2/4/24 -Lior Modan in The Baltimore Banner: 10 soul-warming art exhibitions to see in February
By: Cara Ober
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9/17/23 - Irina Rozovsky in The Atlantic: “Confronting the Unbelievable —A photograph that dramatizes the power of nature”
By: Amy Weiss-Meyer
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9/15/23 - Irina Rozovsky’s photograph featured in A Long Arc: Photography and the American South since 1845 at the High Museum, Atlanta.
On view through January 14, 2024.
7/12/23 - “Akea Brionne’s “Janus” is a Material Study for the Age of AI in BALTIMORE BEAT.
By: Teri Henderson
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6/29/23 - The Baltimore Museum of Art acquires Franconia Notch 01 – 12, 2022-23, Edition 2 of 12 by LUBA DROZD from the “Franconia Notch” edition for their permanent collection!
6/29/23 - The Baltimore Museum of Art acquires a group of 6 tintype photographs by Elena Volkova for their permanent collection!
6/28/23 - A Case for Action: CPM’s New Edition Project with Luba Drozd in BmoreArt
“Stepping up to the third floor of Critical Path Method (CPM) Gallery in Bolton Hill, I felt like I was witnessing an underground deal of some kind. Eleven black weatherproof cases sat on simple wooden tables. Most were unlocked, open-casket style, allowing one to browse the available wares. However, the cases did not contain plundered artifacts, illicit substances, or high-powered weaponry; these cases held hunks of granite, looped piano string, and meticulous instructions for assembly”
By: Laurence Ross
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6/16/23 - The High Museum inn Atlanta acquires 7 photographs by Irina Rozovsky from the “Traditions Highway” series for their permanent collection!
3/6/23 - “Two Exhibitions In Baltimore Explore The Power of Place”: Review of “Let the Right One In” in BALTIMORE BEAT.
By: Teri Henderson
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3/3/23 - “Uncanny and colorful artworks resolve to a delicate harmony in a group show of seven Baltimore artists at CPM Gallery in Bolton Hill”: Review of “Let the Right One In” in BALTIMORE FISHBOWL.
By: Haley Tilt
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11/3/22 - “Two Sparse Brooklyn Exhibitions Probe the Elemental Forces of Life”: Review of Luba Drozd’s exhibition at Smack Mellon in Hyperallergic.
By: Gregory Volk
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9/7/22 - “Groundless Sound: Luba Drozd at CPM Gallery” : Artist Luba Drozd and curator Vlad Smolkin in conversation with Elena Volkova
By: Elena Volkova
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6/14/22 - Chess Meets Art: When the Tour went to NYC, In chess24 News
By: Leon Watson
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6/8/22 - Chess Meets Art at NADA New York, In “Chess in the Schools”
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6/2/22 - The Whitney Museum of American Art acquires Anthology (Senga Nengudi), 2011 by Clifford Owens for their permanent collection!
4/1/22 - “Feeling the Echoes from Ukraine with Irina Rozovsky, Vlad Smolkin, & Elena Volkova” : The artists with roots in Ukraine & Russia discuss war, photography, solidarity, and support in BmoreArt Magazine.
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3/21/22 - Irina Rozovsky “Traditions Highway” featured in Juxtapoz.
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3/11/22 - Irina Rozovsky “Traditions Highway” reviewed in The Washington Post.
By: Kenneth Dickerman
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3/3/22 - Irina Rozovsky “Traditions Highway” reviewed in ARTFORUM.
By: Teri Henderson
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12/27/21 - “Sweet Home” in BmoreArt’s “Best Art Exhibits of 2021”.
By: Teri Henderson
12/11/21 - Article in Bijusu Techo, Tokyo about "Sweet Home” Exhibition: Gallerists Connecting the New & International “Japanese” Art Community.
By: KOSUKE FUJITAKA
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9/23/21 - Article in FRIEZE: Critical Path Method Crystalizes the Creative Energies of Baltimore.
By: IAN BOURLAND IN OPINION
7/21/21 - Article: Physicians Can Learn from Black Artists in COVID-19 and Beyond, National Organization for Arts in Health)
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3/12/21 - Webinar: Pooneh Maghazehe, Laurence Ross, and Vlad Smolkin discuss: Figure Study - Drypoint Prints by Louise Bourgeois & Pooneh Maghazehe
Pooneh Maghazehe lives and works between New York and Pennsylvania. She received her MFA from Columbia University in 2011 and her Master of Science in Interior Architecture from Pratt Institute in 2005. Solo exhibitions include 2for1 at Brennan & Griffin Gallery NY, Split Double Zero at Resort, Baltimore, and Double Zero -0%0%0%0%0% at 17 Essex, NY.
Laurence Ross is a Baltimore-based writer and educator. He received his MFA from the University of Alabama and has published his essays and reviews in literary journals such as Brevity, Gaga Stigmata, and The Georgia Review as well as The Huffington Post. Ross lived in New Orleans for six years, where he was a frequent contributor to Pelican Bomb, a regional publication dedicated to the Louisiana arts community. He also served as the Director of P.3Writes, an educational program in conjunction with U.S. Art Triennial Prospect New Orleans.
In this conversation we discuss: how collecting weaves in and out of Linskie’s practice, different ways of understanding “value”, campiness and notions of failure and “bad taste” in art and collecting, the relationship between criticality and sentimentality, recognizing/mirroring yourself in your collection, and where/how he looks for things to acquire in the world. Collecting is a major part of Linskie’s practice—he has collections of Celebrity autographs inscribed “To Mike,” finger obstruction photographs, Mexican Spider-Man marionettes, Carnival chalk, quilts, a trove of ink drawings by the unknown/outlier artist Robert J. Lang, as well as many other paintings, photographs, and works on paper by a range of known and unknown artists.
Mike Linskie (Born 1987, New Jersey) lives and works in Queens, New York. He received his MFA from Virginia Commonwealth University (2014) and a BA from Temple University (2010). Recent group exhibitions include magic passed life, darkZone, NJ, 2021; Mike Linskie - the Estate of Robert J. Lang, Columbus Property Management, New York, NY, 2018; Floaters, Public Pool Gallery, Los Angeles, CA, 2018; Cheeky: Summer Butts, curated by Anthony Iacono and Peter Labier, Marinaro, New York, NY, 2018; Fine Line, Ada Gallery, Richmond, VA, 2018 and Morning Sand, Catellite Catbox, part of The Big Short, The Artist's Institute, New York, NY, 2018.
In this conversation we discuss: the ethics of space exploration, colonizing Mars, private individuals and corporations leading the race to colonize space, the history and current state of laws governing space exploration. We also discuss how science, religion, and art participate and contribute to this conversation. Rubenstein is currently participating in a think tank at Wesleyan University called "Habitability: Cosmological, Planetary, and Ethical Perspectives", the aim of which is to generate a deeper understanding of these issues as well as produce scholarly works that will influence national/international thinking and action.
Mary-Jane Rubenstein is Professor of Religion at Wesleyan University; core faculty in the in the Science and Society Program; and affiliated faculty in the Feminist, Gender, and Sexuality Studies Program. She holds a B.A. in Religion and English from Williams College, an M.Phil. in Philosophical Theology from Cambridge University, and a Ph.D. in Philosophy of Religion from Columbia University. Her areas of research include continental philosophy, gender and sexuality studies, science and religion, and the history and philosophy of physics, ecology, and cosmology. She is the author of Strange Wonder: The Closure of Metaphysics and the Opening of Awe (2009) Worlds without End: The Many Lives of the Multiverse (2014), and Pantheologies: Gods, Worlds, Monsters (2018).
In this conversation we discuss: Ivan Illich’s Shadow Work, published in 1981, the current state of American Politics, Matthew and Nikolai’s ongoing collaboration, and many more topics.
Nikolai M. Noel (b. 1976, Port of Spain, lives in Port of Spain, Trinidad and Tobago), and Matthew P. Shelton (b. 1982, Danbury, NC, USA, lives in Charlottesville, VA, USA) use collaboration as a platform from which to speculate about the interrelationship of history, place, embodiment, and the self from their respective positions as a person of color from the West Indies and a white American man. Using materials that blur the line between the concrete and the metaphoric, their collaboration explores questions of power, agency, memory, and subjectivity through strategies of abstraction and representation. Their collaboration manifests as an ongoing conversation from their remote locations via WhatsApp, punctuated by episodes of intense in-residence art making and reflection. Their collaborative projects have been presented in solo exhibitions at the Institute for Contemporary Art at Maine College of Art in Portland, ME, USA; 1708 Gallery in RIchmond, VA, USA; Alice Yard in Port of Spain, Trinidad; and at Second Street Gallery in Charlottesville, VA, USA.
In this conversation we discuss: Anonymous art/Branding in art, the flow state, Susan Rothenberg, shifting notions of “self” in self-portraiture, Morandi, starting a work, the meaning of CPM, why people sometimes feel alienated from art.
Jennifer Sullivan is a New York-based artist whose painting practice evolved out of roots in autobiographical performance and video. She makes paintings with an insistence upon embodiment and feeling; vulnerability and sensuality. Her work is a diary and a form of psychoanalysis.