Art@UMUC Newsletter, Fall 2013

Greetings from the President

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

Dear Friends,

Fall 2013 University of Maryland University College is a constituent institution of the University System of Maryland. Art@umuc is published twice a year by UMUC’s Art Advisory Board. Please send comments to arts@umuc.edu or mail to Newsletter Editor Arts Program University of Maryland University College 3501 University Boulevard East Adelphi, MD 20783-8007 Phone 301-985-7937 • Fax 301-985-7865 Managing Editor Eric Key Graphic Designer Jordan Campbell

FALL 2013

5 Did You Know? 6 New Galleries to Debut with 2nd Biennial Maryland Regional Juried Art Exhibition

2 Friends of the Arts Visit the Barnes Collection: A Tour of the Collection's New Location

6 University of Maryland University College Arts Program Mission Statement

3 Barnes's Vision for His Collection 4 Martha Jackson-Jarvis: Repurposing, Reenergizing, Nurturing Life Cycles

U N I V E RS I TY

O F

M A RY L A N D

U N I V E RS I TY

6 Caring for UMUC's Art Collection 7 Become a Friend of the Arts at UMUC

C O L L E G E

Sincerely,

Javier Miyares President, University of Maryland University College

Greetings from the Chair Dear Friends, After an incredibly busy and vibrant spring season that included the launch of four unique exhibitions between February and May, the UMUC Arts Program regrouped this summer during the gallery renovations and turned its attention to strategic planning for the program’s longterm goals and initiatives and the upcoming exhibition seasons. The Art Advisory Board and the Arts Program staff are committed to thoughtful stewardship of UMUC’s world-class art collections, creatively curating a growing repository of Maryland and Asian art, identifying compelling and thought-provoking artworks and exhibitions for the greater UMUC community, and cultivating support to both maintain and expand the presence and prestige of the Arts Program. Our newsletter is one way we bring the Arts Program to you. In this edition, we have included a profile of Martha Jackson-Jarvis that explains her approach to corporate and public art. And we know you will enjoy the animated accounts of the recent sold-out Friends of the Arts trip to see the Barnes Collection in Philadelphia.

IN THIS ISSUE 1 Greetings from the President & Greetings from the Chair

The Arts Program team, the Art Advisory Board, and all of us at University of Maryland University College (UMUC) are pleased and proud to showcase the works of these talented men and women, and we are equally proud to share our new and renovated gallery space with the community. I look forward to seeing you at the opening of BMRE or at one of the other special events the Arts Program has planned for the year ahead.

TRACEY BROWN photography

News and perspectives for friends of the arts

UMUC Art Advisory Board Javier Miyares Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Myrtis Bedolla I-Ling Chow, honorary member Paula Cleggett Patricia Dubroof Karin Goldstein, honorary member Pamela Holt Eric Key Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member

As you may know, the Inn and Conference Center in Adelphi, Maryland— which houses our galleries and many of the pieces in our collections— is undergoing extensive renovation. The result will be a more beautiful, welcoming, efficient, and environmentally friendly facility that meets standards for LEED (Leadership in Energy & Environmental Design) certification. For the Arts Program and its gallery spaces, this means new floors and ceilings, new lighting, and a refreshed color scheme that coordinates well with the more modern look of the renovated Inn and Conference Center. The galleries will reopen on November 3, 2013, once the renovation is complete. Our first formal opportunity to share our new look with you will be Sunday, November 17, at the opening reception of the 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE). The exhibition—the first to be launched in the new lower-level gallery space—will feature works by artists throughout our community.

Arts Programs Updates Get the latest updates on the UMUC Arts Program. Visit www.umuc.edu/art/newsonline

On cover (clockwise from left): 1 Martha JacksonJarvis, Moon Dance (detail) 2 Delilah William Pierce, Fishing Boats at Martha's Vineyard (detail) 3 Sam Gilliam, Spin/Arrest 4 Mervin Jules, Investigation (detail)

Katherine Lambert photography

Arts Program 3501 University Boulevard East Adelphi, MD 20783-8007 USA www.umuc.edu/art

Later this fall we will welcome you back to the newly renovated Arts Program galleries and your favorite permanent collections—the Herman Maril Collection, the Art of Gladys Goldstein, the Art of Selma Oppenheimer, and the Asian Collection. In addition, you will be able to view selected works from the Doris Patz Collection of Maryland Artists, the Maryland Artist Collection, and the International Collection. In November, our celebrated rotating exhibition schedule resumes with the 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE). Please join us for BMRE and our 2014 exhibitions and continue your support for the arts at UMUC. Sincerely,

Michèle Jacobs Chair, Art Advisory Board, University of Maryland University College www.umuc.edu/art •

page 1

Greetings from the President

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

Dear Friends,

Fall 2013 University of Maryland University College is a constituent institution of the University System of Maryland. Art@umuc is published twice a year by UMUC’s Art Advisory Board. Please send comments to arts@umuc.edu or mail to Newsletter Editor Arts Program University of Maryland University College 3501 University Boulevard East Adelphi, MD 20783-8007 Phone 301-985-7937 • Fax 301-985-7865 Managing Editor Eric Key Graphic Designer Jordan Campbell

FALL 2013

5 Did You Know? 6 New Galleries to Debut with 2nd Biennial Maryland Regional Juried Art Exhibition

2 Friends of the Arts Visit the Barnes Collection: A Tour of the Collection's New Location

6 University of Maryland University College Arts Program Mission Statement

3 Barnes's Vision for His Collection 4 Martha Jackson-Jarvis: Repurposing, Reenergizing, Nurturing Life Cycles

U N I V E RS I TY

O F

M A RY L A N D

U N I V E RS I TY

6 Caring for UMUC's Art Collection 7 Become a Friend of the Arts at UMUC

C O L L E G E

Sincerely,

Javier Miyares President, University of Maryland University College

Greetings from the Chair Dear Friends, After an incredibly busy and vibrant spring season that included the launch of four unique exhibitions between February and May, the UMUC Arts Program regrouped this summer during the gallery renovations and turned its attention to strategic planning for the program’s longterm goals and initiatives and the upcoming exhibition seasons. The Art Advisory Board and the Arts Program staff are committed to thoughtful stewardship of UMUC’s world-class art collections, creatively curating a growing repository of Maryland and Asian art, identifying compelling and thought-provoking artworks and exhibitions for the greater UMUC community, and cultivating support to both maintain and expand the presence and prestige of the Arts Program. Our newsletter is one way we bring the Arts Program to you. In this edition, we have included a profile of Martha Jackson-Jarvis that explains her approach to corporate and public art. And we know you will enjoy the animated accounts of the recent sold-out Friends of the Arts trip to see the Barnes Collection in Philadelphia.

IN THIS ISSUE 1 Greetings from the President & Greetings from the Chair

The Arts Program team, the Art Advisory Board, and all of us at University of Maryland University College (UMUC) are pleased and proud to showcase the works of these talented men and women, and we are equally proud to share our new and renovated gallery space with the community. I look forward to seeing you at the opening of BMRE or at one of the other special events the Arts Program has planned for the year ahead.

TRACEY BROWN photography

News and perspectives for friends of the arts

UMUC Art Advisory Board Javier Miyares Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Myrtis Bedolla I-Ling Chow, honorary member Paula Cleggett Patricia Dubroof Karin Goldstein, honorary member Pamela Holt Eric Key Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member

As you may know, the Inn and Conference Center in Adelphi, Maryland— which houses our galleries and many of the pieces in our collections— is undergoing extensive renovation. The result will be a more beautiful, welcoming, efficient, and environmentally friendly facility that meets standards for LEED (Leadership in Energy & Environmental Design) certification. For the Arts Program and its gallery spaces, this means new floors and ceilings, new lighting, and a refreshed color scheme that coordinates well with the more modern look of the renovated Inn and Conference Center. The galleries will reopen on November 3, 2013, once the renovation is complete. Our first formal opportunity to share our new look with you will be Sunday, November 17, at the opening reception of the 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE). The exhibition—the first to be launched in the new lower-level gallery space—will feature works by artists throughout our community.

Arts Programs Updates Get the latest updates on the UMUC Arts Program. Visit www.umuc.edu/art/newsonline

On cover (clockwise from left): 1 Martha JacksonJarvis, Moon Dance (detail) 2 Delilah William Pierce, Fishing Boats at Martha's Vineyard (detail) 3 Sam Gilliam, Spin/Arrest 4 Mervin Jules, Investigation (detail)

Katherine Lambert photography

Arts Program 3501 University Boulevard East Adelphi, MD 20783-8007 USA www.umuc.edu/art

Later this fall we will welcome you back to the newly renovated Arts Program galleries and your favorite permanent collections—the Herman Maril Collection, the Art of Gladys Goldstein, the Art of Selma Oppenheimer, and the Asian Collection. In addition, you will be able to view selected works from the Doris Patz Collection of Maryland Artists, the Maryland Artist Collection, and the International Collection. In November, our celebrated rotating exhibition schedule resumes with the 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE). Please join us for BMRE and our 2014 exhibitions and continue your support for the arts at UMUC. Sincerely,

Michèle Jacobs Chair, Art Advisory Board, University of Maryland University College www.umuc.edu/art •

page 1

Friends of the Arts Visit the Barnes Collection A Tour of the Collection’s New Location

Barnes s Vision for His Collection ' By Leslie Xavier

By Merian T. Sherrod

In April, the Friends of the Arts and their guests

attended the University of Pennsylvania Medical

of the Barnes residence in Merion. It was a

I was full of anticipation, given the intrigue

and asked, “So what’s a metal door latch doing

embarked on a bus trip to Philadelphia to visit the

School. He had a fondness for gospel music and

beautiful sight to behold. We were informed that

surrounding this collection. After Barnes’s

above the paintings?”

Barnes Collection in its new location. The Barnes

sang in Europe while he studied there. Barnes

each room and each artifact and piece of art was

death, his collection of more than 2,500 works

Foundation building, located on Benjamin Franklin

became a physician and chemist and discovered

measured by laser in its place at the residence.

was protected with an express mandate to

Parkway, among grand romanesque and beaux-

and developed the antiseptic drug Argyrol. The

These dimensions and locations were replicated

keep it as he wanted it to be seen. However,

arts buildings, is an architectural jewel, a great

money made from Argyrol funded his initial foray

in painstaking detail in the new building.

it became apparent that the collection could

representation of modern art. The building looks

into purchasing art. Barnes started collecting art

like two delicately placed rectangles, with a stone

by commissioning works of art from artists and

base and a glass top that overhangs the stone. It

art dealers. As his passion for collecting grew,

looked, to me, much like a diamond set in stone.

he made many trips to France, particularly Paris,

We entered the building through grand wooden doors to a lobby full of light, bustling with activity. It was a public viewing day. The Barnes Foundation is not a traditional museum; therefore, public viewing of the collection is allowed on designated escorted by assigned docents to separate rooms for an overview of the Barnes Foundation. Our docent gave a biography of the gentleman for whom the collection is named, pointing out that Albert Barnes was the son of a butcher and

and collecting fine art. As his knowledge expanded so did his taste, and the diversity and size of his collection expanded. The Barnes Collection comprises artworks by European artists such as Matisse, Renoir, and Cézanne— housing more works by Renoir and Cézanne than any other collection in the world— as well as by Asian artists and African American artists. It includes African artifacts, Pennsylvania Dutch furniture, and American Indian textiles.

grew up in Philadelphia’s blue-collar Kensington

The introductory session ended, and we were led

neighborhood. He went to school outside

to the second floor to view the collection. The art

his neighborhood at Central High School and

was displayed in rooms that replicated the rooms

trust was broken and the Barnes collection was

be filtered in such a way as to not damage

moved from its onetime residence in Merion

the art but to enhance the viewing experience.

to Philadelphia, Pennsylvania.

The artwork was illuminated so that colors popped and the arrangements’ themes were

Even though the central gallery was filled with

more evident. Our docent escorted us through

people, the collection had an almost hallucinatory

several galleries, pointing out various aspects

effect on visitors. I fought against envisioning the

of Barnes’s ideas regarding art arrangement.

collection in any space other than this one and

He engaged us with questions and pointed

concentrated on the collection itself and the nar-

out how metal objects were placed to draw

rative given by our docent. The immersion in the

the eye to specific areas of the arrangements.

theories Barnes is known for is enriched by the unconventional presentation of the works.

After our tour, we retreated to the courtyard

becomes a metaphor for the opened hands of the one girl and the tightly closed hands of the other woman in the painting.” It is in this didactic manner that Barnes docents lead visitors through the collection. We moved from one room to the next quickly, and each room was more exotic or enigmatic than the last. As an artist, I found this visit to be far closer to the type of experience one would have had in the artist’s studio than to one in a more conventional museum setting. As an architect, I felt that something was missing. It is disappointing how few people seem to realize

Barnes rejected any chronological or mono-

that a replica of a room, especially when situated

a visit to the bookstore, an open and inviting

graphic organization in favor of tightly grouped

in a building many times larger than the original,

space adjacent to the lobby entrance. All too

artworks by different artists from different

has an effect on a visitor that is utterly albeit

soon the visit was over. We took a group picture

periods. His collection pushes us to grasp what

subtly different.

at the Barnes Foundation’s entrance wall and

he regarded as the deeper and more formally

then boarded the bus for our return to UMUC. 

expressive affinities, such as the way a rectangle is activated. The collection breaks down our normal perceptions and allows us to experience art in a way that Barnes described as seeing “beneath appearances to the reality underlying them.” Our docent pointed out an interesting

Above, left: The Barnes Foundation building on Benjamin Franklin Parkway in Philadelphia Above, right: Pierre-Auguste Renoir, After the Bath, 1910, oil on canvas, 251/2 x 213/5 in. {{PD-Art-two|PD-old-70|PD-1923}}

The display of the works in the collection reminded me of one of Picasso’s cubist collages that use objets trouvés (found objects) as metaphors or representations of certain ideas. In fact, perhaps the entirety of the collection— the organization and manner in which the works are displayed—could be construed as a work of art unto itself. Perhaps that idea is why Barnes was so adamant that the works stay in Merion,

“You have here a large painting at the bottom

Pennsylvania—that no work be sent out for tour-

by Cezanne . . .,” the docent said. “The painting

ing and no piece or part of the collection ever

is of an older woman gripping a book very

be sold. The collection was to stay intact and

tightly. You have a sense that she's not likely

to remain in situ like a large art installation.

to let go of that book, nor could you get it out

On the surface, what appeared to be the eclectic

of her hands. Above this painting you can see

desires of a wealthy eccentric collector could

a much more lyrical, smaller painting by Renoir

actually be the foundation for a collection—

called Girl in Pink Bonnet, and she’s either tying

a work of art unto itself.

or untying the strings on her bonnet and her hands are partly open.” Then, he turned to us

Above: Pierre-Auguste Renoir, Jeune garçon sur la plage d`Yport, 1883, oil on canvas, 519/16 x 311/2 in.

For full-length accounts of the visit to the Barnes Collection, visit www.umuc.edu/art. 

Wikimedia Commons

pairing of paintings to illustrate this idea.

• www.umuc.edu/art

saying, “A door latch opens and it closes, so it

restaurant for lunch. Lunch was followed by

is organized, colors are juxtaposed, or brushwork

page 2

answered. He then answered his own question,

Wikimedia Commons

days. We were divided into three groups and

to meet artists and learn more about appreciating

be in danger, and in a contentious move, the

The skylight system allowed natural light to

We all looked rather stunned, and no one

Above: Paul Cézanne, Portrait de femme, 1892–96, oil on canvas, 363/4 x 287/8 in.

www.umuc.edu/art •

page 3

Friends of the Arts Visit the Barnes Collection A Tour of the Collection’s New Location

Barnes s Vision for His Collection ' By Leslie Xavier

By Merian T. Sherrod

In April, the Friends of the Arts and their guests

attended the University of Pennsylvania Medical

of the Barnes residence in Merion. It was a

I was full of anticipation, given the intrigue

and asked, “So what’s a metal door latch doing

embarked on a bus trip to Philadelphia to visit the

School. He had a fondness for gospel music and

beautiful sight to behold. We were informed that

surrounding this collection. After Barnes’s

above the paintings?”

Barnes Collection in its new location. The Barnes

sang in Europe while he studied there. Barnes

each room and each artifact and piece of art was

death, his collection of more than 2,500 works

Foundation building, located on Benjamin Franklin

became a physician and chemist and discovered

measured by laser in its place at the residence.

was protected with an express mandate to

Parkway, among grand romanesque and beaux-

and developed the antiseptic drug Argyrol. The

These dimensions and locations were replicated

keep it as he wanted it to be seen. However,

arts buildings, is an architectural jewel, a great

money made from Argyrol funded his initial foray

in painstaking detail in the new building.

it became apparent that the collection could

representation of modern art. The building looks

into purchasing art. Barnes started collecting art

like two delicately placed rectangles, with a stone

by commissioning works of art from artists and

base and a glass top that overhangs the stone. It

art dealers. As his passion for collecting grew,

looked, to me, much like a diamond set in stone.

he made many trips to France, particularly Paris,

We entered the building through grand wooden doors to a lobby full of light, bustling with activity. It was a public viewing day. The Barnes Foundation is not a traditional museum; therefore, public viewing of the collection is allowed on designated escorted by assigned docents to separate rooms for an overview of the Barnes Foundation. Our docent gave a biography of the gentleman for whom the collection is named, pointing out that Albert Barnes was the son of a butcher and

and collecting fine art. As his knowledge expanded so did his taste, and the diversity and size of his collection expanded. The Barnes Collection comprises artworks by European artists such as Matisse, Renoir, and Cézanne— housing more works by Renoir and Cézanne than any other collection in the world— as well as by Asian artists and African American artists. It includes African artifacts, Pennsylvania Dutch furniture, and American Indian textiles.

grew up in Philadelphia’s blue-collar Kensington

The introductory session ended, and we were led

neighborhood. He went to school outside

to the second floor to view the collection. The art

his neighborhood at Central High School and

was displayed in rooms that replicated the rooms

trust was broken and the Barnes collection was

be filtered in such a way as to not damage

moved from its onetime residence in Merion

the art but to enhance the viewing experience.

to Philadelphia, Pennsylvania.

The artwork was illuminated so that colors popped and the arrangements’ themes were

Even though the central gallery was filled with

more evident. Our docent escorted us through

people, the collection had an almost hallucinatory

several galleries, pointing out various aspects

effect on visitors. I fought against envisioning the

of Barnes’s ideas regarding art arrangement.

collection in any space other than this one and

He engaged us with questions and pointed

concentrated on the collection itself and the nar-

out how metal objects were placed to draw

rative given by our docent. The immersion in the

the eye to specific areas of the arrangements.

theories Barnes is known for is enriched by the unconventional presentation of the works.

After our tour, we retreated to the courtyard

becomes a metaphor for the opened hands of the one girl and the tightly closed hands of the other woman in the painting.” It is in this didactic manner that Barnes docents lead visitors through the collection. We moved from one room to the next quickly, and each room was more exotic or enigmatic than the last. As an artist, I found this visit to be far closer to the type of experience one would have had in the artist’s studio than to one in a more conventional museum setting. As an architect, I felt that something was missing. It is disappointing how few people seem to realize

Barnes rejected any chronological or mono-

that a replica of a room, especially when situated

a visit to the bookstore, an open and inviting

graphic organization in favor of tightly grouped

in a building many times larger than the original,

space adjacent to the lobby entrance. All too

artworks by different artists from different

has an effect on a visitor that is utterly albeit

soon the visit was over. We took a group picture

periods. His collection pushes us to grasp what

subtly different.

at the Barnes Foundation’s entrance wall and

he regarded as the deeper and more formally

then boarded the bus for our return to UMUC. 

expressive affinities, such as the way a rectangle is activated. The collection breaks down our normal perceptions and allows us to experience art in a way that Barnes described as seeing “beneath appearances to the reality underlying them.” Our docent pointed out an interesting

Above, left: The Barnes Foundation building on Benjamin Franklin Parkway in Philadelphia Above, right: Pierre-Auguste Renoir, After the Bath, 1910, oil on canvas, 251/2 x 213/5 in. {{PD-Art-two|PD-old-70|PD-1923}}

The display of the works in the collection reminded me of one of Picasso’s cubist collages that use objets trouvés (found objects) as metaphors or representations of certain ideas. In fact, perhaps the entirety of the collection— the organization and manner in which the works are displayed—could be construed as a work of art unto itself. Perhaps that idea is why Barnes was so adamant that the works stay in Merion,

“You have here a large painting at the bottom

Pennsylvania—that no work be sent out for tour-

by Cezanne . . .,” the docent said. “The painting

ing and no piece or part of the collection ever

is of an older woman gripping a book very

be sold. The collection was to stay intact and

tightly. You have a sense that she's not likely

to remain in situ like a large art installation.

to let go of that book, nor could you get it out

On the surface, what appeared to be the eclectic

of her hands. Above this painting you can see

desires of a wealthy eccentric collector could

a much more lyrical, smaller painting by Renoir

actually be the foundation for a collection—

called Girl in Pink Bonnet, and she’s either tying

a work of art unto itself.

or untying the strings on her bonnet and her hands are partly open.” Then, he turned to us

Above: Pierre-Auguste Renoir, Jeune garçon sur la plage d`Yport, 1883, oil on canvas, 519/16 x 311/2 in.

For full-length accounts of the visit to the Barnes Collection, visit www.umuc.edu/art. 

Wikimedia Commons

pairing of paintings to illustrate this idea.

• www.umuc.edu/art

saying, “A door latch opens and it closes, so it

restaurant for lunch. Lunch was followed by

is organized, colors are juxtaposed, or brushwork

page 2

answered. He then answered his own question,

Wikimedia Commons

days. We were divided into three groups and

to meet artists and learn more about appreciating

be in danger, and in a contentious move, the

The skylight system allowed natural light to

We all looked rather stunned, and no one

Above: Paul Cézanne, Portrait de femme, 1892–96, oil on canvas, 363/4 x 287/8 in.

www.umuc.edu/art •

page 3

in Upper Marlboro, Maryland; MS/HS 368 in

Lynchburg, Virginia, at the foothills of the Blue

And it was a blessing to study with extraordi-

New York, New York; Fannie Mae in Washing-

Ridge Mountains, for instilling her with a great

narily talented professors like Elizabeth Catlett,

ton, D.C.; and Mount Vernon Station in Mount

love for nature, a natural affinity for working

Lois Mailou Jones, Skunder Boghossian, James

Martha Jackson-Jarvis Repurposing . . . Reenergizing . . . Nurturing Life Cycles

Vernon, New York.

with clay, and a fascination for how things

Porter, Charles White, and Ed Love. They encour-

Jackson-Jarvis says there are no shortcuts in

grow and change through time. Growing up

aged her to take her craft seriously and to ensure

By Jeannette Glover

this type of work, and each project presents

in a family of skilled craftsmen heightened her

that her vision and research were stellar.

unique challenges. “I compete a lot, and I don’t get a lot of things,” Jackson-Jarvis says. “When you are working, Martha Jackson-Jarvis may be petite, but

Her designs are executed with glass, stone,

inspired by the Anacostia River, once a thriving,

her artistic vision and desire to be challenged

clay, wood, cement, tiles, steel, and mortar.

diverse ecosystem and primary trading route;

When a prospectus is announced for a corpo-

it incorporates native symbols, aquatic plants,

are gargantuan. She creates sculptures, sitespecific installations, and corporate/public art

rate/public art project, Jackson-Jarvis begins

and indigenous fish.

developing a broad perspective on the design.

To complete the project, which is composed of

She looks for historical references because she

four 66 x 1200 in. walls, she hired and trained six

Her progression into corporate/public art

believes they provide an interesting narrative,

young people in the traditional Italian way of cut-

happened in a natural and organic way. For a

keep the work alive and vibrant, and tie the work

ting and setting tile. They worked on the project

decade, she used permanent building materials

to the community.

12 to 13 hours a day for a year and a half.

“I see my studio as a great laboratory; when

Currently, she is working on a public commis-

I hit that door, it’s business,” Jackson-Jarvis

sion for the Johns Hopkins University School

says. “My business is the creative energy—

of Medicine. The university is building a new

what is it I need to address the problem or

research laboratory, and she is creating a

issue for that day, that moment? And I dissect

132 x 288 in. design for an interior wall. The

it one by one, inch by inch.”

design concept compares DNA sequencing

She designs and submits her concept and, if

to 19th- and 20th-century African American

projects that would leave most of us exhausted at the thought.

such as stone and wood to create temporary installations. Eventually, she grew weary of doing short-lived projects and sought to create something that was more permanent and would stand the test of time. She is attracted to the scale and landscape of corporate/public art projects because they are seen and experienced at a distance and create a dialog with viewers as they approach. To do this work, she had to retrain herself to think like an architect. She researches site-specific information such as the climate and weather conditions, how materials will react within the natural environment, the kinds of adhesives that can be used, and the best way to install.

selected as a finalist, sells her vision in the board-

you think you’re getting a lot of things, but it’s very competitive. One has to be tough; you have to have tough skin, you have to endure. You get lots of rejections.” Constructing a design one stone at a time is tedious, as is sorting materials by size, color, and texture, but she is committed to the process and end result. She believes an artist’s work is isolated, but an intimacy with her materials and a futuristic dynamic keep her going. Jackson-Jarvis was born in 1952 and credits her early years, when she lived on a farm in

DID You Know?

quilt patterns. The work is being created in

awareness and appreciation for how things are

the larger field. Being current, relevant, and

Antioch University and a BFA from the Tyler

confident is critical, she says, because artists

School of Art at Temple University. She has also

are working in a very competitive environment.

studied mosaic techniques in Italy. Throughout

She encourages artists to find their place, be

her career she has worked as a teacher and

willing to change, and determine what they

artist-in-residence at many institutions.

want to contribute. Once artists do the work,

Jackson-Jarvis says the two years she studied at

she advises, they should claim their authority.

Howard University (before transferring to Temple University) helped her realize that art was a

Finally, she says, they should remember their reputation is all they have, stand for what they

serious life adventure and prepared her to be

say, and whatever they do, they should do it well.

competitive. Dialoguing with some of the best

For more information about Jackson-Jarvis,

young minds from around the world made her

visit www.jacksonjarvisstudio.com. She can

feel linked to something greater than herself.

be reached by e-mail at mjjstudio@aol.com. 

Little-known Facts About Artists with Works acquired by or exhibited at UMUC

Did you know Delilah William Pierce was an art educator who

engineers, and community members who want

Some other corporate/public art commissions

taught in the Washington, D.C., public schools from 1925 to 1952? She also

to hear details on her vision and how she will

she has completed were for the North Carolina

held an honorary doctorate from the University of the District of Columbia.

execute the project.

Museum of Art in Raleigh, North Carolina; South

One of her favorite projects is installed at the

Carolina Botanical Gardens in Clemson, South

Did you know Mervin Jules studied in New York at the Art Student

Carolina; Spoleto Festival in Charleston, South

League in 1937? Thomas Hart Benton was his instructor.

the Washington, D.C., Metro. The design was

competition is doing and stay in touch with

She received an MFA in sculpture/ceramics from

stained glass, Italian glass tesserae, and stone.

Carolina; Prince George’s County Courthouse

and not give up exploring—to see what the

is directly connected to mind and spirit.

room to the financiers, developers, architects,

Anacostia Metro Station, on the Green Line of

Her advice to aspiring artists is to keep working

built and how making things with your hands

By Linda Derrick

Did you know Sam Gilliam is a Washington, D.C.–based artist who continues to experiment with color and texture to create emotionally charged abstract expressionism? He is also a member of the Washington Color School Painters.

Did you know Elton C. Fax was a native of Baltimore, Maryland, and traveled extensively throughout South America and Africa as a chalk-talk artist? His visits to schools and universities were funded by U.S. government grants. He is also a published author and has produced the illustrations for 17 children books.

Did you know Kevin D’Augustine graduated from UMUC with a Bachelor of Arts in 2001? He currently paints on canvas and is a tattoo artist. John woo photography

John Woo Photography

page 4

• www.umuc.edu/art

Above, Left: Martha Jackson-Jarvis, Ancestors Bones/Umbilicus, 2012, volcanic stone, glass, concrete, wood, 192 x 312 x 276 in. Above, Right: Martha Jackson-Jarvis, Moon Dance, 2012, glass, stone, tesserae, mortar, 84 x 624 in.

Above, clockwise from top left: Delilah William Pierce, Fishing Boats at Martha's Vineyard (detail), 1951, watercolor on paper, 12 x 16 in. / Mervin Jules, Investigation (detail), n.d., encaustic on masonite, 14¾ x 18½ in., Gift of Gabriel Zepecki / Sam Gilliam, Spin/Arrest (detail), 1975, oil on canvas, 75 x 60 in., Gift of Dr. Stanley and Allison Marinoff in memory of Shirley Marinoff / Elton C. Fax, Portrait of Sekou Toure (detail), n.d., charcoal and white highlight on paper, 17 x 12 in., Gift of Mr. and Mrs. James E. Lewis

www.umuc.edu/art •

page 5

in Upper Marlboro, Maryland; MS/HS 368 in

Lynchburg, Virginia, at the foothills of the Blue

And it was a blessing to study with extraordi-

New York, New York; Fannie Mae in Washing-

Ridge Mountains, for instilling her with a great

narily talented professors like Elizabeth Catlett,

ton, D.C.; and Mount Vernon Station in Mount

love for nature, a natural affinity for working

Lois Mailou Jones, Skunder Boghossian, James

Martha Jackson-Jarvis Repurposing . . . Reenergizing . . . Nurturing Life Cycles

Vernon, New York.

with clay, and a fascination for how things

Porter, Charles White, and Ed Love. They encour-

Jackson-Jarvis says there are no shortcuts in

grow and change through time. Growing up

aged her to take her craft seriously and to ensure

By Jeannette Glover

this type of work, and each project presents

in a family of skilled craftsmen heightened her

that her vision and research were stellar.

unique challenges. “I compete a lot, and I don’t get a lot of things,” Jackson-Jarvis says. “When you are working, Martha Jackson-Jarvis may be petite, but

Her designs are executed with glass, stone,

inspired by the Anacostia River, once a thriving,

her artistic vision and desire to be challenged

clay, wood, cement, tiles, steel, and mortar.

diverse ecosystem and primary trading route;

When a prospectus is announced for a corpo-

it incorporates native symbols, aquatic plants,

are gargantuan. She creates sculptures, sitespecific installations, and corporate/public art

rate/public art project, Jackson-Jarvis begins

and indigenous fish.

developing a broad perspective on the design.

To complete the project, which is composed of

She looks for historical references because she

four 66 x 1200 in. walls, she hired and trained six

Her progression into corporate/public art

believes they provide an interesting narrative,

young people in the traditional Italian way of cut-

happened in a natural and organic way. For a

keep the work alive and vibrant, and tie the work

ting and setting tile. They worked on the project

decade, she used permanent building materials

to the community.

12 to 13 hours a day for a year and a half.

“I see my studio as a great laboratory; when

Currently, she is working on a public commis-

I hit that door, it’s business,” Jackson-Jarvis

sion for the Johns Hopkins University School

says. “My business is the creative energy—

of Medicine. The university is building a new

what is it I need to address the problem or

research laboratory, and she is creating a

issue for that day, that moment? And I dissect

132 x 288 in. design for an interior wall. The

it one by one, inch by inch.”

design concept compares DNA sequencing

She designs and submits her concept and, if

to 19th- and 20th-century African American

projects that would leave most of us exhausted at the thought.

such as stone and wood to create temporary installations. Eventually, she grew weary of doing short-lived projects and sought to create something that was more permanent and would stand the test of time. She is attracted to the scale and landscape of corporate/public art projects because they are seen and experienced at a distance and create a dialog with viewers as they approach. To do this work, she had to retrain herself to think like an architect. She researches site-specific information such as the climate and weather conditions, how materials will react within the natural environment, the kinds of adhesives that can be used, and the best way to install.

selected as a finalist, sells her vision in the board-

you think you’re getting a lot of things, but it’s very competitive. One has to be tough; you have to have tough skin, you have to endure. You get lots of rejections.” Constructing a design one stone at a time is tedious, as is sorting materials by size, color, and texture, but she is committed to the process and end result. She believes an artist’s work is isolated, but an intimacy with her materials and a futuristic dynamic keep her going. Jackson-Jarvis was born in 1952 and credits her early years, when she lived on a farm in

DID You Know?

quilt patterns. The work is being created in

awareness and appreciation for how things are

the larger field. Being current, relevant, and

Antioch University and a BFA from the Tyler

confident is critical, she says, because artists

School of Art at Temple University. She has also

are working in a very competitive environment.

studied mosaic techniques in Italy. Throughout

She encourages artists to find their place, be

her career she has worked as a teacher and

willing to change, and determine what they

artist-in-residence at many institutions.

want to contribute. Once artists do the work,

Jackson-Jarvis says the two years she studied at

she advises, they should claim their authority.

Howard University (before transferring to Temple University) helped her realize that art was a

Finally, she says, they should remember their reputation is all they have, stand for what they

serious life adventure and prepared her to be

say, and whatever they do, they should do it well.

competitive. Dialoguing with some of the best

For more information about Jackson-Jarvis,

young minds from around the world made her

visit www.jacksonjarvisstudio.com. She can

feel linked to something greater than herself.

be reached by e-mail at mjjstudio@aol.com. 

Little-known Facts About Artists with Works acquired by or exhibited at UMUC

Did you know Delilah William Pierce was an art educator who

engineers, and community members who want

Some other corporate/public art commissions

taught in the Washington, D.C., public schools from 1925 to 1952? She also

to hear details on her vision and how she will

she has completed were for the North Carolina

held an honorary doctorate from the University of the District of Columbia.

execute the project.

Museum of Art in Raleigh, North Carolina; South

One of her favorite projects is installed at the

Carolina Botanical Gardens in Clemson, South

Did you know Mervin Jules studied in New York at the Art Student

Carolina; Spoleto Festival in Charleston, South

League in 1937? Thomas Hart Benton was his instructor.

the Washington, D.C., Metro. The design was

competition is doing and stay in touch with

She received an MFA in sculpture/ceramics from

stained glass, Italian glass tesserae, and stone.

Carolina; Prince George’s County Courthouse

and not give up exploring—to see what the

is directly connected to mind and spirit.

room to the financiers, developers, architects,

Anacostia Metro Station, on the Green Line of

Her advice to aspiring artists is to keep working

built and how making things with your hands

By Linda Derrick

Did you know Sam Gilliam is a Washington, D.C.–based artist who continues to experiment with color and texture to create emotionally charged abstract expressionism? He is also a member of the Washington Color School Painters.

Did you know Elton C. Fax was a native of Baltimore, Maryland, and traveled extensively throughout South America and Africa as a chalk-talk artist? His visits to schools and universities were funded by U.S. government grants. He is also a published author and has produced the illustrations for 17 children books.

Did you know Kevin D’Augustine graduated from UMUC with a Bachelor of Arts in 2001? He currently paints on canvas and is a tattoo artist. John woo photography

John Woo Photography

page 4

• www.umuc.edu/art

Above, Left: Martha Jackson-Jarvis, Ancestors Bones/Umbilicus, 2012, volcanic stone, glass, concrete, wood, 192 x 312 x 276 in. Above, Right: Martha Jackson-Jarvis, Moon Dance, 2012, glass, stone, tesserae, mortar, 84 x 624 in.

Above, clockwise from top left: Delilah William Pierce, Fishing Boats at Martha's Vineyard (detail), 1951, watercolor on paper, 12 x 16 in. / Mervin Jules, Investigation (detail), n.d., encaustic on masonite, 14¾ x 18½ in., Gift of Gabriel Zepecki / Sam Gilliam, Spin/Arrest (detail), 1975, oil on canvas, 75 x 60 in., Gift of Dr. Stanley and Allison Marinoff in memory of Shirley Marinoff / Elton C. Fax, Portrait of Sekou Toure (detail), n.d., charcoal and white highlight on paper, 17 x 12 in., Gift of Mr. and Mrs. James E. Lewis

www.umuc.edu/art •

page 5

New Galleries to Debut with 2nd Biennial Maryland Regional Juried Art Exhibition

Become a Friend of the Arts at UMUC

Caring for UMUC’s Art Collection By Brian Young, Curator, Arts Program

Friends of the Arts (January 1, 2013–present)

The 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE), an exhibition of works by artists from Maryland, Northern Virginia,

Make an Annual Contribution to the Arts Program

and Washington, D.C., will serve as the opening exhibition for the

Art enthusiasts in the UMUC community help make the university’s visual arts exhibitions, educational lectures, book signings, symposiums, and meet-the-artist receptions possible. Through the Friends of the Arts program, our biggest supporters enjoy a variety of benefits as a thank you for helping UMUC’s art program become one of the most recognized in Maryland.

newly renovated UMUC galleries, including the Herman Maril Gallery, Selma Oppenheimer Gallery, and Gladys Goldstein Gallery, this fall. The BMRE will open to the public on November 3, 2013, to view the new look of the

Associate (less than $35) Name recognition in the arts newsletter, invitation to exhibit openings

of the past and a dedication to the future of the arts at UMUC; it is scheduled for Sunday, John Woo Photography

November 17, 2013, 3–5 p.m. The inaugural BMRE showcased approximately 56 works by 53 area artists chosen from the more than Harriett Wise Photography

1,000 submissions received from more than 300 artists. The jurors for this year’s exhibition are Amy E. Raehse, executive director and curator at Goya Contemporary; Faheem Majeed,

The Arts Program spent the early part of the summer moving and storing works to secure them during the renovations of the Inn and Conference Center and fine-tuning the collection’s focus and our educational approach. While the gallery space undergoes renovations, UMUC staff and

artist and director of undergraduate studies in art and art history at University visitors can experience art—and the work of the curatorial staff— of Illinois at Chicago; and Nona Martin, manager of public programs at the through the works installed throughout the Administration Building. Smithsonian American Art Museum. Combined, the jurors have more

In these installations, we sought to create relationships among the

than 60 years of artistic experience. 

objects. For instance, visitors to the main and second floors may

Friend ($35–$99) Above benefits, plus 10 percent discount on specialty items produced by the Arts Program, 10 percent discount on tickets to nonfundraising events, Arts Program lapel pin Bronze-Level Friend ($100–$249) Above benefits, plus autographed poster from the collection Silver-Level Friend ($250–$499) Above benefits, plus name recognition on the donors' wall in the Arts Program Gallery Gold-Level Friend ($500–$999) Above benefits, plus full-color art catalog from a major UMUC art exhibition

Joseph V. Bowen Jr. and Michèle E. Jacobs John M. Derrick Jr. and Linda Derrick Nina C. Dwyer Robert W. Jerome

Diane Bartoo Doreatha Bush Patricia Dubroof Beverly A. Gray Irvin Greif Jr. and Nanette Greif Vivian Hill Fern Reitman Bettye J. Robertson Danielle E. Rogers Gail P. Smith

Sharon Smith Holston Gold-Level Friends Anne V. Maher Martin J. Oppenheimer and Helene G. Oppenheimer Stanley J. Weiss and Joan Oppenheimer Weiss Wei Yen Woo

university’s galleries. The opening reception will be a celebration

Friends

Platinum-Level Friends

Simply commit to making an annual contribution at one of the following levels and you can join our growing list of friends. Visit www.umuc.edu/art and click on “Join the Friends of the Arts Program,” call 301-985-7937, or complete and return the registration form below.

and give visitors an opportunity

Citrine-Level Friends

Platinum-Level Friend ($1,000–$2,499) Benefits at left, plus VIP invitation to dinner with the guest artist and the university president, 10 percent discount at the Common (the restaurant at the UMUC Inn and Conference Center)

Silver-Level Friends Julia Lindenmeier Marcia R. Watson

Citrine-Level Friend ($2,500–$4,999) Above benefits, plus corporate name and logo listing on UMUC Arts Program Web page, name and logo listing on all printed materials for exhibitions and public relations materials for the season

Bronze-Level Friends Mel Hardy and Juanita Boyd Hardy Lisa Anne Jackson The Rev. Donald Melvin and Denise Melvin Charles A. Reiher Steven Scott (Steven Scott Gallery) L. Christina Waddler Dianne Whitfield-Locke Brian Young and Molly Deer

Sapphire-Level Friend ($5,000 and more) Above benefits, plus a corporate art exhibition by a local artist coordinated by UMUC (Special requirements apply; see www.umuc.edu/art for details.)

Associates Harriette E. Chiavacci Sarah Conboy Mark Derrick Mary Ann Elliott Norman Melvin Greene Seymour G. Gresser Eric C. Helfers Jill A. Lion Nelly M. Lukas Edith W. Schultz Suzanne C. Slaughter Kathleen Sobieralski Steven R. Stegner

have noticed that abstract painting is the dominant theme. Here, we have installed the work of luminaries such as Simon Gouverneur, Amalie Rothschild, Gladys Goldstein, and Hilton Brown. Visitors can

The Arts Program at University of Maryland University College (UMUC) creates an environment in which its diverse constituents, including members of the university community and the general public, can study and learn about art by directly experiencing it. The Arts Program seeks to promote the university’s core values and to provide educational opportunities for lifelong learning. From the research and study of works of art to the teaching applications of each of our exhibitions, the Arts Program will play an increasing role in academic life at the university. With a regional and national focus, the Arts Program is dedicated to the acquisition, preservation, study, exhibition, and interpretation of works of art of the highest quality in a variety of media that represent its constituents and to continuing its historic dedication to Maryland and Asian art.

beginning in the 1960s. Are some works more colorful than others?

witness various approaches to abstraction across different decades,

We will continue to group works with a common thread as we look to create additional vignettes of artwork such as landscapes, figures, or print-making throughout the Administration Building. Additional art has been installed in and around the Common restaurant at the east end of the building. The works are a part of the university’s

• www.umuc.edu/art

Join Friends of the Arts today.

Address

University of Maryland University College, Arts Program 3501 University Boulevard East, Adelphi, MD 20783-8007

City

Or fax it to 301-985-7865. Contribution Level

talented visual artists. While we await the reopening of all the Arts Program

 Less than $35.......................................................... Associate  $35–$99......................................................................... Friend  $100–$249............................................... Bronze-Level Friend  $250–$499................................................ Silver-Level Friend  $500–$999..................................................Gold-Level Friend  $1,000–$2,499.....................................Platinum-Level Friend  $2,500–$4,999.........................................Citrine-Level Friend  $5,000 and more.................................Sapphire-Level Friend

add to your experience at UMUC through the arts and the new décor

Above, left: 2011 President's Best of Show Award winner: Jo Israelson, Dovecote: 365 Prayers for Peace, 2009-–10, ceramics, ash, steel, and sound, 48 x 48 x 48 in. Above, right: Hilton Brown, Study for the American Quilt Series, No. 6 St. Louis, 1965, acrylic on canvas, 30 x 30¼ in. Doris Patz Collection of Maryland Artists, Gift of the Artist

Name (please print)

Complete and return this form to

permanent art collection and include works by some of Maryland’s most galleries in October 2013, we hope that you stimulate your senses and

Please cut on dotted line.

Personal Information

Is one group more hard-edged while others appear more expressive?

of the Inn and Conference Center. 

page 6



University of Maryland University College Arts Program Mission Statement

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 I have enclosed a check in the amount of made payable to the UMUC Foundation*.  Please charge $ to my:  American Express  MasterCard  Visa Name that appears on card (please print) Account # Exp. Date Signature (required)

* Funds of the UMUC Foundation are administered by the University System of Maryland Foundation, Inc., a nonprofit 501(c)3 organization. Information may be obtained by writing to the foundation or by contacting the Maryland Secretary of State.

Interested in being added to our e-newsletter list? Send your e-mail address to arts@umuc.edu.