 
PAINTING WITH GLASS Ages: 16+ | Clare Shepherd
Class ID# W16-20425 2/23 - 3/8 | Tue (1 -4pm) Member: $125 | Non-Member: $150
 
CHAIN MAKING FOR BEGINNERS Ages: 14+ | Nick Barnes
Class ID# W16-20435 2/27 - 2/27 | Sat (10am-4pm) Member: $140 | Non-Member: $165
 
Class ID# W16-20436 4/2 - 4/2 | Sat (10am-4pm) Member: $140 | Non-Member: $165
 
Class ID# W16-20437 5/7 - 5/7 | Sat (10am-4pm) Member: $140 | Non-Member: $165
 
CREATING FUNCTIONAL CLAY FROM A SLAB Ages: 16+ | Laura Switkes
Class ID# W16-20453 1/26 – 3/15 | Tue (6:45-9:15pm) Member: $200 | Non-Member: $225
 
CREATING FUNCTIONAL CLAY FROM A SLAB Ages: 16+ | Laura Switkes
Class ID# W16-20454 1/28 - 3/17 | Thu (9:30am-12pm) Member: $200 | Non-Member: $225
 
BEGINNER WHEEL I: MONDAY Ages 16+ | Renata Mastroti Kunkel
Class ID# W16-20455 2/ - 3/14 Mon (9:15-11:45am) Member: $180 Non-Member: $205
 
Class ID# W16-20468 1/9 - 2/6 | Sat (9:30am-12:30pm) Member: $200 | Non-Member: $225
 
Class ID# W16-20469 2/20 - 3/19 | Sat (9:30am-12:30pm) Member: $200 | Non-Member: $225
 
PURPLE WORKSHOP Ages: 18+ | Nancy Van Meter
Class ID# W16-20531 2/6 - 2/6 | Sat (9:30am-12:30pm) Member: $35 | Non-Member: $60
 
EARTH COLORS WORKSHOP Ages: 18+ | Nancy Van Meter
Class ID# W16-20532 3/5 - 3/5 | Sat (9:30am-12:30pm) Member: $35 | Non-Member: $60
 
BLACK & WHITE WORKSHOP Ages: 18+ | Nancy Van Meter
Class ID# W16-20533 4/9 - 4/9 | Sat (9:30am-12:30pm) Member: $35 | Non-Member: $60
 
IMPRESSIONISM: AN INTRODUCTION Ages: 16+ | John Ebersberger Class ID# W16-20552 4/16 - 4/16 | Sat (9:30am-3:30pm) Member: $95 | Non-Member: $120
 
DRAWING & PAINTING INTERIORS Ages: 18+ | Andrea Olney-Wall
Class ID# W16-20558 1/9 - 2/27 | Sat (1 -3:30pm) Member: $225 | Non-Member: $250
 
PLEIN AIR WORKSHOP Ages: 18+ | Andrea Olney-Wall
Class ID# W16-20559 3/5 - 4/16 | Sat (1:30-3:30pm) Member: $165 | Non-Member: $190
 
PILATES MAT & BARRE Ages: 18+ | Chery Mauck
Class ID# W16-20601 1/15 - 5/13 | Fri (8:30-9:15am) Member: $195 | Non-Member: $220
 
PILATES MAT & BARRE Ages: 18+ | Cheryl Mauck
Class ID# W16-20602 1/13 - 5/11 | Wed (8:15-9pm) Member: $195 | Non-Member: $220
Discipline: 
Dance
E-mail: 

Academy Ballet School of Annapolis LLC

Artistic Director: Eileen Razzetti RAD RTS

Assistant Artistic Director: Lindsay Johnson RAD RTS

Faculty:  Brook Johnson RAD RTS

Teaching Apprentice:  Ali Brown

 

The Academy Ballet School of Annapolis (ABSA) follows the Royal Academy of Dance Syllabus (RAD) for classical ballet training. Offering the finest teaching curriculum for classical ballet, character dance, and lyrical free movement dance, the Academy Ballet School is directed and staffed only by RAD certified and professionally trained teachers. Our mission is to encourage, foster, and provide for every child, regardless of age or ability, the joy of movement and a love of dance. We believe that consistent faculty and professional excellence in the teaching of classical ballet provide optimal student development in ballet and all dance forms. Mature, experienced faculty who are committed both to teaching classical ballet and to the development of young dancers from preschool through adulthood are and always will be the cornerstone of the ABSA program.

Eileen Razzetti, RAD, RTS : Founder and Artistic Director of ABSA, Mrs. Razzetti’s ballet training and professional performing experience took place in New York City at the Ballet Russe de Monte Carlo Ballet School, the Yurek Lazowski School for Character Dance, and the Metropolitan Opera Ballet School. She also earned a degree in design from the Fashion Institute of Technology at the State University of New York, which guides her set and costume designs for ABSA’s performances.

Prior to establishing ABSA, Mrs. Razzetti was a ballet instructor with the Peabody Conservatory and St. Paul’s School in Baltimore, Georgetown Ballet School in Washington, DC, and the Ballet Theater of Maryland. She opened her first ballet school in Severna Park in 1974 and established ABSA at Maryland Hall in 1989.

As one of the area’s most experienced ballet instructors, Mrs. Razzetti has trained hundreds of dancers from the age of three through adulthood. Each year, her students consistently pass and earn above average marks on the grade-level examinations conducted by the Royal Academy. Past students have received scholarships or been accepted for instruction at Washington School of Ballet, the Harid Conservatory of Ballet, the Kirov School of Ballet, the Central Pennsylvania Ballet, the Vermont Berklyn Ballet, the Joffrey Ballet, the American Academy of Ballet, the Suzanne Farrell program at the Kennedy Center, Nevada Dance Theater and the School of American Ballet.

In addition to training young ballet dancers, the Academy has appointed Mrs. Razzetti as a certified mentor to assist in the training and coaching of instructors who wish to complete the required teaching course and examination procedure which will qualify them to obtain their Registered Teaching Status.

Lindsay Johnson, RAD RTS began her training with ABSA and has passed RAD exams through Advanced 1. Interested in the choreographic side of dance, she led dance teams in high school and college. Earning a B.S. in Arts Management through Indiana University in 2010, she earned her Registered Teaching Status after graduation, and immediately began teaching and choreographing for ABSA. She has also worked as a choreographer for the Annapolis Opera and Colonial Players, and is currently the Dance Instructor at The Key School.

Brook Johnson, RAD RTS began her training in Ann Arbor, Michigan at The Community School of Ballet under John and Camilla Chiapuris. She has successfully passed RAD examinations through Advanced 1. With a Masters in Social Work (MSW) from the University of Michigan, specifically specializing in working with children and youth, Brook brings a unique perspective on the positive role the arts can play in the development of children. She became a registered teacher with RAD and joined ABSA in 2015. 

 

ABSA has staged and choreographed annual performances featuring the entire student roster each spring since 2008, including the classics Peter and the Wolf, Cinderella, Sleeping Beauty, Snow White, Alice in Wonderland, Peter Pan, Wizard of Oz, and Beauty and the Beast.

Class Information:  410-849-2942   academyballet.rad@gmail.com

School’s website: www.academyballetschool.com
RAD’s website: www.rad.org.uk

Maryland Hall President Linnell Bowen was honored at an event in Baltimore on November 17th as a 2015 Circle of Excellence finalist in the non-profit sector by Smart CEO.

The Circle of Excellence Awards program recognizes the region’s most accomplished CEOs for business excellence in distinct categories. Companies are nominated from all size and industry categories, public or private.  An independent committee of local business leaders selects the winners based on their industry impact and market leadership.  Congratulations Linnell!

Bring your canned goods to Maryland Hall now through November 21 and help us support the Light House Shelter.  We will have boxes to collect the cans in the lobby and in the main office.

On November 21 at noon, join us on the Maryland Hall  labyrinth (in front of our building)  as we line the labyrinth with all of the donated cans of food and host a community walk on the labyrinth.  All ages are welcome at the labyrinth walk on November 21 and canned goods can also be brought that day.  

Thank you in advance for your donations and support of Lighthouse Shelter.       

Studio Tour with AIR Kate Osmond

Left to right:  Ariel views of her work; different bodies of work.

    

Below left to right:  Finished work; Kate's studio
     

Bottom left to right:  works in progress; close up of Osmond's Waterfront work
    

Arts Alive 17 was the most successful fundraising event in the history of Maryland Hall for the Creative Arts (MHCA), grossing more than $205,000.  Proceeds from the event will fund Maryland Hall’s mission to “art for all” to more than 100,000 people of all ages in our community. 

The theme for the event, which took place on Friday, September 11, was “Swing for the Arts.”  The event began in a “tent under the stars” on Maryland Hall’s front driveway with a sizeable silent auction and tasting stations featuring food and drinks donated by 22 local restaurants, caterers and hotels.  Following the silent auction, guests moved inside to Maryland Hall’s newly-renovated theatre for swing and jazz music by the Craig Gildner Big Band and a live auction and a paddle raise in support of Maryland Hall’s Outreach Program.   

More than 500 people attended the event, including guests of 37 sponsors who donated between $1,500 and $10,000 in support of Maryland Hall.  Guests included Maryland First Lady Yumi Hogan, Representative John Sarbanes, Anne Arundel County Executive Steve Schuh, State Senators John Astle and Ed Reilly and Former Maryland First Lady Frances Glendening. 

“We could not have raised these vital funds without the generous donations from 150+ local businesses, organizations and restaurants who contributed valuable goods and services to the event,” said Linnell Bowen, MHCA President.  “We are also thankful to our 100+ Arts Alive volunteers, led by Event Co-Chairs Barbara Jackson and Lisanna Gardiner, for their time, energy and enthusiasm.”   

Proceeds from Arts Alive help underwrite Maryland Hall’s 2015-2016 season of performances, exhibitions, outreach and education activities that will positively impact the lives of thousands of people in our community.

 

Discipline: 
Visual Arts
E-mail: 

Biography

Neil Harpe is a painter and printmaker. He approaches his work through a variety of media including watercolor, acrylics, graphite, lithography and intaglio printmaking (etching). He often combines several of these approaches in a single work. Harpe is particularly well known for his marine art: workboats, lighthouses, and watermen. However, his works cover a wide range of subjects including landscapes, figures, automobiles, airplanes, and music subjects such as his “Blues Singers” series and “Guitar Portrait” series.

Neil graduated from the four year program at the Corcoran School of Art in 1969, with a major in graphics and minor in painting. He received a BFA in multi-media from Maryland Institute College of Art and earned his MFA in printmaking from George Washington University. He spent three semesters as a visiting graduate student at the University of Maryland, working under the tutelage of abstract artist and master lithographer Tadeusz Lapinski.

While earning an MFA at George Washington University, Neil’s thesis advisor and former drawing instructor was realist artist Frank Wright. His association with Professor Wright had a major influence on Harpe’s later near “photo-realist” work. After earning his MFA, Neil produced more than three dozen editions of Chesapeake Bay themed Mylar lithographs, most of which were done in collaboration with Mel Hunter at Atelier North Star in Burlington,Vermont.

Harpe has recently revisited an earlier style of painting with a series of abstract acrylic paintings reflective of the non-objective work he did as an undergraduate at the Corcoran, while studying painting with “Washington Color School” artist Thomas Downing and new media with Ed McGowin. After receiving his MFA, Neil returned to the Corcoran where he set up their pilot lithography program. During his time at the Corcoran, Harpe made the acquaintance of other prominent Washington artists such as Gene Davis, Paul Reed, Jack Perlmutter, and Bill Newman.

Neil was an instructor at Northern Virginia Community College for seven years where he taught Graphic Skills, Drawing I, Design I, Design II (Theory of Color) and Printmaking. He also taught Plate Lithography at the University of Maryland’s University College and Stone Lithography at the Corcoran College of Art & Design.

Harpe’s lithographs were included in the "Art in the Embassies Program" of the U.S. State Dept. and displayed at U.S. Embassies throughout the globe. His art work is in many private and corporate collections, including the permanent collection of the U.S. Naval Academy, the Beverly Robinson Collection of Naval & Marine Art, Calvert Marine Museum, and Westinghouse. A series of Harpe’s abstract images based on mathematical proofs are on permanent display at St. John’s College, Annapolis, Maryland.

Maryland Hall for the Creative Arts (MHCA) has installed a dual electric car charging station for electric car visitors.  Patrons visiting Maryland Hall for concerts, classes, gallery visits, meetings and community events can plug-in their cars at any time (for free) as the charging station is operational 24/7. 
 
The charging unit is located in the north parking lot behind Maryland Hall. EV drivers can charge quickly without having to sign up for a membership. In addition, PlugShare, the most widely used smart phone application, will allow EV drivers to charge using this popular app without restriction.
 
The SemaConnect charger has been installed as part of the on-going five-year $18 million Capital Campaign to modernize and expand Maryland Hall.  This charging station capability provides an important opportunity to add an environmentally green capability as part of the renewal of this Maryland Historical Trust (circa 1932) former high school. The installation and start-up of this project was funded by capital campaign contributions from environmentally conscience donors.  The Maryland Energy Administration also provided financial support under the Electric Vehicle Supply Equipment Rebate Program.

Put Paint on Canvas

My drawing teacher in college was rather eccentric and spent a large part of every class spouting advice to his students.  About half of that advice was about art and the rest concerned our life choices as budding adults. Often our ears would be bleeding whilst we struggled to focus on and translate the perfect curve of our inner nostrils during portraiture. In retrospect, I think he enjoyed watching the confusion on our faces as we tried to digest his seemingly sage-like, nonsensical words of wisdom. Not much of what I learned in college has been retained even these 10 years later. One lesson, however, I recall everyday and owe to that strange teacher; he told us to “put mark on paper.” By these four words, he simply meant for us to work, whether we wanted or not. We were pushed to be productive no matter what may try to forestall us: lack of inspiration, stress, tiredness, lack of direction, lack of confidence. . .  The list of distractions could go on forever. His point, if I may presume to expand upon it, is that we have a certain amount of time to do the things we really want to do and an endless queue of things we could be doing instead. 

I do something creative every day. I put brush to canvas, pencil to paper, or torch to metal when I’m feeling good about my direction or when I’m completely lost. It’s easy when I’m feeling inspired and downright painful when I’m not motivated. When I’m done, I’m either further along on my work or I’m dead-sure that my path lies in the opposite direction of what I just completed. Working every day makes failure easier to accept and overcome, and it helps keep me connected to my work and confident about my abilities. There is nothing more intimidating to an artist than a set of tools that have gathered dust from neglect. 

Have I made mistakes with this philosophy? So many! Have I ruined paintings? Not sure. I’ve certainly become familiar with the words “artwork in crisis.” For me, the process is the best part of the excursion and the finished piece is the product, the legacy if you will, of the effort. My best advice for myself and for anyone at all is to make a mark, everyday.          -Kate Osmond

Progression photos of Kate Osmond's work

Studio Tour with AIR Kate Osmond

 

Left to right:  Ariel views of her work; different bodies of work.

    

Below left to right:  Finished work; Kate's studio
     

Bottom left to right:  works in progress; close up of Osmond's Waterfront work
    

 

An Interview with Kate Osmond

What are the primary materials that you use?  

For painting I typically do large-scale paintings on canvas and I have been starting to incorporate the use of 24 karat gold leaf. For my sculpture works I use copper and steel welding and brazing. I have to work from home for my sculptural work because it is a fire hazard here. 

What work of art do you most wish you’d made?

The work I most wish I had made is probably Andrew Wyeth’s Christina’s World because of his use of perspective. The viewer is both looking down on this woman and is also directly next to her. The feeling of isolation the woman brings fascinates me.

When you work, do you love the process or the result?

The process. I am only concerned about the process. And, I never know when a work is finished! 

What is your ideal creative activity?

That would probably be climbing around construction sites.

Which artists do you most admire?

J.M.W. Turner and Andrew Wyeth are two of my favorite painters.

What is your creative ambition?

A creative ambition of mine…. Well, I would love to one day create a giant free children’s museum.

What are your habits? What patterns do you repeat?

I travel a lot with my family. I guess that’s a pattern! There is also a lot of pattern repetition in my sculptural work.

 

This is part of an ongoing monthly series featuring a Maryland Hall Artist-in-Residence (AIR).
Check Maryland Hall's website every week for a new post. Each month we will feature a different AIR. 
Click here to visit the Maryland Hall AIR page.

Analogous is a series of site-specific works and photographic experiments that investigate the current state of photography. The works in this series make use of materials that have become increasingly obsolete in photographic practice, such as grey cards, instant film and obscure darkroom tools. By repurposing these objects, the project addresses photography’s past with reverence, while at the same time acknowledging its digital future. Also included in this project are two collaborative pieces with artist Todd Forsgren that delve into issues of art history education and the transition to digital archives in the arts.

I want to thank Maryland Hall and Sigrid Trumpy in particular for having the courage to put up shows they know are not going to sell work.  There are a plethora of private galleries in Annapolis that reinforce the cities’ reputation for having an un-evolved art scene.  What I have discovered in Annapolis is a small but sophisticated audience of people that crave more engaging art.  As an art center and not a private gallery, Maryland Hall has a duty to put up more challenging art exhibitions and thankfully they are rising to that challenge more and more of late.  I also think it is critical for artists in the community to fight the urge to make artwork that they think will sell in Annapolis.  It would be impossible to hold galleries in this town to higher standards if the artists themselves are feeding them derivative art.  Monet did a great job of being Monet all by himself.  And his art was cutting edge at the time he made it.  I think we owe it to ourselves, as a community, to foster the same type of cutting edge spirit for ourselves!

-Matthew Moore

 
Art history slides from AACC.
 
​Art History Slides repurposed for Matt's show Analogous.
 
Art History Slides that were saved by Matt Moore for his latest show.
 
Matt Moore in his studio at Maryland Hall.
 
Matt Working on 'Rose Window' for his show 'Analogous' at Maryland Hall.
 
Final Product of Matt Moore and Todd Forsgren's 'Rose Window' in their show 'Analogous'​.
 
Light trickling thorugh Matt Moore and Todd Forsgren's 'Rose Window' at Maryland Hall's Martino Gallery.
 
'Rose Window' giving the Martino Gallery a stained glass effect on the floor.
 
 
 

For more information about Matt, visit his Artist-in-Residence profile

This is part of an ongoing monthly series featuring a Maryland Hall Artist-in-Residence (AIR). Check Maryland Hall's website every week for a new post. Each month we will feature a different AIR. Click here to visit the Maryland Hall AIR page.

Pages

Subscribe to Maryland Hall for the Creative Arts RSS