April 16, 2000
In sculpture class, the art students stand in front of wooden pedestals delicately molding the features of human faces in wet clay. The busts are remarkably lifelike. Two eyes, a nose and a mouth -- all where they should be -- and expressions that make the faces look like real people, not department-store dummies. Clear north light streams down from huge skylights. Below, the students work under the patient tutelage of an instructor who offers quiet advice and encouragement as he strides across the studio floor inspecting their work.
March 4, 2007
Jim Butcher was servicing an F-4 jet when a colonel approached him in the hangar. "I thought I'd done something wrong," Butcher said of the visit by Col. Raymond Henri in 1967. "But Colonel Henri had found out that I had art training, and he asked me if I was interested in being an artist for the military." Butcher accepted the colonel's offer and joined the Marine Corps Combat Art program, which began during World War I with battlefield sketches. The combat art program was the first of a progression of artistic endeavors for Butcher, 62, including commercial art, montages, portraits, maritime and landscape art. Spanning more than four decades, Butcher's career illustrates the twists, turns and setbacks an artist can encounter.
November 4, 1991
Tattoo Tux stands in the middle of his electric studio and takes a deep drag on his cigarette.Surrounded by colorful stencils and strange sculptures with flickering candles, miniature Buddhas and skulls, he leans against a table and kicks at the leg.He's trying to explain his fascination with tattoos. Why did he, at age 41, after quitting the business to put himself through art school, open another tattoo parlor? Why did he, after painting still lifes and becoming fascinated with religious icons, go back to drawing dragons on men's backs?
May 2, 2013
Fred Lazarus has made many great contributions to Baltimore, but perhaps one of his lesser known and appreciated ones is raising the bar for high quality architectural design, as represented by the Brown Center and the Gateway student dorm building on the Maryland Institute College of Art campus ("MICA's Fred Lazarus to retire in 2014 after guiding art school for 35 years," April 30). Those buildings serve as inspirations for the rest of Baltimore. Excellent design is a vital element for raising the spirits of residents, workers and visitors alike.
August 11, 1993
The Maryland Institute, College of Art may be the nation's first art school to market itself in CD form: Last month, it mailed almost 11,000 compact-disc cases containing information about the college to high school art students around the country.Each year the college -- rated this year by U.S. News and World Report as one of the nation's top four art schools -- sends material to a selection of high school students who've indicated an interest in pursuing fine arts on their PSAT tests.The new promotional package, "Music 4 The Eyes," contains a packet with examples of student art and students' thoughts about their work ("Art is the hands and the sense that connects them," "Art is a perfect form of focus")
January 24, 2000
THE INSTITUTIONAL impact of the exhibit of Joyce J. Scott's work at the Baltimore Museum of Art is not on view. Yet it's significant that this large show and sumptuous catalog are jointly produced by the museum and the Maryland Institute, College of Art. A few years ago, the BMA and MICA together spelled only trouble. They were at each other's throats over the right of one to sell art stored in the other. Fortunately, that was resolved with generous state intervention. That set the stage for unprecedented coopertion spearheaded by museum Director Doreen Bolger and art school President Fred Lazarus IV. Such synergy between art school and museum strengthens Baltimore as an art center.