Spy Profile: Lani Seikaly and the Art of Volunteerism


A civic leader at the beginning of the 20th century sought to define volunteer leaders as those whose “good work in life overflows the immediate channels originally designed for it, and spreads its life-giving streams afar in many a happy rivulet unforeseen, and in many a joyous rill unanticipated.”

If one takes away for a moment the Edwardian language, this seems to fit Lani Seikaly’s remarkable volunteer experience after her decision to return to Chestertown, where her summer childhood had been spent, and help the community.

A highly-regarded educator in the Montgomery County Public School District for 30 years, Lani came to Chestertown determined to contribute. And that is indeed what she has done as president of RiverArts, volunteer on the GAR building committee, an oral historian working with the African-American community, and now serving as the Greater Chestertown Initiative’s new leader.

In her interview with the Spy, Lani talks about her experiences as well as what the future might bring to the Chestertown arts, including expanding First Fridays and supporting Washington College’s innovative SANDBOX project.

This video is approximately seven minutes in length

Arts Snapshot: The AAM Welcomes a Picasso


Thanks to a very productive artist, who actively worked for almost three-quarters of a century, even small art museums have been lucky to have a Pablo Picasso in their permanent collections. The Academy Art Museum has recently joined the ranks of those fine institutions with the recent acquisition of one of the artist’s prints from 1937.

In May 2013, the Museum added to its collection Sueño y Mentira de Franco (Dream and Lie of Franco), a print in a portfolio by Picasso. AAM Curator Anke Van Wagenberg highlights for the Spy the unique features, including its special connection to Picasso’s masterpiece Guernica that motivated the museum to make the purchase.

The video is just under two minutes in length


Shore Architecture: A Serene Sanctuary


Winding along the densely forested drive, you sense you’re approaching something 
sacred; a natural sanctuary far from the madding world. There’s a gentle calmness to 
this land, filled with tupelo, oak and maple trees embracing five pavilions and a 
tower, which appear very gradually through the woods.  Camouflaged by brown wood 
cladding, myriad glass windows and copper roofs, these impressive structures nestle 
discreetly alongside the woods and seem to peer pensively down the colorful sloped 
gardens leading to a peaceful creek below.

The couple who inhabit this special place are native Californians, influenced by their 
love of the outdoors and sailing when deciding to build in a wood’s clearing on a bend of a secluded creek that winds around their property, 
hence the name of their home.

Linked by their corners, four of the five pavilions are visible from the creek.

Linked by their corners, four of the five pavilions are visible from the creek.

Winding Creek is a strikingly singular creation, a thoughtfully designed living space 
by Chestertown architect Peter Newlin and completed by an impressive team of artisans 
and builders.

Newlin describes this house as: “a string of places staged along a gentle rise for the vistas of the creek they afford, and as a winding path from place to place to make our experience of where we are in the landscape more intimate.”  For example, he says “the stair to the master suite is a climb into the dappled sunlight of the woods to the south, and from the second floor it is a descent into the foliage of the understory and forest floor.  There are other paths and places looking into these woods.”

Five pavilions of graduated size in volume and height comprise the living space, along with a complementary garage.  Viewing from the creek, the master pavilion is the largest, containing core family activity spaces: living, kitchen and dining, along with the second-floor master suite.

The entry path curves through the woods from the garage (in the distance) to the entry pavilion on the right.

The entry path curves through the woods from the garage (in the distance) to the entry pavilion on the right.

The architect’s explanation for why the pavilions are shaped and placed as they are.

The architect’s explanation for why the pavilions are shaped and placed as they are.

One must “take a walk through the woods” to approach the entry pavilion, and views 
from this greeting space are equally scenic.

Newlin’s love of nature – especially the Eastern Shore woods and waterways – is evident in many of his designs. His signature style typically features abundant light through numerous skylights and windows, organic elements such as natural wood siding, masonry and metal roofs, enhanced by exceptional interior woodworking.

Newlin obtained a degree in history and spent several years as a carpenter working on restorations for an architectural historian. Discovering a love of historic craftsmanship, he then earned a masters in architecture; his love of historic elements is still evident.  He also has a mindful approach to design; quoting philosophers about the need for creating joy and connection to the natural world in his spaces.

“We have paths through our houses and places inside and out where we dwell.  Our paths 
and places can offer us every day joy if the places are where we can enjoy a natural 
vista, and the paths treat us to glimpses of the ever-changing beauty of where we 

Most of the important rooms have creek views in two directions, but the Living Rooms is the most airy of all.

Most of the important rooms have creek views in two directions, but the Living Rooms is the most airy of all.


The covered wood walkways along the creekside of the home have a delicate simplicity; together with the high slanted copper roofs, they evoke a subtle Japanese appearance to the exteriors.  The owners’ collection of large metal sculptures of beetles, birds and 
other creatures along the walkways enhances this Zen-like element.

“When I was  working as a carpenter, I fell in love with the Eastern 
Shore’s landscape: the subtlety of its terrain, its woodlands, fields and hedgerows, 
the openness of its shorelines.  At some point I realized the most important thing a 
house can do for those of us so lucky to live here is, create an intimacy of access to that 
beauty.  In my view, it is best if our houses are not self-important in this subtle 
landscape.  I like it when they quietly open themselves up to the wonders outside.


A tower filled with windows houses a curved stair which climbs pass views of the woods.

A tower filled with windows houses a curved stair which climbs pass views of the woods.

Newlin explains his concept for the muntin-enhanced windows, rather than an open 
picture-window style. “The muntins parcel the views to bring the scale down to become 
more intimate.”   This also gives the outdoor views the look of individual framed 
paintings or photographs, which change with one’s vantage point.The living area is a dramatic and breathtaking introduction to the space, with light 
pouring in from vaulted ceilings bursting skyward surrounded by eight-foot-high outer 
walkways, giving the subtle impression of  a Moorish courtyard. This open living area 
fills with light from countless large windows oriented to capture the sweep of the 
creek as it bends around the landscape.

The wood trim around the windows and doors has a delicate offset to cast a slight shadow, which softens them. This same profile also appears in the wood cabinetry that abounds throughout the house. 

High criss-crossed Beams in the vaulted ceiling mirror the window designs and add 
dimensional form as well as function as tie joists, upon which dangles an enormous 
carved folk art angel peering out the window.  High above her is a unique ceiling fan 
with elements of bicycle gears and boat sails, a nod to the owners’ favored 

Newlin oversees every design detail, including the layout of the wood floors and tiles 
in wonderfully geometric patterns. Colored porcelain tile along the interior walkways 
gives the appearance of natural stone with copper dripping through the robin’s egg 
blue, exquisitely highlighted by rich two-toned wood work along the outer edges.

Architect Peter Newlin

Architect Peter Newlin. Photo credit: Elizabeth Alexander

His design of a towering brick, plaster and bluestone hearth gives another folk art 
touch, while moving the eyes upward to the extensive exposed chimney. The impressive 
structure is steel reinforced, and one of many masonry creations designed by Newlin 
and executed by master mason Jonas Miller.

The entire Winding Creek home feels like an art gallery, with endless views of the 
natural surroundings, simply another element of the abundant artwork filling the home, 
along with an eclectic collection of  pottery, glass and large-scale paintings.  Even 
the laundry room features two large  paintings and colored glass vases in its windows.

The open floor plan guides you effortlessly through the dining room with its brilliant 
Vicco von Voss table into the equally light filled kitchen, with views of the forest, the 
summer house, the gardens and the water.

The screened summerhouse is the fifth pavilion, and freestanding for outdoor entertaining, 
dining, meditating or even sleeping in the warmer months, giving the owners even more 
of a natural connection unencumbered by walls.

The Summerhouse is freestanding to capture summer zephyrs and sweep of the Creek.

The Summerhouse is freestanding to capture summer zephyrs and sweep of the Creek.

The absolute zenith of the house is the ample tower, and the master bedroom to which 
it leads. A wide circular staircase winds around on narrow rises of elegant hand 
crafted wood; a rise so subtle you feel as though you’re gliding as you caress the 
delicately carved hand rails created by noted wood artisan Vicco Von Voss.  Inside the 
center of the winding staircase is a lift for bringing laundry to the basement, heavy 
items above or whenever heavy lifting is needed.

When asked what one word would describe the feeling of living in this home, the owners 
each replied, “alive” and “relaxed.” Their senses are awakened by the man-made art and 
beauty of the home, as well as the constant visual connection to  the natural world 
surrounding them. “There’s the geese talking, the foxes scampering through the woods, all the other 
birds singing.”

No where in the house might they feel more in touch with nature than their master 
suite, with elements of a tree house and a cruise ship’s cabin. Perched high in the 
air, it features a minimalist look of bare white walls and built-in European birch 
furniture, with an enormous picture window overlooking forest, water and sky.  Bereft 
of window coverings, one is most certainly awakened by the dawn and the symphony of 
birds and other creatures, and feeling quite alive and relaxed.

Although the bed and cabinetry are architect-designed, the room’s focus is on the creek and trees.

Although the bed and cabinetry are architect-designed, the room’s focus is on the creek and trees.

Befitting its numerous nods to nature, Winding Creek is designed for passive solar 
heat gain in the winter and chimney-effect natural ventilation in the summer, and 
offers radiant heated floors. High tech lighting design features controls that allow 
one to monitor ten areas from one small light switch. Newlin and his Chesapeake 
Architects firm are experts at designing energy-conserving buildings, with a track 
record dating back to the 80’s, when  Newlin won the “Most Innovative Design Award” 
from Delmarva Power for the “Quality and Energy-Efficient Design” of the passive-solar 
Galena Bank.

Something this detailed and intricate is not built in a day, indeed it was three years 
of design, consultation and building until final completion. Says Newlin, “It 
typically takes a year to design a custom house, and many meetings with the 
owners to be sure at every step that what we are proposing will be a good match for their needs and how they want to live.

“The owners had no concept in mind at the outset except that they wanted a modest 
house.  Our design comes from our perceptions of how to make the most of the natural 
assets of the landscape, the water views, the terrain and the beauty of the woods. “
They admit that they only had one requirement– a copper roof, more for sustainability 
than beauty; they now have both.

Now they also have a lifelong dream fulfilled…. of living in a home as serene as its 

Where Credit Is Due, Newlin recommends:

The General Contractor, 
Patrick Jones, who is a fine craftsman himself, as well as a master builder. Peter says: 
”You’ll get your money’s worth from his attention to detail, commitment to 
craftsmanship and honest business practices.”  410-708-0648

John Ramsey – Custom Lighting Fixture Designer & Manufacturer.  “If you want true 
craftsmanship and/or historical authenticity, see John (www.deeplandingworkshop.com).

Jonas Miller, Preservation Mason – “Whether for restoration or contemporary design, if 
you want every brick in its proper place, the perfect mortar mix, and every joint 
struck artfully, Jonas is your man.”  302-382-4648

Vicco von Voss “A master furniture designer, who has worked with us to create 
especially artful handrails, curved and furniture. He designed and built the Living 
Room’s coffee table and the dining table to complement the interiors of the Winding 
Creek.”  http://www.viccovonvoss.com/

Woody Labat, Cabinetmaker – Juniper Cabinet & Millwork – “A craftsman who brings to the table skills that were honed when he was a yacht builder.”  410-924-4502

Peyton Bradley—“A master at staining and varnishing who brings out the deep, natural beauty and character of woods,” Peter suggests, “if you love wood, don’t go varnishing without her.” 410 507-0667

Photographs by Ched Bradley, unless otherwise noted.

“Sensing Change” Brings Climate Change Dialogue to Chestertown by Mary McCoy


In the pale pre-dawn light of September 19, 2003, my husband and I watched river water seep up between the floorboards in the wing of our house, something that had never happened in its 80-year history. The river was shimmering right outside the windows. I mean, right outside. It was the surge brought in by Hurricane Isabel.

This unforgettable moment leapt to my mind as soon as I heard about “Sensing Change,” April 3–6, an extended weekend of art, music, poetry, talks, and films presenting creative responses to climate change at Washington College and downtown Chestertown venues.

While politicians argue about the reality of climate change, we on the low-lying Eastern Shore live with a simmering worry in the back of our minds. Sea level is rising, storms and droughts are becoming more common and more intense, species are becoming extinct, and not much is being done about it.

"Amphibious Architecture" above-water lights and underwater sensors monitoring water quality and presence of fish, a project of the Environmental Health Clinic, Natalie Jeremijenko

“Amphibious Architecture”
above-water lights and underwater sensors monitoring water quality and presence of fish, a project of the Environmental Health Clinic, Natalie Jeremijenko

All this makes me desperate to sign in as an (im)patient at the Environmental Health Clinic. Combining art, science and activism, this New York University project approaches health problems in terms of their relationship to the environment. Luckily, there’s no need to go to New York to find out more because in the kick-off event of “Sensing Change” on April 3, one of its founders, the Australian visionary artist and technologist Natalie Jeremijenko, is coming to Chestertown to explain how the clinic works.

Recognizing that artists are always in the forefront of societal change, Washington College, the Chester River Association, Sunrise Solar, Inc., Kent County Arts Council, the Garfield Center for the Arts, and Massoni Art have joined forces in organizing this opportunity for the community to come together to learn and consider our changing weather and rising sea levels.

Beginning with Jeremijenko’s Thursday evening talk at the College’s Decker Theatre, expect high energy, humor, and groundbreaking creative thinking. A dynamic speaker and blazingly original thinker with a background in science and engineering, Jeremijenko will give Washington College’s Sandbox Spring Lecture, the latest event in the interdisciplinary Sandbox initiative, aimed at investigating the relationships between the individual, society and the environment.

The next evening, as part of First Friday, the new Sandbox Studio will host an open house, while the Carla Massoni Gallery will open an exhibit featuring nine artists whose work explores the beauty, vitality and fragility of our environment. At 7:30, the Garfield Center will show National Geographic photographer James Balog’s breathtaking Chasing Ice. Winner of a long list of awards including a Sundance Best Documentary Award, this film uses time-lapse cameras to capture a multi-year record of the Arctic’s rapidly melting glaciers and contains some of the most stunning images of glaciers ever captured on film.

On Saturday, the Garfield Center will host an artists’ panel moderated by Sandbox Director, Alex Castro, and John Seidel, Director of the College’s Center for Environment & Society, discussing the interplay of art, science and creativity, followed by a reading by Chestertown eco-poet Meredith Hadaway, the premier performance of Icelandic Sea Wall, an original musical composition based on Sandbox Distinguished Visitor John Ruppert’s photograph of the same name by Ken Schweitzer, Professor of Music at Washington College, and his students. The afternoon wraps up with excerpts from Goodbye Ice, Goodbye Island, a new film by Drew Denny documenting the rapidly changing landscapes and resulting cultural changes in the Maldive Islands and Greenland.

John Ruppert's "Icelandic Sea Wall"

John Ruppert’s “Icelandic Sea Wall”

On Sunday afternoon, the College’s Premier Artists Series continues in the Decker Theatre with Beyond the Line of Blue. This multi-media concert weaves together themes of water, surrealism, time, and the unconscious with music inspired by poets Walt Whitman and Edgar Allan Poe and artists Alexander Calder and Christopher Engel, as well as film and video projections by Alessandro Bonini.

In a newly released report stressing the urgency of climate change, the prestigious American Association for the Advancement of Science speaks to the public’s confusion over the seriousness of this issue. If you read the full report on the AAAS website, you’ll see it also points out the wealth of research and information available. With only a quick Google search, I found a Maryland Department of Natural Resources map showing that by 2050 the Chester River will likely be lapping at the foundations of my house on a daily basis. Check out your own situation at www.mdmerlin.net/mapper.html.

With the facts and figures so easy to find, all that’s needed is a good PR campaign to get the word out, and the arts are a great place to start. It’s only when we understand the problem that we can pull together and make the necessary changes. We just need to want to do it.

For a full schedule of “Sensing Change” events see: www.washcoll.edu/live/news/5311-a-full-weekend-of-sensing-change.

Arts Snapshot: The Lines of Linn Meyers


The love of lines for Linn Meyers started, at least at the subconscious level, when she would watch her father, an architect working in the days before CAD software, draw thousands of them when she was growing up. In later life, she has skillfully used her own mix of thousands of painstakingly drawn lines to create striking images on both the micro and macro points of contact with her art.

The Spy spoke to Linn last week about her approach to her work, now on display at the AAM, and how she always needs to navigate carefully between beauty and preciousness.

The video is approximately two minutes in length.


Hannah Gill: A Different Kind of Sweet Sixteen


While most sixteen year olds look forward to weekends with high school friends, St. Michael’s Hannah Gill is more than likely to be found these days in a recording studio in New York City. Several times a month, Hannah catches the Amtrak to work closely with musician and producer Brad Hammonds for intense rehearsal and recording sessions before climbing back on the train on Sunday evenings.

This unlikely collaboration is the result of a Talbot County friendship between Brad’s father and Hannah’s dad and a desire for the two of them to work together. While Brad might have originally thought this was simply extending a favor to listen to Hannah a few months ago, it didn’t take long for him to realize, like everyone who first hears Hannah sing, this is was not your typical teenager.

The Spy briefly caught up with Hannah at her debut album release event at the Avalon last Thursday night.

The video is approximately two minutes in length 

WC’s SANDBOX Opens Headquarters on Cross Street During First Friday, March 7


The Washington College Program for Creativity and the Environment will officially open its new headquarters at 107 Cross Street, in the heart of Chestertown’s historic downtown, during First Friday festivities on March 7. The public is invited to stop by to enjoy wine and cheese and learn more about the SANDBOX initiative.

sandbox large

The new SANDBOX on Cross Street

Funded by a $575,000 grant from the Andrew W. Mellon Foundation, SANDBOX was launched last spring as an interdisciplinary program that explores relationships between aesthetics and the natural environment. It invites artists and scientists, including Washington College professors, to collaborate in creative ways. The new storefront headquarters, formerly occupied by Sultana Projects, will provide space for small lectures and shows, along with office space for SANDBOX director Alex Castro, an artist and designer who teaches in the Washington College Department of Art.

Castro says he is looking forward to the increased interaction with community members and visitors the storefront space will promote. “Part of our mission is to bring our collaborations to the public and to be an integral part of the town,” he says. “This new space provides a physical connection that will nurture the creative connections at the heart of SANDBOX.”

Review: artNOW Philadelphia at the Kohl Gallery by Mary McCoy


On the same day that “The Monuments Men” started playing at the Chester 5 Theatre, a new exhibit called “artNOW Philadelphia” opened at Washington College’s Kohl Gallery. The two could hardly be more different in their approach to art but they both make you think a lot about its nature and value.

The movie is an entertaining story that would warm the heart of any art lover. It’s a film based on the true story of the rescue of thousands of masterpieces of art stolen by the Nazis in World War II. Over and over again, you gasp as the actors discover a Michelangelo, Van Eyck or Rodin hastily stashed in a mine or a castle, and more than once the question is asked, “Is art worth dying for?” Of course, the answer is yes.

In the Kohl exhibit, the questions are very different and the answers far more elusive. On view through March 7, artNOW Philadelphia is the third of the College’s series of exhibits featuring work by prominent young artists from nearby cities. It’s a show that asks a lot from the viewer, probably more than most will want to bother with.

Assistant Professor Benjamin Bellas makes his aim in curating artNOW abundantly clear in his accompanying essay. Set in the form of a detailed definition of the words “challenging” and “challenge,” it’s a provocation to do your best to comprehend the assembled work by these seven artists from Philadelphia, work that is by turns discomforting, humorous, irritating, inspiring, opaque, and highly thought provoking.


Amze Emmons’ “Modern Popular Movement,” graphite, gouache, acrylic on panel, 20 x 24”, 2011.

“The Monuments Men” presents art that’s breathtakingly beautiful (as well as familiar to anyone who’s taken an art history class) but in this exhibit, even when it’s present, beauty isn’t the issue. Julianna Foster’s photography-based images are eerily lovely, and Amze Emmons’s illustrative drawing style is exquisite in its clarity and simplicity. On the other hand, Leslie Friedman’s neo-Pop Art installation is purposefully crass and annoying. As if Andy Warhol was still alive and well, its row of silkscreened green nudes line up across from a pile of oversized multi-colored Coke cans and sugar substitute wrappers where an endlessly repeating video loop shows a masturbating woman.

Like the other artists in this show, Friedman is less concerned with the aesthetics of art than with the ways we communicate and build our belief systems. Her in-your-face look at consumer culture’s passion for overstimulation and vacuous pleasure is fairly predictable, but it offers a cursory nod to the fact that in a world of titillating underwear ads, graphic news videos and online pornography, art long ago lost its power to shock.

Tim Portlock’s work also considers consumer culture but in a more penetrating way. His urban landscape sprawls into the distance under windswept clouds bathed in the kind of transcendent light you’d find in a 19th century painting by Albert Bierstadt or Thomas Cole, artists who celebrated the scale and rugged beauty of the American landscape. At six feet wide Portlock’s archival inkjet print, “Clone,” shares the expansive quality of their inspiring vistas, but under its heaven-lit sky is a flat, gray landscape of empty buildings. Houses, restaurant and big box stores are all up for sale as new construction waits unfinished. Reacting to the thousands of buildings standing abandoned in Philadelphia, Portlock reconsiders the American dream, suggesting that in the postindustrial age, capitalism’s faith in unlimited growth is no longer viable.

Ryan Wilson Kelly and Marc Blumthal also play with how our perceptions of America’s history and values have been shaped. Blumthal impishly cuts and pastes a speech by George Bush into a rousing jumble of nonsensical phrases that retain a very American-sounding flow of political rhetoric, while Kelly has great fun turning our nation’s history into myth. His video, “The Wizard Franklin,” is an engaging little story that retells the American Revolution in condensed form, turning three of the founding fathers into beings of mythological stature.


Leslie Friedman, “Tastier”, 2013

In many ways, there’s a wide gap between “The Monuments Men” and “artNOW,” but both make you ponder art’s raison d’état. Many of the paintings and sculptures in “The Monuments Men” were commissioned by patrons of the church with the purpose of educating and inspiring by illustrating stories from the Bible for an illiterate congregation. Some might also call it propaganda or even brainwashing.

The artists in this show all use art as a method of investigating the impact of how information is presented. Living as we do in the Information Age, we see images of disaster constantly. Amze Emmons borrows such images from the media, honing, editing and splicing them to suit his purposes. His work distills instantly recognizable signs of poverty, environmental degradation and refugee displacement into engaging, beautifully drawn and cheerfully colored scenes. Disaster is commonplace, they seem to say, but it’s okay, life goes on. We’re constantly bombarded with this message, so why should we not believe it? Why worry?

Whether in terms of politics, culture or human nature, artNOW is intended to raise questions. If you want to get something out of this exhibit, you need to spend time with it. If you don’t, you won’t begin to understand the layers of meaning and intercultural discourse that went into Ruben Ghenov’s work. His paintings are consummate exercises in spatial gymnastics, abstractions that promise glimpses into complicated realities without offering specifics. You can simply appreciate his prodigious skill, or you can take the sparse clues he and Bellas offer in the catalogue and do some research. The internet is the perfect place to start. For Ghenov, as for all artNOW’s artists, you’ll find websites and links to articles and interviews, as well as to related work by other artists, poets and writers, and you’ll be launched into a process of reading, investigation, consideration and synthesis.

This show is all about being willing to explore and go beyond the boundaries of convention to open to new ideas. Julianna Foster has a magical way of questioning conventional thinking. She “documents” what she terms a “fantastic event that allegedly occurred” with images of patterns of lights suspended in the night air, strangely shaped clouds over water or low hills, and a house apparently floating in the sea. Obviously, whatever this mysterious occurrence was, it can’t have been real, yet allegedly there were witnesses.

Foster is asking a series of questions. How do we take in something that we can’t conceive of being true? Why is it so difficult to admit the existence of something outside the bounds of accepted knowledge? And if it’s a challenge to an individual’s belief system, how much more so for the established institutions of government, science and religion?

In assembling the work of these artists, Bellas dares students, viewers and citizens in general to take the initiative in searching out greater knowledge and widening our perspectives. The rescue efforts of “The Monuments Men” were aimed at not just at recovering beautiful objects but also the ideas and ideals spawned during a thousand years of culture. ArtNOW challenges us to practice learning and thinking creatively, for these are the most necessary skills we humans can possess in these times of unprecedented global change.

SpyShots: The Academy’s Anke Van Wagenberg on Chul Hyun Ahn’s Infinity


While it might not be a certified blockbuster for the Academy Art Museum, the exhibition of South Korean-born Chul Hyun Ahn’s work has become one of the museum’s most popular shows in recent memory. So much so that the AAM has extended the exhibition until February 23.

The Spy talks to Academy Art Museum curator Anke Van Wagenberg about why Ahn’s work is so unique and how he uses several tricks of illusion to successfully, as the title of the exhibition suggests, allow viewers to perceive infinity.

The video is approximately two minutes in length

Chul Hyun Ahn: Perceiving Infinity
November 16, 2013 – February 23, 2014
Academy Art Museum
106 South Street
Easton MD, 21601