Ms. Haggag has been the Director of The Contemporary since the spring of 2013. Prior to her work with The Contemporary, she was the Curator-in-Residence at Gallery CA, which is also located in Baltimore, MD in the City Arts building - home to over 90 artists. Ms. Haggag received her MFA in Curatorial Practice fro the Maryland Institute College of Art and a BA from Rutgers University in Art History and Philosophy.
In addition to her work at The Contemporary, she curates independent exhibitions, consults on various public art initiatives, and contributes to cultural publications. She is on the board of Whoop Dee Doo, Station North Tool Library, and is the Dean of the Baltimore Chapter of the Awesome Foundation. Ms. Haggag was named "10 People to Watch Under 30" by the Baltimore Sun in 2013.
The Contemporary is a nomadic, non-collecting art museum in Baltimore, Maryland. Our mission expands the idea of a museum as an incubator that commissions site-specific and subject-oriented projects. We engage diverse audiences and advance contemporary art through projects and educational programming.
Our work is inspired by three guiding principles: artists matter, collaboration is key, and audience is everywhere.
Silvermine Galleries is proud to announce that Deana Haggag, Director, The Contemporary in Baltimore will be curating the upcoming Guild Group Show.
The Homeless Kerry Brock discusses "The Homeless" series with Nomi Silverman
[KB] Why did you choose homelessness as your subject matter?
[NS] I grew up in 1970’s New York City when the town was going bankrupt. The homeless were everywhere and I found myself sketching them constantly. Also, I come from a socially progressive family so we were always thinking and talking about these things. For this series I started with used plates. Plates that people would throw away-trash.
[KB] Where do the specific images come from?
[NS] I’ve drawn so many homeless people over the years that by now they’re in my brain. Early on I experienced some difficulty trying to sketch them in person so I developed a visual memory instead. I would see a facial expression or gesture, walk a block away and pull out my sketchbook. Images in this show were based on my body of sketches, the culmination of work I’ve been doing for the past 5 years. It comes from process.
[KB]What else do you want to tackle?
[NS]I was doing torture and mass graves for a while. Now I’m working on a portfolio about a suicide bomber in Iraq. I’m almost paralyzed because I have a year to do this but once I get started I know another body of work will emerge. I just don’t know what it looks like yet. I did a portfolio on Matthew Shepard’s death that took ten years.