Fine Arts Baltimore LLC (FAB) designs fairs to foster meaningful connections between artists and audiences, ensuring that every piece of art is presented in a way that highlights its unique story and significance.The art fair calendar can be overwhelming but creating authentic, accessible fairs is FAB’s specialty. FAB is dedicated to curating art fairs that celebrate creativity, and we believe that art is best experienced in settings that encourage personal engagement and genuine… Show more Fine Arts Baltimore LLC (FAB) designs fairs to foster meaningful connections between artists and audiences, ensuring that every piece of art is presented in a way that highlights its unique story and significance.The art fair calendar can be overwhelming but creating authentic, accessible fairs is FAB’s specialty. FAB is dedicated to curating art fairs that celebrate creativity, and we believe that art is best experienced in settings that encourage personal engagement and genuine dialogue. Our fairs are thoughtfully organized to provide an immersive environment where art lovers can interact closely with creators and explore works in a space that feels both welcoming and intimate.As a small, independent company, we prioritize the individual narratives of both emerging and established artists, offering a platform that values depth. It’s about cultivating a community where creativity is celebrated and where every visitor leaves with a deeper appreciation for the artistry that shapes our world. Show less

Why do fine art prints (etchings, woodcuts, lithographs, screenprints, etc.) and printmaking draw such fervent practitioners, collectors, and fans? Find out how prints were the first internet disseminating images since the mid-15th century. Find out why it takes a village to make, sell, study, and collect these affordable beauties. Who are all these people in the print ecosystem, anyway?Series one looks at prints and printmaking and how they fit in in the context of museums, the market,… Show more Why do fine art prints (etchings, woodcuts, lithographs, screenprints, etc.) and printmaking draw such fervent practitioners, collectors, and fans? Find out how prints were the first internet disseminating images since the mid-15th century. Find out why it takes a village to make, sell, study, and collect these affordable beauties. Who are all these people in the print ecosystem, anyway?Series one looks at prints and printmaking and how they fit in in the context of museums, the market, critiques, and the print ecosystem. Series two offers a history of prints and printmaking in the West. Series three offers interviews with the people who perform various roles in the print ecosystem. Join us and find out why prints and printmaking occupy the best little corner of the art world. We'll turn you into a fan, too.Platemark offers a bit of art history, artistic creativity, and introduces listeners to artists, printers, dealers, print publishers, gallerists, art historians, curators, and scholars.Host Ann Shafer is a curator specializing in prints and printmaking. Formerly she was a curator at the Baltimore Museum of Art and the National Gallery of Art. She's a podcaster, blogger, and organizer of the Baltimore Fine Art Print Fair (baltimoreprintfair.com). Show less

• Contributed essay on Stanley William Hayter and Atelier 17 to exhibition catalogue for University of São Paolo, Brazil. Delivered keynote speech at a symposium in April 2019. • Researching and writing essay for upcoming exhibition catalogue on Fred Becker for Dolan/Maxwell Gallery, Philadelphia. • Freelance editing and proofreading for Elite Editing.• Specializing in taking common ideas and shaking them up to create new momentum.

Building business opportunities with a focus on art, collections, and industry strategy, contributing to Full Circle’s divisions while enhancing their reach and reputation.

• Promoted four times over fifteen years because of donor relations acumen, public speaking skills, exhibition development, and accelerated professional growth.• Curated a range of crowd-pleasing exhibitions from focused loan shows to thematic collection presentations: Peter Milton: Etching Enigmas (JHU), 2016; Broomberg & Chanarin, 2016; An-My Lê, 2014; Baker Artist Awards, 2011 and 2012; On the Mark, 2010; Taking in the View: English Watercolors and Prints, 2008; Jim Dine, 2008;… Show more • Promoted four times over fifteen years because of donor relations acumen, public speaking skills, exhibition development, and accelerated professional growth.• Curated a range of crowd-pleasing exhibitions from focused loan shows to thematic collection presentations: Peter Milton: Etching Enigmas (JHU), 2016; Broomberg & Chanarin, 2016; An-My Lê, 2014; Baker Artist Awards, 2011 and 2012; On the Mark, 2010; Taking in the View: English Watercolors and Prints, 2008; Jim Dine, 2008; Reflections of Sea and Light: Paintings and Watercolors by J.M.W. Turner from Tate, 2002; and others.• Reimagined the BMA’s biennial Baltimore Contemporary Print Fair (BCPF). Directed fair three times: 2012, 2015, and 2017. Brought twenty vendors from across the country to sell prints to the cultivated collecting audience, raising $75,000 for museum acquisitions, and increased attendance by 100% over three fairs.• Engaging public speaker. Artists interviewed include Jim Dine, Trenton Doyle Hancock, An-My Lê, Amy Cutler, James Siena, Peter Milton (click hyperlinked names for videos). Other video blog posts on collection highlights celebrating BMA’s 100th anniversary include An-My Lê’s Target Practice, USS Peleliu, 2005; Stanley William Hayter’s Untitled Plate 6 from The Apocalypse, 1930; Victor Delhez’s Scherzo in Gold, 1948.• Directed, hosted, and taught 100s of visitors and students in BMA’s Samuel H. Kress Foundation Print Study Center. • Managed collection of 65,000 works on paper requiring discreet cataloguing projects and registrarial duties, including inventories and international courier trips.• Delivered engaging exhibition tours, talks, programs to Friends group of 250, private groups, members, general public.• Excellent donor relations and acquisitions through gift and purchase achieved regularly. • Supervised interns and volunteers.• Participated in candidate interviews, tech committee, co-chaired collections mgmt committee in revamping policies and procedures manual. Show less

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• Design for print preferred.• Developed an “eye” for design and text. • Accomplished a range of print designs for menus, logos, newsletters, brochures, rack cards, invitations, and cycling jerseys. • Serviced clients such as March of Dimes, Bring Hope Through Healing, Bohème Café, Mount Washington School Outdoor Classroom, The Sassy Cyclist, and others.

• Catalogued new accessions and maintained orderly storeroom, of 90,000 works on paper.• Organized and catalogued Robert Frank archive of 4,500 prints, contact sheets, and negatives. • Contributed entries for two significant exhibition catalogues: The Touch of the Artist: Master Drawings from the Woodner Collections, 1996, and Drawings from the O’Neal Collection, 1993. • Conducted exhibition and collection scholarship, research, and writing.• Inventoried 10% of the collection… Show more • Catalogued new accessions and maintained orderly storeroom, of 90,000 works on paper.• Organized and catalogued Robert Frank archive of 4,500 prints, contact sheets, and negatives. • Contributed entries for two significant exhibition catalogues: The Touch of the Artist: Master Drawings from the Woodner Collections, 1996, and Drawings from the O’Neal Collection, 1993. • Conducted exhibition and collection scholarship, research, and writing.• Inventoried 10% of the collection annually.• Managed supplies and materials budget of $20,000.• Couriered art nationally and internationally. Show less