CONNECTIONS
Get to know the work of
Charlotte Hill Robinson
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“I have always been an artist. I started drawing as a very young child and by the time I was thirteen, I knew I wanted to be a professional artist. I started painting all kinds of things: murals on the walls of our home, furniture and portraits: lots of portraits for many years.”
Charlotte Hill Robinson spent nearly seven decades creating artwork. Initially as a young girl living in Texas, then as a portrait artist working in pastel, oils and acrylic as the wife of a career Air Force Officer. She was significantly influenced by the countries in which she lived and by their natural terrain. Robinson settled in the Washington, DC area in the 1960's and became immersed in the burgeoning feminist and environmental movements, issues that became central to her work.
 
Robinson’s work is represented in many museums throughout the Untied States and Europe, including: the National Museum of Women in the Arts (Washington, DC), the Museum of Contemporary Art (Madrid), the National Museum of Contemporary Art (Lisbon), and in numerous collections, including the US Department of State, and the New School for Social Research in New York City.
Charlotte’s family has made several works of art from the late artist’s Crossroad’s series available for donation to nonprofits within the Baltimore and Washington, DC area.
If you are a nonprofit interested in receiving artwork from this series, please complete the application via the link below and we will be in touch.
Image to right: Big Red by Charlotte Hill Robinson
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To view more of Charlotte's work visit her site here.
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Interview with photographer and participating artist, Keith Kozloff
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How has making art changed over the past 2 years? What major changes occurred because of the pandemic?
The pandemic has affected my choices of subject matter, interactions with fellow artists, and opportunities for showing my work.
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How would you rate the importance of art in a pandemic world?
Art is beauty and communication, both of which are more important in a pandemic world.
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If you couldn’t make art, what might you be doing?
A piece of artwork is a physical manifestation of an internal creative process. So if I was somehow precluded from the physical manifestation, I suppose I would have to find some other creative outlet.
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How do you feel about having your work permanently exhibited in Baltimore?
I appreciate the opportunity to share my work with new audiences.
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See more of Keith's work on his website here.
Interview with participating fiber artist, Eileen Doughty
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How has making art changed over the past two years? What major changes occurred because of the pandemic?
At first, everything felt like it just disappeared - in-person exhibitions, classes, workshops, critique groups, guild meetings; galleries and museums closed. It was so depressing. My creativity disappeared. I am a fiber artist, so instead of making that, I made and donated face masks (two layers of high quality cotton) - over 600 of them.
How would you rate the importance of art in a pandemic world?
Art is always important, so that didn't change. Artists have always created something that comments on problems and challenges in their lives or in the world. Viewers of art could take solace or be inspired to take action from what others have created.
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If you couldn’t make art, what might you be doing?
That's a tough one! I'd find another way to be creative. Perhaps by writing or composing music.
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How do you feel about having your work permanently exhibited in Baltimore?
Proud! Baltimore has a great connection with the fiber arts. It has its own genre of quilts, Baltimore Album Quilts, that were very popular in the 1800s, a style still being made today. There are active fiber art guilds in the area, such as weavers. I would love for my fiber art to inspire someone to join in!
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See more of Eileen's work on her website here.
