About The Gallery
Gallery Exterior Steven Scott Gallery specializes in contemporary paintings and works on paper by emerging, mid-career and established American artists.

Born and raised in Baltimore, Maryland, Steven Scott founded the Steven Scott Gallery in the spring of 1988. He represents twenty emerging, mid career and established contemporary American artists. Scott has curated nearly one hundred gallery exhibitions of their paintings and works on paper, and has placed his artists’ works in numerous museum exhibitions and permanent collections.

Prior to opening his gallery, Scott held curatorial research positions at the Baltimore Museum of Art (1983 - 1985), the Woodrow Wilson International Center for Scholars at the Smithsonian Castle in Washington, DC (1986), and the Maryland Historical Society, Baltimore (1986-1987). While at the University of Maryland Art Gallery, College Park (1984-1985), he was co-author and co-curator of several major exhibitions and catalogs including “350 Years of Art and Architecture in Maryland” in 1984.

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Scott received his B.A. in Liberal Arts from Loyola College in Baltimore in 1983 and his M.A. in Art History with honors from the University of Maryland, College Park in 1988. On the graduate level he specialized in 19th and 20th century American art, writing his M.A. thesis on nationally acclaimed Chicago artist Hollis Sigler, whom he has represented since 1988.

Gallery Exterior In 2002, Scott became a Member of the National Advisory Board of the National Museum of Women in the Arts, Washington, DC. Selections from Scott's private collection of contemporary American women artists have been on view at the Museum over the past twelve years. "Steven Scott Collects," a major exhibition of Scott's gifts and promised gifts to the Museum was presented at the National Museum of Women in the Arts from June 10 to September 10, 2005.

After fourteen and a half years on North Charles Street in downtown Baltimore, Steven Scott Gallery relocated to the northwest Baltimore suburb of Owings Mills, MD, in January 2003. The gallery returned to downtown Baltimore to the waterfront community of Fells Point in January 2009. The gallery's new location, its most stunning space to date, features soaring 25 foot timbered ceilings and numerous skylights. Originally built in 2000 as the Conference and Visitor Center of the Preservation Society of Fells Point, the new space will allow the gallery's artists to exhibit their work in a spectacular, light filled venue along Baltimore's Historic waterfront. We look forward to your visit!

STEVEN SCOTT GALLERY 808 S. Ann Street [near Thames St.]
Baltimore, Maryland 21231 410-902-9300
Contemporary Fine Art since 1988

Gallery hours: 1 - 6 PM Tuesday to Saturday and by appointment.

Spring 2012
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Gallery artist Carla Golembe and Steven Scott at the April 2003 opening reception for "The Female Factor: Fifteenth Anniversary Exhibition"

Life Lessons
From an actor to a dancer to an art museum director, 13 Baltimoreans share what they've learned from their long careers in the arts.

The Gallery Owner
In 1988, Steven Scott took a chance and opened his own art gallery on Charles Street to showcase established American artists. Twenty-three years and two moves later, more than half of the gallery's 20 represented artists remain from that core group. At his newest location in Fells Point, he'll be highlighting the oils and monotypes of seven of his artists in this fall's show, "Painterly Brushwork," Oct. 4 through Dec. 31.

I first fell in love with art in the first grade on a field trip to the National Gallery. I saw the Renoir painting 'A Girl with a Watering Can.' I was drawn to the dazzling light, the inspired composition, the extraordinarily rich color and the intermittent flecks of sunlight infusing the surface of the canvas. The painting truly glowed.

I didn't always know that I wanted my own gallery. I originally thought I would be a museum curator. When I worked in the museums, I found local and regional artists that had great talent but no representation in Baltimore or D.C. After following their work for a few years, I found that I had a high-quality group of artists that were saleable and important. So I took a leap.

It's feast or famine. The winters are slow and the summers are busy. I can tell how well the gallery is doing by looking at the stack of art magazines on my desk. If there's a large stack and lots of e-mails, then I'm behind. If I'm caught up, we're having a slow period. It's always a roller coaster ride, but it all evens out in the end.

If you have a dedicated collector base and a quality group of artists you stick with, even new galleries can make it in Baltimore.

Many people are scared because conceptual art makes them feel stupid. You should always look, read and explore. Even with a graduate degree, I still don't understand Jackson Pollock. Or his allure, for that matter.

In '89, a collector walked into the Charles Street gallery with a big green trash bag over her shoulder. She threw it down in the middle of the floor and out came huge ornate, purple drapes. She needed a large purple painting to match the purple drapes! I tried to discourage her from buying to match— art should blend, but you should buy it because you love it.

The most important thing an artist can do is come up with a signature style—the kind where even if there is no sign, you can look at it and know who created it.

Many of my artists are set in their ways. I have to treat some with kid gloves. But the majority have been an absolute pleasure to work with. I support them and they support me. I know their quirks after 23 years. My artists stay true and paint for themselves, not the marketplace.

Some people just buy a piece to match their sofa or walls. Homes are not museums; there are restrictions with what you can display. Art needs to blend and enhance.

A large percentage of people that come to galleries don't know the difference between lithographs and screen prints. It's part of my job to educate— not everyone is an aficionado. When collectors understand the technique, they appreciate the pieces so much more.

If you really look at the works, it should take 10 visits to see the National Gallery. —As told to Laura Lefavor

Link to the Original Article.
Courtesy Baltimore Style Magazine, Sept/Oct 2011, p. 135