The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Department of Music presents UMBC Jazz in Concert featuring the Jazz Small Groups and the Jazz Ensemble, under the direction of Tom Baldwin, Tom Lagana, and Matthew Belzer.

Admission is free and open to the public, no reservation required.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Center for Art, Design, and Visual Culture presents Somewhere Over the Rainbow of Row Homes, We Fly, an intergenerational group exhibition organized by curator Angela N. Carroll. On view from August 25 through November 24, the exhibition features artists based in or connected to Baltimore, exploring the city’s cultural landscape through experimental and interdisciplinary practices. The exhibition title is inspired by the narrative poetry of multidisciplinary artist NIA JUNE.

Somewhere Over the Rainbow of Row Homes, We Fly includes work by Kelvin Bulluck, Roy Crosse, Brianna Faulkner, Darrius Fox, Lehna Huie, Jeffrey Kent, Ada Pinkston, Kim Rice, Margaret Rorison, Ernest Shaw, Shan Wallace, and Jasmine Gabrielle Washington, and the presentation of a filmic work produced by the collective NIA JUNE + Kirby Griffin + APoetNamedNate.

Through serial compositions, photographic triptychs, floating installations, and cinema, the participating artists examine themes of home, memory, and community. The exhibition aims to offer perspective on these themes through the lens of Baltimore’s creative community.

Public Programs

Thursday, September 3, 6–8 p.m.
Opening reception and artist panel moderated by Angela N. Carroll in conversation with with Brianna Faulkner, Jeffrey Kent, Kim Rice, Margaret Rorison, and Shan Wallace.

Thursday, October 15, 6–8 p.m.
Free outdoor concert by Brandon Woody alongside public projection of The Unveiling of God / a love letter to my forefathers by NIA JUNE + Kirby Griffin + APoetNamedNate.

Thursday, November 5, 6–8 p.m.
Artist roundtable on experimental praxis, moderated by Ernest Shaw.

November 19, 6–8 p.m.
Artist talk on memory, communal and familial photographipc archives, and land sovereignty, moderated by Jasmine Gabrielle Washington.

About the Curator

In her curatorial work, Angela N. Carroll has organized exhibitions that examine and celebrate Black identity and community memory, elevating artists and historical narratives in the Upper South. Her latest effort, Jerrell Gibbs: No Solace in the Shade at the Brandywine Museum of Art is accompanied by a monograph published by Rizzoli New York. As a scholar, Carroll has contributed critical writing to exhibition catalogs published by The Baltimore Museum of Art, The Des Moines Art Center, The Banneker-Douglass-Tubman Museum, The National Museum of Women in the Arts, Nerman MOCA, and the CueArt Foundation, among many others. These writings evidence her significant contribution to contemporary art historical discourse. Carroll intermittently teaches at American University, MICA and UMBC.

Visitor Information

Admission is free.

The CADVC is open Tuesday and Wednesday from 12 to 5 p.m., and Thursday through Saturday from 10 a.m. to 5 p.m.

Please visit here for directions and parking information.

Visitors who need specific accommodations to attend the exhibition or events should contact the CADVC at cadvc@umbc.edu or 410-455-3188.

All events at CADVC are open for full participation by all individuals regardless of race, color, religion, sex, national origin, or any other protected category under applicable federal law, state law, and the University’s nondiscrimination policy.

Photo by Tedd Henn for UMBC.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.

The Albin O. Kuhn Library Gallery presents Lewis Hine in Maryland, on display from August 24 through December 18. The exhibition will be accompanied by Lisa Oppenheim/Lewis Hine: Spine/Verso.

From 1908 to 1924, documentary photographer Lewis Hine (American, 1874–1940) traveled throughout the United States, using his camera to document child labor on behalf of the National Child Labor Committee (NCLC). He photographed children working in coal mines, cotton mills, farms, tenements, and city streets. The NCLC used Hine’s photographs and eyewitness reports to support its campaigns for labor regulation and reform. His images appeared in pamphlets, posters, traveling exhibitions, and lantern-slide presentations across the country. Ultimately, these searing photographs helped shape labor legislation in the United States and established a model for documentary photography.

In July 1909, Hine visited Maryland, photographing child workers at Bottomley berry farms in Anne Arundel County and at the J. S. Farrand Packing Company in Baltimore. Drawn from UMBC’s Photography Collections, this exhibition explores the places and people behind these photographs. A selection of Hine’s most iconic and enduring images situates his Maryland work within the broader context of his documentary project. The exhibition also examines how Hine’s photographs functioned as tools of visual persuasion, working in tandem with captions, pamphlets, slogans, and posters to shape public opinion — and ultimately legislation — regarding the changing role of children in the workforce and in American society.

This exhibition commemorates MD250 and the U.S. Semiquincentennial, exploring themes foundational to the nation’s history, including immigration and migration, the power of documentary photographs, and social justice.

Public Programs

Curatorial tour and opening reception
Thursday September 17, 5 p.m.

Panel Discussion: Food and Labor in Maryland
Thursday October 22, 6 p.m., followed by a reception
This event is co-organized with Department of American Studies and the Orser Center for Public Humanities at UMBC.

Closing reception
Thursday December 3, 6 p.m.

All public program are free and open to the public.

Lisa Oppenheim/Lewis Hine: Spine/Verso

Lewis Hine in Maryland is accompanied by an installation of two works from artist Lisa Oppenheim’s Spine series, in which she appropriates images by Lewis Hine from the Library of Congress. Enlarged to life size, the photographs depict the backs of adolescent textile workers whose bodies were curved and misshapen by their labor. Oppenheim has bifurcated each image along the vertical axis of the spine, emphasizing the physical impact of repetitive work on the body. Lisa Oppenheim/Lewis Hine: Spine/Verso places Oppenheim’s works in dialogue with a selection of photographs from UMBC’s Lewis Hine Collection, displayed with their versos — or backs — visible to viewers.

In 2023, with support from a National Endowment for the Humanities Preservation Assistance Grant, Special Collections staff undertook a major initiative to rehouse the Lewis Hine photographs and digitize their versos. The backs of the photographs bear captions, annotations, and inscriptions by Hine and others employed by the NCLC, testifying to their use in the organization’s publications and promotional campaigns. Together, these materials reveal the many forms of labor documented in Hine’s work and the ways that labor is imprinted upon — and remains legible within — the bodies of his subjects.

Lisa Oppenheim was born in 1975 in New York, New York. She received a BA in art and semiotics from Brown University in 1998 and an MFA in film and video from Bard College in 2001. She attended the Whitney Museum of American Art Independent Study Program for studio art in 2003. Oppenheim’s work has been the subject of solo exhibitions at MUDAM, The Contemporary Art Museum of Luxembourg (2025); Huis Marseille, Amsterdam (2024), Museum of Contemporary Art Denver (2017), and the Museum of Contemporary Art Cleveland (2016). In 2014, Oppenheim was the recipient of the AIMIA|AGO Photography Prize from the Art Gallery of Ontario and the Shpilman International Photography Prize from the Israel Museum. Her work is held in the permanent collections of The J. Paul Getty Museum, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, San Francisco, Solomon R. Guggenheim Museum, New York, Santa Barbara Museum of Art, Santa Barbara, Centre Georges Pompidou, Paris, Carnegie Museum of Art, Pittsburgh, among others. She lives and works in Brooklyn.

Image: Lisa Oppenheim, Correct posture for 4663. Need for advice of examining physician, 2016. Dye sublimation print on aluminum, 41 3/4 x 61 1/2 inches; 106 x 156.2 cm (overall). Courtesy the artist and Tanya Bonakdar Gallery, New York.

Visitor Information

Admission is free. For driving directions and parking information, please visit here.

Library Gallery hours:
Monday, Tuesday, Wednesday, Friday: 10 a.m. – 5 p.m.
Thursday: 10 a.m. – 7 p.m.
Saturday and Sunday: 12 p.m. – 5 p.m.

Top image: Lewis Wickes Hine, Dangerous Business. Boy working at canning machine with open gearing. Many such machines and boys too. J. S. Farrand Packing Co., Baltimore, Maryland, 1909. Gelatin silver print, 5 x 7 in. The Photography Collections, University of Maryland, Baltimore County (UMBC), P858.