This December, the Academy Art Museum invites you to relive the glamour and innovation of the Jazz Age at the Bugatti Exhibition Preview Gala Reception. Held on December 5, 2024, from 6 to 8 pm, this black-tie-optional affair offers an unforgettable evening of refinement, artistry, and celebration.

Your night begins with a red-carpet welcome, where a photo opportunity ensures you can capture this moment of timeless elegance. Inside, indulge in signature cocktails inspired by Bugatti’s era of innovation and enjoy hors d’oeuvres crafted to reflect the exquisite artistry of the exhibition.

As a gala guest, you’ll be among the first to experience Bugatti: Reaching for Perfection. This exclusive preview, with timed entry, offers a rare and intimate look at Bugatti’s masterpieces of design and engineering. From the aerodynamic lines of the Bugatti Type 35 to the unparalleled craftsmanship of the marque’s other iconic creations, the exhibition celebrates the visionary artistry that has defined the Bugatti name for generations.

The evening will also feature a live performance by Hill Chamber Music, whose elegant repertoire provides the perfect accompaniment to the gala’s sophisticated ambiance. As the trio performs, the museum’s atmosphere will evoke an era when style, precision, and creativity reigned supreme.

The Bugatti Exhibition Preview Gala Reception is not just an event—it’s a celebration of the extraordinary. Much like Bugatti’s legacy, the evening is a testament to the fusion of art, design, and innovation that continues to inspire.

Tickets for this exclusive event are limited. Reserve yours today and join the Academy Art Museum in unveiling the timeless allure of Bugatti while supporting the museum’s mission to bring world-class art and design to our community.

For more information and tickets, visit academyartmuseum.org/events/bugatti-preview-gala.

On November 30, the Stage @ OCC at the Oxford Community Center will host an evening with celebrated jazz trumpeter, vocalist, and composer Bria Skonberg. Known for her signature blend of New Orleans-inspired jazz, innovative compositions, and a warm stage presence, Skonberg’s performance at the OCC promises a unique, up-close experience where her expressive trumpet and soulful vocals will bring the room to life.

In a recent conversation, Skonberg shared insights into her musical journey, her passion for jazz, and what fans can expect from her upcoming show.

Skonberg’s road to jazz began in her hometown of Chilliwack, British Columbia, a small town that wasn’t exactly known for its jazz scene—that is, except for the Chilliwack Happy Times Jazz Festival that ran for over 20 years and focused on great, classic American, New Orleans roots of jazz. “I’m the product of a great public-school band program,” she said, “and the Festival did a really good job of incorporating the youth.” This introduction to jazz’s roots helped form Skonberg’s musical style. 

Though she initially began playing piano, she was drawn to the trumpet partially because her father had played it back in high school, and they happened to have one at home. She remembers being intrigued by its unique sound and appearance, describing how it looked “cool” and could produce “funny, interesting sounds.” Skonberg’s curiosity eventually grew into a passion for the trumpet, and although she acknowledges that it’s a challenging instrument, her fascination kept her going. “I think if you know how hard trumpet is, you won’t do it,” she says. “But by the time you’ve fallen in love with it and gotten obsessed with it, it’s too late to turn back.”

Now, that connection and obsession are almost inseparable from her identity as a musician. “The trumpet is fire you can articulate. You can have really bright, brassy sounds. And you can make it serene at the same time,” she says. It also allows her to express emotions beyond words. “I think all musical instruments are just extensions of our voices. But what’s beautiful is that you can communicate things when you don’t necessarily have the words for them, and that can go a long way these days.”

Skonberg’s music feels almost effortless as she combines her trumpet playing with her vocals, allowing her to explore a wide range of expression. “I love a beautiful melody that I can play on my trumpet and sing it as well,” she says. This dual approach lets her create a sound that balances lyrical beauty with gritty, grounded tones—something she plans to showcase at OCC, where she’ll perform a mix of her compositions and reimagined jazz standards.

In addition to performing, Skonberg has a deep commitment to music education. She grew up in a family of educators, and though her parents weren’t music teachers, their influence instilled in her a respect for learning and teaching. “Jazz is like a pay-it-forward art form. It gets passed down for generations. And so it’s just a joy and an honor when I get the chance to work with students and give it back,” she says. For young musicians, particularly those drawn to challenging instruments like the trumpet, she offers this advice: “Commit to the journey. You’re not going to get better overnight, necessarily, but you just want to be a little bit better than you were the day before.”

Skonberg sees the role of a jazz educator as someone who can introduce students to the foundational artists who shaped the genre. She makes a point to share the breadth of Louis Armstrong’s music with her students, emphasizing the six decades of his recordings. “I think that a lot of music education overlooks or speeds past the foundational roots of the music,” she says, explaining why she encourages her students to dive deeply into the music of jazz pioneers. Her music reflects this respect for tradition, especially her latest album, which draws heavily from New Orleans jazz and showcases her love for its percussive, joyful energy.

The songs on Bria Skonberg’s new album, What it Means, carry a sense of hope and resilience, reflecting her recent life experiences and the challenges of recent years. Among the album’s playful surprises is her cover of Sonny and Cher’s “The Beat Goes On,” a familiar tune with a jazz twist. “Many people know that song, but I put it over this hard bop ‘Sidewinder’ groove, which is really fun,” she says. By weaving together familiar songs with inventive arrangements, Skonberg creates moments that appeal to new listeners and offer “Easter eggs” for jazz fans alike.

This approach shines in intimate venues like The Stage @ OCC, where Skonberg can connect more closely with her audience. “I love when I can look into the eyes of audience members and see people,” she says. “With music, we’re storytelling, and I like to narrate my sets with some stories and share some things about myself.” Her storytelling makes each performance unique as she adjusts her set in response to the audience. “In an intimate space, I can watch and gauge listeners’ reactions, and that entertains me as well.”

One of the most personal pieces in her setlist is her arrangement of John Lennon’s “Beautiful Boy,” which she blends with Count Basie’s “Little Darlin’” as a tribute to her journey into motherhood. Skonberg says, “It’s like a lullaby for parents because parenthood is so hard, it’s such a challenge… but by that point, you’re just so full of love that the responsibility is welcomed.” Becoming a mother, she said, has expanded her emotional range and allowed her to connect with audiences on a deeper level, adding another dimension to her music.

Looking ahead, Skonberg is focused on keeping jazz alive through innovation and authentic self-expression. “That’s what keeps music fresh and unique; it is just being able to create off of real-world experiences,” she says. For Skonberg, each show, including her upcoming performance at THE Stage @ OCC, is a chance to connect through shared emotions and collective memories. “If I have a room of people for 90 minutes, and I can remind them that we all experience the same emotions, then I’ve done my part.”

Bria Skonberg’s performance at the Oxford Community Center on November 30 celebrates jazz, community, and connection. Her signature trumpet sound, soulful voice, and genuine love for sharing music will make this a night to remember. As Bria said, “It’s all about coming together and celebrating life through music. If not now, then when?” Tickets are available at http://oxfordcc.org, and Skonberg invites everyone to stay after the show to say hello and pick up a signed CD or vinyl. For those wanting a longer experience with the artist, VIP tickets are available and include a meet and greet, dessert and bubbly, front cabaret seating, and two drink tickets. 

Marcelo Antinori’s career path is anything but conventional. With a background in economics and decades of global experience in social and economic development, the Brazilian-born author has traded spreadsheets for storytelling, drawing on the places and people he’s encountered worldwide. His latest novel, The Seagull and the Spy, a sequel to The Condor’s Riddle, brings his characters into new adventures while preserving the spirit of the first novel.

Author Marcelo Antinori

Although Antinori currently resides in France, he maintains strong ties to Maryland’s Eastern Shore, where he also keeps a residence and works with local publisher Secant Publishing. This connection to Maryland is part of the larger fabric of his international life, which has profoundly shaped his writing. “Traveling through different countries and getting to know their cultures has broadened my understanding of people and places,” he says. 

In The Condor’s Riddle, Antinori introduced readers to a cast of eccentrics, expatriates, and marginal figures struggling to survive amid international intrigue, drug cartels, and the looming presence of Chinese and American embassies. Central to the story was the mystery of El Dorado and the fabled city’s protection by generations of Indigenous people. The novel brought to life a magical world populated by a French archivist with a photographic memory, a Chinese exotic dancer, a remorseful German terrorist, and a blind Indigenous child with an extraordinary gift of perception.

Diverse these characters may be, but what is more surprising is what Antinori says about them, “Believe it or not, they all exist.” While the characters in his books are often exaggerated or fictionalized, they are inspired by real people he’s encountered in his travels. “I have a passion for those who don’t fit the mold, for people who are a little bit weird or live on the margins of society,” he says. “They’re the ones who end up doing the most interesting things.”

These characters intrigued Antinori so much that he wasn’t quite ready to let them go. “When you finish a book, sometimes the characters are still alive in your head. You want to keep playing with them, seeing what they’ll do next,” he said. This time, Antinori introduced a fresh plot involving an abandoned apartment with a mysterious past. “The idea came to me in a dream,” he says. “I had no idea what the story would be, but I started playing with the characters again. The thing is, when you know your characters well enough, you can put them in any situation—like a market or a confrontation—and just see what happens.”

The process of writing for Antinori is playful, even experimental. “Sometimes you develop a story, and it’s boring,” he says. “So I usually invent something completely absurd at this moment. Sometimes I create an accident, sometimes someone dies, and I have to reconstruct the story with this unexpected event.” To Antinori, that’s part of the fun. 

Another aspect is the author’s ability to mix actual historical elements with fiction. In The Seagull and the Spy, a Hungarian character who once played violin for Hitler becomes entangled with Che Guevara’s German mistress, a story that pulls from real historical figures but stretches into the realm of imagination. “Only about 10% of what I write is not true,” Antinori says, quoting the Brazilian poet Manuel de Barros. “The rest, I invented.”

Invented or not, Antinori’s fascination with diverse characters stems from his multicultural upbringing. Born in Brazil to an Italian family, he has worked extensively throughout Latin America, Africa, and Asia, “My characters are international,” he says, “because I feel I am international.” 

But if you’re expecting a particular message or deep commentary, Antinori’s goal is more straightforward: he just wants to entertain. “I want to tell a good story,” he says. “I’m not interested in making profound statements. Everything that needed to be said has already been said. I’m here to entertain. I don’t like to be considered an artist. I’m an entertainer. He is acutely aware that his work stands apart from more serious literary pursuits, but he doesn’t mind. “I think readers today are looking for something to relax with,” he says. “And if my stories can offer that escape, then I’ve done my job.”

As for what’s next, Antinori is already at work on several new projects, including a novel set in Paris and another based on his travels in Japan. He also hopes to continue working with Salisbury-based publisher Ron Sauder from Secant Publishing, with whom he’s had great success. “Ron and I met many years ago, and he’s been fantastic. He takes the time to edit thoroughly, which is crucial for me since English isn’t my first language.”

Although he currently resides in France, Antinori maintains a solid connection to the Eastern Shore of Maryland, where he hopes to return regularly. “The quiet beauty of the Eastern Shore is inspiring in its own way,” he says, noting the contrast between Maryland’s peaceful landscapes and his novels’ vibrant, often chaotic settings.

He’s already planning a visit in January, including a possible book signing at the Easton Public Library. As he returns to the place that’s become one of his many homes, Marcelo Antinori’s journey as a novelist continues to unfold—one story at a time, one unexpected and playful twist after another.

Like many artists, Erdmann “Oerdy” Hummel is a man whose life and art are deeply intertwined. But his story is also a journey through politics and personal resilience that many don’t get to nor would want to experience. To hear him speak is to get caught up in the intensity of his past, the present of an artist committed to his craft, and a future of hope.  It’s to be invited on a trip from East Germany’s Communist regime to one of international acclaim as an artist and a journalist. 

Oerdy’s latest works feature zebras with vibrant, colorful stripes. For him, these zebras are symbols of individuality and joie de vivre, a spirited representation of life’s complexities and the beauty of embracing them, a far cry from the black-and-white thinking he grew up fighting against. 

Reflecting on his choice of subject, Oerdy says, “I love zebras. They are a symbol of freedom to me. Each of these animals is different. Their stripes are individual. Also, zebras are herd animals like humans, and there are many secrets about these zebras.”

It’s a message that resonates deeply with Susan Schauer John, owner of the Zebra Gallery. “I met Oerdy earlier this year through Richard Marks and Amy Haines, who invited him to do a show at the Out of the Fire Restaurant. I immediately fell in love with the work and, of course, the meaning of the work. It’s a 100% fit with the Zebra Gallery and our mission.”

Oerdy’s life story is as striking as his art. Growing up in East Germany, he learned early on that art could be a powerful tool for self-expression and defiance. After multiple attempts to escape the Communist regime, he finally found freedom when the Berlin Wall came down. He then pursued a career in journalism, reporting from some of the world’s most dangerous crisis zones, including Afghanistan, Iraq, and Gaza. Even while documenting these intense experiences, Oerdy never stopped painting. “My personal history is deeply embedded in my art,” he said. “When I was in prison, I thought about freedom and how to get it, and what would I do for my own freedom. Art became a means of resistance, a way to say things that couldn’t be spoken aloud.”

It’s a sentiment that Schauer John understands well. “What I love about Oerdy’s work is that it’s not just beautiful—it’s meaningful. He uses materials like aluminum cans he’s collected at war zones worldwide. That’s amazing, and the symbolism involved in that speaks volumes. I particularly love his style and his work, but more importantly, the meaning behind it, and for me, that richness matters.”

In one of his pieces, a zebra is painted in the yellow and blue of the Ukrainian flag, its body pressing through a wall marred by symbols of oppression. Oerdy explains, “I painted this piece after Russia invaded Ukraine. The zebra, with its yellow and blue stripes, is a symbol of hope breaking through darkness.” It also rejects the black-and-white mindset he associates with authoritarian regimes. “Colors give me hope. The world isn’t black and white. The world is colorful.”

For Schauer John, Oerdy’s art is a profound example of how creativity can bridge cultural divides and speak to universal themes. “Art has this incredible ability to connect us. No matter where we come from, we all understand loss, hope, and resilience,” she says. “What I’d like people to take away from seeing his work is a sense that art is a way to reflect and appreciate all that is around us and all that we’re capable of and how we all share this life on the planet. I think there’s a language in art, whether a painting or a sculpture, that transcends language differences, and I think art brings us together in that way.”

Oerdy’s admiration for American culture is another thread woven throughout his life and work. Growing up under the shadow of the Berlin Wall, he was captivated by American jazz, pop art, and films. “American culture showed me what freedom looked like,” he says. “

When asked what he hopes to leave behind, Oerdy is humble. “I don’t think about that too much. I just enjoy creating art.” Schauer John, however, has no doubt about the lasting impact of his work. “It’s an honor to host an international artist like Oerdy,” she says. “Now, when we’re feeling somewhat divided, it’s important to have perspective, and I think Oerdy brings that, having grown up in East Berlin and gone through what he’s gone through, to be here now is really a sentiment to appreciate what we have. ” 

Through the end of the month, Oerdy’s works are on display at the Zebra Gallery in Easton as part of the Evolutionary Art and Artists series. But Schauer John says that she will continue to exhibit Oerdy’s work and encourage visitors to look beyond the black and white, to experience his journey of courage, creativity, and the belief in the power of art to break down barriers—both literal and metaphorical and to dare to see the world in vivid color.

The Zebra Gallery is located at 5 N. Harrison St. in Easton, MD.
Hours:  Thurs – Sat. 11 – 5 pm,  Sun. 11-4 pm

Laura Baring-Gould,

AAM Interim Director Jennifer Chzranowski and Museum Trustees Diz Hormel (2024 Craft Show Chair) and Donald Wooters (2024 Craft Show Co-Chair) sat down with Laura Baring-Gould, the Featured Artist at this year’s Craft Show, to learn more about her creative practice and how it has evolved from large-scale public sculptures to craft, which Baring-Gould describes as “discrete, beautiful hand-held things.” The interview has been edited for length and clarity.  

Diz: The Museum is thrilled to have you as our featured artist for the 2024 Craft Show. Can you tell us about your background and how it influenced your work?  

LBG: As a young child I grew up in Costa Rica, Mexico, New York and California, and in the early 1970’s we settled in Alaska. As a family, we built cabins surrounded by cottonwood trees, started alternative schools, and spent time surrounded by infinite awe. Alaska was also a place where I experienced incredible community as people organized to protect wild landscapes and codify indigenous land rights. Trying to weave these together, I imagined an adult life as a scientist who would preserve wonder through public policy, so I studied sciences in college. But I felt greater connection and endurance in my art classes. Once I relocated to the East Coast I saw that people living in dense cities needed awe too. Art felt like an important and immediate way to do that.  

Jenn: How did you set out to do that as a young artist? Tell us more about your early work.  

LBG: At first, I gave myself five years to figure it out – I was waitressing, teaching, working as an artist assistant –and making things outdoors responding to the landscapes I could work in: lines of fallen birch trees or hundreds of pine-cones woven across a woodland park. These site-specific pieces led to large-scale work inside museums and galleries – illuminated boats suspended above 11 tons of salt in a converted wooden chapel, or a giant beehive made of wound straw in a museum abutting historically rich agricultural farmland. These projects were ambitious and required the help of many. Some were artists, others were not – but together we were transforming materials to make these magical spaces for people to understand something about the places they were in, but to also feel connected and inspired. As my practice developed, I was invited to create more substantial temporary and permanent public artworks. These pieces also required close collaboration with the local community so the work could truly be public as it honored what people feel connected to and care about.  

Don: You’ve done a lot of casts of pears. Tell us about the outdoor giant bronze pear. 

LBG: The public artwork I am most well-known for is a twelve-foot bronze pear that celebrates Dorchester, a community in Boston where the Clapps’ Favorite pear was first grown in 1830. It’s a cross pollination between the Bartlett, known for its hard skin, and the Flemish Beauty, resulting in a tough -skinned pear that inside was sweet as butter – which basically describes everybody who lives in that community.  

Diz: Can you tell us about your method for casting pears? 

LBG: The first pieces I made of pears were not ripe ones. I instead took slumping pears far past their prime and encased them in ceramic. After a two-week process of building up the ceramic, I fired pieces in the kiln, burning up the pear and leaving a hollow space in the ceramic. This negative space – the mold –gets filled with molten bronze. Once cool, I would crack off the ceramic to reveal the original pear –the same thing, but totally different. The entire process amazed me. 

My studio was filled with rotting fruit and small bronze objects when I was asked to propose a project for Dorchester. I obviously could not create a monument of a rotten pear, but I knew that the humble fruit and its stewardship might really resonate.  

Don: So how did you pivot to craft?  

LBG: While I was making these bigger artworks, I was also finding my own refuge in making smaller pieces that transformed impermanent objects into talismans of experience.  

I participated in my first Craft exhibition almost 20 years ago and loved the immediate connection people had to these bronzes and how they felt in the palm of a hand. I loved, too, the idea of taking ephemeral objects – sewn children’s caps, bamboo baskets, fish traps, or even a magnolia branch with a bird’s nest, and casting them into permanent metal.  

Diz: These pieces are so tactile. You just want to hold them. They have a solidity and permanence, but at the same time appear so delicate. How do you bring out that juxtaposition?  

LBG: It is important to hold something and have it affect you. It’s important that people at weddings have held my pieces and shared them with those they love, and equally important that others have died holding these pieces as well. While I am 

thankful for the bigger public artworks that exist out in the world, these objects can be with you.  

Jenn: It seems that your background in science continues to inform your work. Is that accurate?  

LBG: 100% yes – in every aspect of my work: I am a naturalist who collects and studies pears from heirloom trees and am amazed by the material science of bird’s building their nests. The entire process of casting, metal work, and patina are also all about material technology and experimentation. 

Jenn: After working with artists and organizing AAM’s Craft Show for the past 6 years, I know that the circuit can be grueling. What is it about craft shows that keep you coming back? 

LBG: I have been able to continue to be an artist because I unlocked the world of craft and found this essential community that values artists’ work. I love sharing my work with people, from small shows to the Smithsonian. And it is the work of organizations that hold it together – places like the Academy Art Museum– that bring people together to share stories and experience something special. The people who want to share the story and the people who want to receive the story. Even just one connection, one moment of magic. And that’s how I think lives are changed, right?

The Avalon Foundation announced its short-term and long-term plans for expanded entertainment spaces at a thank-you-themed reception last Tuesday for its Producers Guild, a group of the Foundation’s financial supporters. 

The Avalon Foundation purchased Bannings Tavern, the contiguous restaurant space at 40 E. Dover Street two years ago, completing its ownership of the entire building for the first time in 100 years. 

“We acquired the space with the important goal of owning and controlling the entire building,” Executive Director Al Bond told the Producers Guild. “While we experimented over the last two years, the first-floor space was always meant to improve our small lobby. Going forward, we intend to provide a convening space where people can gather before and after our shows in the main theatre,” he said. He revealed a schematic showing a wide opening between the former Bannings Tavern and the Avalon Lobby. 

“The flow between the restaurant area and the main theatre will provide our visitors with a richer experience for mingling, socializing, getting a drink and something to eat,” said Bond. “The Avalon’s strengths lie in convening community and an expanded Lobby will help us to do that better. Simple food and drinks will be offered for purchase on nights when the main theatre is open.” 

Speculation continued as the Avalon experimented with different formats, from guest chefs to bar formats, on main theatre show nights. Now, after a two-year incubation period, the Avalon has established the framework for its short-term and long-term plans for the first floor bar, remembered as the Bannings space, and its third floor.

He contrasted the Avalon’s eventual food offerings with several fine restaurants in Easton offering a full-service dining experience before and after theatre in various formats and cuisine. “There is a full dining experience available at several Easton restaurants. We want to offer a convenient onsite option for a bite before, after shows or during intermission,” he said. 

The announcement came as a preliminary direction for what will be a two-stage renovation of the first and third floors.

Stage 1– by Waterfowl weekend

The Bar will be open for business during Waterfowl Weekend, November 10-12. The first-floor space will be painted and staged for use during Waterfowl Weekend. A modified opening will be created between the restaurant and the lobby, and ongoing at future shows in the theatre.

The third-floor entertainment space will be accessed by invitation only to Avalon guests during Waterfowl. 

Stage 2 – First and Third-floor transformation

The more open and spacious lobby will be part of a second phase of renovation for the Avalon, which will also involve extensive reworking of restaurant, kitchen and office space. 

Most people have not visited the third floor space, which offers an expansive view of downtown Easton.  The space is a breathtaking entertainment space for Avalon events and convening groups.  The third floor space will be offered for party, event and meeting rentals when not in use by the Avalon. 

The Avalon Foundation is a 501(c)(3) nonprofit organization. The work will be phased out over the next few years as the Avalon raises funds for the project and works around the existing schedule for the theatre. 

For More Information: Al Bond, Executive Director 410-253-9117 [email protected]

There is nothing like a classic Noël Coward comedy to kick off an Eastern Shore fall, and the Tred Avon Players had that in mind when they decided to produce Blithe Spirit, starting next week at the Oxford Community Center.

The Spy sat down with TAP director Alison Lynch and actor Christina Underwood, who plays Ruth Condomine, to get a sneak preview of this fun story of novelist Charles Condomine, who invites an eccentric medium, Madame Arcati, to his home to conduct a séance as research for his next book.

However, things take a turn for the otherworldly when Madame Arcati accidentally summons the ghost of Charles’s first wife, Elvira, who is determined to disrupt his new marriage. Chaos ensues as Charles is caught between two wives—one living and one deceased—in a battle of wits and wills.

The production features a stellar cast of local talent, bringing Coward’s unforgettable characters to life. Greg Allis takes on the role of Charles Condomine, the skeptical novelist, with Christina Underwood as his strong-willed second wife, Ruth. Jackie Royer portrays the ghostly and mischievous Elvira, Charles’s first wife, while Michelle Spain embodies the spirited medium, Madame Arcati. Herb Zeigler and Debbie Harmon play Dr. Bradman and his wife Violet, the Condomines’ loyal friends, and Lindley Bounds completes the cast as Edith, the eager-to-please maid.

Performances will be held at the Oxford Community Center, 200 Oxford Rd, Oxford, Md. Thursday, Friday and Saturday shows start at 7:30 pm and Sunday matinees at 2:00 pm. Tickets are adults $25 / students $15 (fees included). Thrifty Thursday (October 24) and Sunday matinees sell out quickly! 

For more information or to purchase tickets, please visit www.tredavonplayers.com or contact the box office at (410) 226-0061.