Art@UMUC Newsletter, Spring 2012

U N I V E RS I TY

O F

MA RY L AN D

U N IV E RS I TY

C O L L E G E

Greetings from the President Dear Friends,

6 Upcoming Events

4 Infinite Mirror: A Fresh Look at American Identity

7 Become a Friend of the Arts at UMUC 6 University of Maryland University College Arts Program Mission Statement 6 Collectible Book Available His Own Path: The Spirit and Legacy of Herman Maril Did You Know? 5

SPRING 2012 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

As another season of exciting arts events begins, I would like to take this opportunity to thank you for your continued support of the Arts Program at University of Maryland University College (UMUC) and highlight some of the arts initiatives you have helped make possible. This fall, the university launched The Poetics of Water, a wonderfully unique exhibition that continued through mid-January. I hope you had the opportunity to view the exhibition, which included artistic expression from a variety of perspectives, including those of students, seniors, and professional artists and poets. I am also pleased to announce that the book release and reception for His Own Path: The Spirit and Legacy of Herman Maril was a great success. After years of collaboration and hard work, we are delighted that this book is now in the hands of so many art lovers and available to you through the Arts Program’s office. Additionally, I would like to thank Christine McCarthy, executive director of the Provincetown Art Association and Museum, for delivering an educational lecture on Herman Maril and his art to students, faculty, and art patrons who gathered for the event. This spring promises to be a busy one, as the university has three exhibitions scheduled to open between January and April: Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and the Faculty Art Invitational Exhibition. I hope you will have a chance to view each of these exciting and informative exhibitions. Without art patrons and supporters like you, they would not be possible. Thank you. Sincerely,

Susan C. Aldridge, PhD President, University of Maryland University College

Greetings from the Chair Dear Friends, This year promises to be a time of continued growth and development for the Arts Program at UMUC. We have several exciting exhibitions planned— Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and more—and I hope you will have the opportunity to join us at them. In addition, I am inspired by two recent gifts the Arts Program received. Beverly Corey kindly donated a Preston Sampson work, and Iver Nelson generously added 15 works to the university’s Asian Collection. Gracious gifts like these, as well as the ongoing support of everyone involved with the Arts Program, help ensure that we continue bringing art to the community.

TRACEY BROWN photography

UMUC Art Advisory Board Susan C. Aldridge, PhD Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Eva J. Allen, PhD I-Ling Chow, honorary member Paula Cleggett Linda Derrick Patricia Dubroof Karin Goldstein, honorary member Juanita Boyd Hardy Sharon Smith Holston, Past Chair Pamela Holt Eric Key Philip Koch Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member

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

Katherine Lambert photography

3 Influence Over Time: The Art of Winston Harris 3 UMUC Adds to Its Permanent Collections 2 Remembering Larry Chappelear 1 Greetings from the President & Greetings from the Chair IN THIS ISSUE

News and perspectives for friends of the arts

SPRING 2012 Arts Program 3501 University Boulevard East Adelphi, MD 20783-8007 USA www.umuc.edu/art

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

I cannot stress the impact the Arts Program has on the education of our students, visitors, and community. In 2011, the Arts Program hosted more group tours, and in 2012, will work hand in hand with academic departments to ensure that students benefit from the culturally diverse artistic expressions of the exhibitions. Indeed, the Arts Program is reaching beyond its regional borders to share visual art from artists around the world. I have every reason to believe that in the new year, the Arts Program will further its mission of creating an environment in which the university community and the general public can learn about art by directly experiencing it. May we all take the time to explore our interests and passions in 2012. Thank you for your support.

On cover (clockwise from left): 1 Winston Harris, Military Time (detail) 2 Cesar Augusto Martinez, Hombre que le Gustan las Mujeres 3 Kakyoung Lee, Drifting 1 (14:30 at the airport) (detail) 4 Jennifer Greenburg, Donnie Hawleywood (detail)

Sincerely,

Michèle Jacobs Chair, Art Advisory Board, University of Maryland University College

www.umuc.edu/art •

page 1

U N I V E RS I TY

O F

M A RY L A N D

U N I VE RS I TY

C O L L E G E

Greetings from the President Dear Friends, 7 Become a Friend of the Arts at UMUC

4 Infinite Mirror: A Fresh Look at American Identity

6 Upcoming Events

3 Influence Over Time: The Art of Winston Harris 3 UMUC Adds to Its Permanent Collections

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

2 Remembering Larry Chappelear 1 Greetings from the President & Greetings from the Chair

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

6 University of Maryland University College Arts Program Mission Statement 6 Collectible Book Available His Own Path: The Spirit and Legacy of Herman Maril 5 Did You Know?

IN THIS ISSUE News and perspectives for friends of the arts

Managing Editor Eric Key Graphic Designer Jordan Campbell

SPRING 2012

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

This fall, the university launched The Poetics of Water, a wonderfully unique exhibition that continued through mid-January. I hope you had the opportunity to view the exhibition, which included artistic expression from a variety of perspectives, including those of students, seniors, and professional artists and poets. I am also pleased to announce that the book release and reception for His Own Path: The Spirit and Legacy of Herman Maril was a great success. After years of collaboration and hard work, we are delighted that this book is now in the hands of so many art lovers and available to you through the Arts Program’s office. Additionally, I would like to thank Christine McCarthy, executive director of the Provincetown Art Association and Museum, for delivering an educational lecture on Herman Maril and his art to students, faculty, and art patrons who gathered for the event. This spring promises to be a busy one, as the university has three exhibitions scheduled to open between January and April: Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and the Faculty Art Invitational Exhibition. I hope you will have a chance to view each of these exciting and informative exhibitions. Without art patrons and supporters like you, they would not be possible. Thank you. Sincerely,

Susan C. Aldridge, PhD President, University of Maryland University College

Greetings from the Chair Dear Friends, This year promises to be a time of continued growth and development for the Arts Program at UMUC. We have several exciting exhibitions planned— Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and more—and I hope you will have the opportunity to join us at them. In addition, I am inspired by two recent gifts the Arts Program received. Beverly Corey kindly donated a Preston Sampson work, and Iver Nelson generously added 15 works to the university’s Asian Collection. Gracious gifts like these, as well as the ongoing support of everyone involved with the Arts Program, help ensure that we continue bringing art to the community. I cannot stress the impact the Arts Program has on the education of our students, visitors, and community. In 2011, the Arts Program hosted more group tours, and in 2012, will work hand in hand with academic departments to ensure that students benefit from the culturally diverse artistic expressions of the exhibitions. Indeed, the Arts Program is reaching beyond its regional borders to share visual art from artists around the world. I have every reason to believe that in the new year, the Arts Program will further its mission of creating an environment in which the university community and the general public can learn about art by directly experiencing it. May we all take the time to explore our interests and passions in 2012. Thank you for your support.

On cover (clockwise from left): 1 Winston Harris, Military Time (detail) 2 Cesar Augusto Martinez, Hombre que le Gustan las Mujeres 3 Kakyoung Lee, Drifting 1 (14:30 at the airport) (detail) 4 Jennifer Greenburg, Donnie Hawleywood (detail)

Sincerely,

Michèle Jacobs Chair, Art Advisory Board, University of Maryland University College

www.umuc.edu/art •

page 1

TRACEY BROWN photography

UMUC Art Advisory Board Susan C. Aldridge, PhD Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Eva J. Allen, PhD I-Ling Chow, honorary member Paula Cleggett Linda Derrick Patricia Dubroof Karin Goldstein, honorary member Juanita Boyd Hardy Sharon Smith Holston, Past Chair Pamela Holt Eric Key Philip Koch Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member

Katherine Lambert photography

SPRING 2012

As another season of exciting arts events begins, I would like to take this opportunity to thank you for your continued support of the Arts Program at University of Maryland University College (UMUC) and highlight some of the arts initiatives you have helped make possible.

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

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

Remembering Larry Chap pelear

BY Barbara Stephanic, PhD

I will be forever grateful to Larry for all he taught

lege to work closely with Larry for nearly a year

me about art, for his remarkable and intuitive

in preparation. We spent many hours talking about

sense of aesthetic, and for his gentle kindness.

the fundamental principles of art making and the

The legacy he leaves in his paintings will continue

specifics of his ideas for composition, color theory,

to give pleasure to and captivate all those who

and conveyance of the basic elements of nature

see them. I will think of him whenever I see a

in abstract forms. While we talked, he often would

spectacular red and yellow sunset, a cloud forma-

continue painting, and I could see the excitement

tion against a cobalt blue sky, or a lone tree in a

build as he worked tirelessly on a composition,

vast green meadow. He left us all with a new way

studying and reworking the forms until he was

of seeing and appreciating the landscape.

satisfied. I researched and studied the history

The recent loss of my dear friend and colleague

art became an inspiration, and he became a role

to the environment around him. His composi-

of more than 20 years has prompted me to reflect

model to so many. Teaching provided him a

tions unify the complex elements in nature into

on his life and legacy. It is with both a sad heart

stimulating forum for his ideas and an opportu-

a panorama of harmony and balance. Each is a

and a profound pride that I share my recollections

nity to share his enthusiasm for art. He taught

testimony to his intrinsic understanding of solid

and memories of Larry Chappelear. He was, first,

his students more than the mechanics of putting

forms and empty spaces and his unique ability

my friend, but so much more: a colleague,

ideas on a two-dimensional surface; he showed

to organize form, color, space, and light. Larry was

a teacher, and an artist.

them how to see objects with a discerning eye

successful in his effort to, as he said, “capture the

and to reach for their individual creativity. Students

viewer by transforming the openness of a field

benefitted from his experience, his originality, and

into an intimate space.” He had a unique ability to

his innovative vision while learning to respect the

share, through his paintings, a feeling of serenity

UMUC ADDS TO ITS

encing a work such as Generation. Works by

process, technique, and subject matter of the

and solitude with others.

PERMANENT COLLECTIONS

Sampson can be found in many public and

Early in this century, Larry experienced a pivotal

The Arts Program would like to thank Beverly

As a colleague at the College of Southern Maryland (CSM), Larry was always engaged, fair, and understanding. He was a champion for the issues we faced together: advancing the arts program, setting the highest standards of teaching, and

work they created.

of American landscape painting and the evolution of abstract art so as to best explain Larry’s ideas—the content of his paintings, iconography, and style. His latest work combines the traditional structure in landscape representation with the bold colors and strong lines in abstract interpretations.

furthering a fundamental appreciation of the arts.

It is, perhaps, the art of Larry Chappelear that

change in his interpretation of the landscape. He

Corey and Iver Nelson, who recently donated

We worked in tandem to develop a quality reputa-

will be remembered and held in high regard by

moved from the specificity of realism to experi-

works of art to UMUC. Due to the generosity

tion for the CSM gallery, recruiting top-level artists

most. Those who did not know him personally

menting with the mysterious and metaphorical

of such patrons, the collections at the univer-

for exhibitions. The goal for us was to bring in

will know the incredible sensitivity of this artist

characteristics of abstraction. The landscape con-

sity continue to grow and now include more

artists of high caliber from across the country and

from his paintings. As an outdoorsman, Larry had

tinued to be his inspiration, but now he saw more

than 1,800 works.

around the world. It wasn’t always easy to stick to

a special relationship to the landscape. He had an

provocative elements prevalent in nature. It was

our goal, but Larry’s honest and straightforward

exceptional ability to keenly observe the seasonal

the new, bold, abstract collage and assemblage

Corey donated Generation by Preston Sampson.

approach, along with a marvelous sense of hu-

changes in nature, each with its own freshness

that came to the attention of Marilyn Hart, then

This large painting is reflective of Sampson’s

mor, saw us through many awkward moments.

and spectacular painterly beauty. He most often

assistant vice president of the Arts Program at

colorful and fluid artistic style. Sampson’s work

painted outdoors from direct observation, captur-

UMUC, who subsequently arranged an exhibition

might be best known from a commission by

ing the artistic elements in nature. His landscape

of his new work. The exhibition included both his

Absolut Vodka for a series of paintings for its

paintings provide a visual diary of his experiences

traditional landscapes and the new abstract work.

1997 advertising campaign, which traveled to

and speak to his passion and creative responses

I had the extraordinary good fortune to be invited

various exhibition venues. Sampson was also

As a teacher, Larry conveyed his passion for and love of the arts to his students. His extraordinary talent and unyielding commitment to his personal

awarded a professional travel grant to Spain, and the trip inspired him to incorporate the human torso into his artwork, perhaps influ-

She was a professor of art history at the College of Southern Maryland until her retirement.

such as Rolex watches, play in contemporary

Above: Larry Chappalear, Sycamore, 2004, mixed media on panel, 32 x 30 in.

private collections throughout the country, including the Jean and Robert Steele Collection, the Darryl Walker Collection, the Tubman African American Museum, and the David C. Driskell Collection at University of Maryland, College Park. Iver Nelson, an esteemed Asian art collector, donated 15 works of art to UMUC’s Asian Collections. Nelson, who had amassed a large collection of rare works over the years, has donated exceptional pieces to the Art Institute of Chicago, the Indianapolis Museum of Art, and the Minneapolis Institute of Arts. The oldest work Nelson donated to UMUC is from the Tang Dynasty (618–907 AD). The piece is a kneeling Bactrian camel, and is prized for its elegant movement and naturalism.

Above, top: Preston Sampson, Generation (detail), 1999, mixed media / Above, bottom: Bactrian camel, Early Tang Dynasty, earthenware with pigments, 13½ x 1½ x 8½ in.

Council grant, collaborated with the printmaking department at University of Maryland, College Park in 2010. Harris worked with assistant professor Justin Strom and students to create a new series of flat and sculptural prints.

HENRY TRENTMAN

culture. These screenprint and digital hybrids

Known primarily as a printmaker, Harris holds a

will be on view Monday, February 20, 2012,

BFA in printmaking from Howard University and

through the summer, on the second floor gallery

an MFA in printmaking from Virginia Common-

of the UMUC Inn and Conference Center.

wealth University.

HENRY TRENTMAN

Steven Halperson, Tisara photography

orary member of the UMUC Art Advisory Board.

ported by a Prince George’s Arts and Humanities

the roles that overt status symbol timepieces,

Above, Left: Larry Chappelear Above, Right: Larry Chappelear, Window Still Life III (detail), 2008, assemblage mixed media

Barbara Stephanic, PhD, is past vice chair and hon-

Harris is a Washington, D.C., area artist who, sup-

the notion of the unending passage of time and

• www.umuc.edu/art

friendship and steadfast loyalty.

The Art of Winston Harris

is a reflection of Harris’s sustained interest in

page 2

But, most of all I am grateful for his endearing

Influence Over Time:

Influence Over Time: The Art of Winston Harris

Steven Halperson, Tisara photography

to write the essay for the exhibition and the privi-

Above: Winston Harris, Military Time, 2009, oil stick and print, 36 x 29 ¾ in.

www.umuc.edu/art •

page 3

Remembering Larry Chap pelear

BY Barbara Stephanic, PhD

I will be forever grateful to Larry for all he taught

lege to work closely with Larry for nearly a year

me about art, for his remarkable and intuitive

in preparation. We spent many hours talking about

sense of aesthetic, and for his gentle kindness.

the fundamental principles of art making and the

The legacy he leaves in his paintings will continue

specifics of his ideas for composition, color theory,

to give pleasure to and captivate all those who

and conveyance of the basic elements of nature

see them. I will think of him whenever I see a

in abstract forms. While we talked, he often would

spectacular red and yellow sunset, a cloud forma-

continue painting, and I could see the excitement

tion against a cobalt blue sky, or a lone tree in a

build as he worked tirelessly on a composition,

vast green meadow. He left us all with a new way

studying and reworking the forms until he was

of seeing and appreciating the landscape.

satisfied. I researched and studied the history

The recent loss of my dear friend and colleague

art became an inspiration, and he became a role

to the environment around him. His composi-

of more than 20 years has prompted me to reflect

model to so many. Teaching provided him a

tions unify the complex elements in nature into

on his life and legacy. It is with both a sad heart

stimulating forum for his ideas and an opportu-

a panorama of harmony and balance. Each is a

and a profound pride that I share my recollections

nity to share his enthusiasm for art. He taught

testimony to his intrinsic understanding of solid

and memories of Larry Chappelear. He was, first,

his students more than the mechanics of putting

forms and empty spaces and his unique ability

my friend, but so much more: a colleague,

ideas on a two-dimensional surface; he showed

to organize form, color, space, and light. Larry was

a teacher, and an artist.

them how to see objects with a discerning eye

successful in his effort to, as he said, “capture the

and to reach for their individual creativity. Students

viewer by transforming the openness of a field

benefitted from his experience, his originality, and

into an intimate space.” He had a unique ability to

his innovative vision while learning to respect the

share, through his paintings, a feeling of serenity

UMUC ADDS TO ITS

encing a work such as Generation. Works by

process, technique, and subject matter of the

and solitude with others.

PERMANENT COLLECTIONS

Sampson can be found in many public and

Early in this century, Larry experienced a pivotal

The Arts Program would like to thank Beverly

As a colleague at the College of Southern Maryland (CSM), Larry was always engaged, fair, and understanding. He was a champion for the issues we faced together: advancing the arts program, setting the highest standards of teaching, and

work they created.

of American landscape painting and the evolution of abstract art so as to best explain Larry’s ideas—the content of his paintings, iconography, and style. His latest work combines the traditional structure in landscape representation with the bold colors and strong lines in abstract interpretations.

furthering a fundamental appreciation of the arts.

It is, perhaps, the art of Larry Chappelear that

change in his interpretation of the landscape. He

Corey and Iver Nelson, who recently donated

We worked in tandem to develop a quality reputa-

will be remembered and held in high regard by

moved from the specificity of realism to experi-

works of art to UMUC. Due to the generosity

tion for the CSM gallery, recruiting top-level artists

most. Those who did not know him personally

menting with the mysterious and metaphorical

of such patrons, the collections at the univer-

for exhibitions. The goal for us was to bring in

will know the incredible sensitivity of this artist

characteristics of abstraction. The landscape con-

sity continue to grow and now include more

artists of high caliber from across the country and

from his paintings. As an outdoorsman, Larry had

tinued to be his inspiration, but now he saw more

than 1,800 works.

around the world. It wasn’t always easy to stick to

a special relationship to the landscape. He had an

provocative elements prevalent in nature. It was

our goal, but Larry’s honest and straightforward

exceptional ability to keenly observe the seasonal

the new, bold, abstract collage and assemblage

Corey donated Generation by Preston Sampson.

approach, along with a marvelous sense of hu-

changes in nature, each with its own freshness

that came to the attention of Marilyn Hart, then

This large painting is reflective of Sampson’s

mor, saw us through many awkward moments.

and spectacular painterly beauty. He most often

assistant vice president of the Arts Program at

colorful and fluid artistic style. Sampson’s work

painted outdoors from direct observation, captur-

UMUC, who subsequently arranged an exhibition

might be best known from a commission by

ing the artistic elements in nature. His landscape

of his new work. The exhibition included both his

Absolut Vodka for a series of paintings for its

paintings provide a visual diary of his experiences

traditional landscapes and the new abstract work.

1997 advertising campaign, which traveled to

and speak to his passion and creative responses

I had the extraordinary good fortune to be invited

various exhibition venues. Sampson was also

As a teacher, Larry conveyed his passion for and love of the arts to his students. His extraordinary talent and unyielding commitment to his personal

awarded a professional travel grant to Spain, and the trip inspired him to incorporate the human torso into his artwork, perhaps influ-

She was a professor of art history at the College of Southern Maryland until her retirement.

such as Rolex watches, play in contemporary

Above: Larry Chappalear, Sycamore, 2004, mixed media on panel, 32 x 30 in.

private collections throughout the country, including the Jean and Robert Steele Collection, the Darryl Walker Collection, the Tubman African American Museum, and the David C. Driskell Collection at University of Maryland, College Park. Iver Nelson, an esteemed Asian art collector, donated 15 works of art to UMUC’s Asian Collections. Nelson, who had amassed a large collection of rare works over the years, has donated exceptional pieces to the Art Institute of Chicago, the Indianapolis Museum of Art, and the Minneapolis Institute of Arts. The oldest work Nelson donated to UMUC is from the Tang Dynasty (618–907 AD). The piece is a kneeling Bactrian camel, and is prized for its elegant movement and naturalism.

Above, top: Preston Sampson, Generation (detail), 1999, mixed media / Above, bottom: Bactrian camel, Early Tang Dynasty, earthenware with pigments, 13½ x 1½ x 8½ in.

Council grant, collaborated with the printmaking department at University of Maryland, College Park in 2010. Harris worked with assistant professor Justin Strom and students to create a new series of flat and sculptural prints.

HENRY TRENTMAN

culture. These screenprint and digital hybrids

Known primarily as a printmaker, Harris holds a

will be on view Monday, February 20, 2012,

BFA in printmaking from Howard University and

through the summer, on the second floor gallery

an MFA in printmaking from Virginia Common-

of the UMUC Inn and Conference Center.

wealth University.

HENRY TRENTMAN

Steven Halperson, Tisara photography

orary member of the UMUC Art Advisory Board.

ported by a Prince George’s Arts and Humanities

the roles that overt status symbol timepieces,

Above, Left: Larry Chappelear Above, Right: Larry Chappelear, Window Still Life III (detail), 2008, assemblage mixed media

Barbara Stephanic, PhD, is past vice chair and hon-

Harris is a Washington, D.C., area artist who, sup-

the notion of the unending passage of time and

• www.umuc.edu/art

friendship and steadfast loyalty.

The Art of Winston Harris

is a reflection of Harris’s sustained interest in

page 2

But, most of all I am grateful for his endearing

Influence Over Time:

Influence Over Time: The Art of Winston Harris

Steven Halperson, Tisara photography

to write the essay for the exhibition and the privi-

Above: Winston Harris, Military Time, 2009, oil stick and print, 36 x 29 ¾ in.

www.umuc.edu/art •

page 3

By Juanita Hardy

By 2042, America’s “minority” populations will

It reflects our diverse population rooted in

Group, a business consulting firm she established

be the majority. This new “minority majority”

countries and cultures around the globe.

in 2006.

will include Hispanic and Asian Americans,

i

This exhibition is compelling for a variety of

combined as the largest minority group, rising

reasons: the dedicated team of nonprofit art

to more than 39 percent of the total U.S.

institutions involved; the impressive curatorial

population. The Hispanic and Asian American populations are expected to double by 2050; this growth is attributed in part to immigration.i

What is American identity? Is it about shared values and national unity, something our Founding Fathers might have hoped for? Or is its foundation in America’s vast natural topography, as depicted in

Infinite Mirror is the brainchild of Allan Edmunds, founder and president of Brandywine Workshop, a nearly 40-year-old Philadelphia-based nonprofit that enables artists to explore their creative

early American landscape paintings, for example,

sensibilities through printmaking. When the

The Grand Canyon of the Yellowstone by Thomas

Michigan-based nonprofit art institution Artrain,

Moran, which hangs at the U.S. Department of

Inc. issued a request for exhibition proposals,

the Interior, or Frederic Church’s Niagara Falls,

Edmunds enthusiastically answered the call.

from the Corcoran Gallery of Art? How would

The Brandywine proposal was chosen to be

artists who represent the ethnic diversity of the

Artrain’s 18th multiyear traveling exhibition

so-called melting pot that is America respond?

during its impressive 40-year history.

This provocative question is the focus of the exhibition Infinite Mirror: Images of American Identity, which is on view at the UMUC Inn and Conference Center through April 8, 2012.

more traditional exhibition approaches. UMUC will be one of only five venues where the exhibition will stop as it travels from January 2011 to March 2013.

and the Middle East (largely the Arab World).iii

for Infinite Mirror. Benito Huerta, associate

It behooves us to understand these changing

professor and curator of the Gallery at the

dynamics and to appreciate the countries and

University of Texas at Arlington, and Robert

cultures they represent. So, while Infinite Mirror

Lee, executive director of the Asian American

is decidedly about American identity, it is also

Art Centre in New York City, are co-curators.

about global identity.

on its five-car train museum and bringing them

sive body of work organized along the following

via the U.S. railway system to communities

four themes, which the team outlines:

throughout the United States. As Artrain was

likely to be fed in part by immigrants flocking

Barnes Foundation in Philadelphia is curator

The curatorial team has assembled an impres-

• Self Selection—Reflects how we choose

Infinite Mirror reflects our increasingly diverse

considering its next exhibition, it was also tran-

society, and helps us understand the American

sitioning from the train to other vehicles that

experience from the perspective of artists

offer more flexibility and a broader reach into

who are U.S. citizens, albeit from vastly different

America’s rural communities, which it principally

backgrounds. The exhibition showcases 63 works

serves. To keep the momentum of Infinite Mirror,

by 39 American artists of Native American, African

Artrain engaged International Arts & Artists

American, Asian American, Hispanic American,

(IA&A) a Washington, D.C., based non-profit

• Assimilation, a subject of the American narrative

and European American cultural heritage.

committed to promoting cross-cultural under-

dating back to the first European settlers—

standing through art, to manage its travel using

Is about aspiring to fit in

to present and project ourselves to the world

from our own.

the U.S. labor pool and others in Europe are from emerging economies in Africa, Asia,

Artrain is known for mounting art exhibitions

of our global culture by inspecting and learning

will continue, indeed increase.ii In the future,

Blake Bradford, director of education for the

DID You Know?

shrinking. Analysts suggest increased immigration will be

the opportunity to enrich one’s understanding

gesting that the demand for immigrant labor

It is well documented that the workforce in many industrial-

ii

America’s diversity through revered Ameri-

Jimenez, Jacob Lawrence, and Joe Namy; and

size of America’s workforce is shrinking, sug-

Christine E. Guarneri

ized countries (e.g., the United States, Europe, Japan) is

Fortes, Edgar Heap of Birds, Leticia Huerta, Luis

their golden years and birth rates decline, the

Projections 2000–2050, by Jennifer M. Ortman and

team, which tells a compelling story about can artists such as Emma Amos, John Yoyogi

Furthermore, as Baby Boomers advance to

U.S. Census Bureau: Report, United States Population

required to feed labor pool deficiencies. For example the PriceWaterHouse Coopers report, Talent Mobility 2020 states, “Governments that anticipate the need to import talented individuals to replace gaps in their ageing workforces may remove their immigration barriers in a bid to stimulate their economy.” U.N. population growth projections show rapid growth

iii

in youthful and developing economies, in Africa, Asia,

Juanita Hardy served on the board of directors

and the Middle East. These countries have majority Muslim or minority Muslim populations of 33 percent or more.

for Artrain, Inc. from 2004 to 2010 and chaired its

For example, the combined population of the most populous

exhibition committee. She serves on the boards of

Muslim dominated countries—Bangladesh, Egypt, Nigeria,

the Brandywine Workshop, the Asian American Art Centre, and the UMUC Art Advisory Board. She is

Indonesia, Pakistan, and Turkey—was 24.2 million in 1950 and 882 million in 2009 and is projected to be 1.3 billion in 2050. By comparison, while these six countries will grow

cofounder of Millennium Arts Salon, a nonprofit

by 475 million by 2050, the six most populous developed

arts education program, and teaches intercultural

countries will grow by 44 million.

training as part of Tiger Management Consulting

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

By Linda Derrick

one’s origins, character, values, and

Did you know James Earl Reid won a landmark court battle to

Did you know that realist painter Jacob Glushakow was born in

strengthen creative and intellectual property rights in the “work for hire”

a steamship, the S.S. Brandenburg, as it crossed the Atlantic Ocean from

personal accomplishments

doctrine of copyright law? He received his Bachelor of Fine Arts from

Bremen, Germany, to Baltimore, Maryland? He enjoyed painting dilapidated

the Maryland Institute College of Art (MICA) in 1966 and his Master of Arts

scenes from his community and was not concerned about trends in modern art.

• Pride—Connotes an appreciation of

• Protest—Expresses a push against tyranny and exploitation and toward humanity, equality, and opportunity. Infinite Mirror invites a conversation about what it means to be American, about what American

from University of Maryland, College Park, in 1970.

Did you know A-Young Henriksen was born in Busan, Korea, and had an exhibition in Munich, West Germany?

Did you know Amalie Rothschild was primarily a painter but turned to sculpture in her later years? She had her first solo exhibit at the Baltimore Museum of Art in 1942.

identity is. The artists in this exhibition answer this

Did you know that Trace Miller’s father was a World War II veteran

question through their own experience, which

who fought in the Battle of the Bulge? His father was wounded and later

is simultaneously American and multicultural.

captured and made a prisoner of war.

Does American identity represent shared values and also celebrate the cultural heritage of its

Did you know that Bennard Perlman is an art critic, author, lecturer,

many ethnicities? Infinite Mirror offers the

and educator who explores design and composition in his works? He primarily

opportunity to inspect American culture and

works in charcoal, oil, and pastels and creates works reflective of the

its subcultures, to understand, build bridges,

Maryland scene.

and evolve. It reminds us that America is a country of immigrants, that our diversity is what has built our country and made it strong.

page 4

• www.umuc.edu/art

Above, left: Leamon Green, Little Big Girl, 2005, acrylic and silkscreen on paper, 55 x 42 in. Above, right: Kaylynn Sullivan TwoTrees, Maka Wicasa (detail), 1992, lithograph, leather, straw, collage

Left: Bennard Perlman, Swing Low, Sweet Chariot (detail), 1954, oil on board / Top, right: Trace Miller, Wall Tracings (detail), 1987, oil on canvas / Bottom, right: Jacob Glushakow, Untitled (Fells Point Market) (detail), 1965, oil on canvas

www.umuc.edu/art •

page 5

By Juanita Hardy

By 2042, America’s “minority” populations will

It reflects our diverse population rooted in

Group, a business consulting firm she established

be the majority. This new “minority majority”

countries and cultures around the globe.

in 2006.

will include Hispanic and Asian Americans,

i

This exhibition is compelling for a variety of

combined as the largest minority group, rising

reasons: the dedicated team of nonprofit art

to more than 39 percent of the total U.S.

institutions involved; the impressive curatorial

population. The Hispanic and Asian American populations are expected to double by 2050; this growth is attributed in part to immigration.i

What is American identity? Is it about shared values and national unity, something our Founding Fathers might have hoped for? Or is its foundation in America’s vast natural topography, as depicted in

Infinite Mirror is the brainchild of Allan Edmunds, founder and president of Brandywine Workshop, a nearly 40-year-old Philadelphia-based nonprofit that enables artists to explore their creative

early American landscape paintings, for example,

sensibilities through printmaking. When the

The Grand Canyon of the Yellowstone by Thomas

Michigan-based nonprofit art institution Artrain,

Moran, which hangs at the U.S. Department of

Inc. issued a request for exhibition proposals,

the Interior, or Frederic Church’s Niagara Falls,

Edmunds enthusiastically answered the call.

from the Corcoran Gallery of Art? How would

The Brandywine proposal was chosen to be

artists who represent the ethnic diversity of the

Artrain’s 18th multiyear traveling exhibition

so-called melting pot that is America respond?

during its impressive 40-year history.

This provocative question is the focus of the exhibition Infinite Mirror: Images of American Identity, which is on view at the UMUC Inn and Conference Center through April 8, 2012.

more traditional exhibition approaches. UMUC will be one of only five venues where the exhibition will stop as it travels from January 2011 to March 2013.

and the Middle East (largely the Arab World).iii

for Infinite Mirror. Benito Huerta, associate

It behooves us to understand these changing

professor and curator of the Gallery at the

dynamics and to appreciate the countries and

University of Texas at Arlington, and Robert

cultures they represent. So, while Infinite Mirror

Lee, executive director of the Asian American

is decidedly about American identity, it is also

Art Centre in New York City, are co-curators.

about global identity.

on its five-car train museum and bringing them

sive body of work organized along the following

via the U.S. railway system to communities

four themes, which the team outlines:

throughout the United States. As Artrain was

likely to be fed in part by immigrants flocking

Barnes Foundation in Philadelphia is curator

The curatorial team has assembled an impres-

• Self Selection—Reflects how we choose

Infinite Mirror reflects our increasingly diverse

considering its next exhibition, it was also tran-

society, and helps us understand the American

sitioning from the train to other vehicles that

experience from the perspective of artists

offer more flexibility and a broader reach into

who are U.S. citizens, albeit from vastly different

America’s rural communities, which it principally

backgrounds. The exhibition showcases 63 works

serves. To keep the momentum of Infinite Mirror,

by 39 American artists of Native American, African

Artrain engaged International Arts & Artists

American, Asian American, Hispanic American,

(IA&A) a Washington, D.C., based non-profit

• Assimilation, a subject of the American narrative

and European American cultural heritage.

committed to promoting cross-cultural under-

dating back to the first European settlers—

standing through art, to manage its travel using

Is about aspiring to fit in

to present and project ourselves to the world

from our own.

the U.S. labor pool and others in Europe are from emerging economies in Africa, Asia,

Artrain is known for mounting art exhibitions

of our global culture by inspecting and learning

will continue, indeed increase.ii In the future,

Blake Bradford, director of education for the

DID You Know?

shrinking. Analysts suggest increased immigration will be

the opportunity to enrich one’s understanding

gesting that the demand for immigrant labor

It is well documented that the workforce in many industrial-

ii

America’s diversity through revered Ameri-

Jimenez, Jacob Lawrence, and Joe Namy; and

size of America’s workforce is shrinking, sug-

Christine E. Guarneri

ized countries (e.g., the United States, Europe, Japan) is

Fortes, Edgar Heap of Birds, Leticia Huerta, Luis

their golden years and birth rates decline, the

Projections 2000–2050, by Jennifer M. Ortman and

team, which tells a compelling story about can artists such as Emma Amos, John Yoyogi

Furthermore, as Baby Boomers advance to

U.S. Census Bureau: Report, United States Population

required to feed labor pool deficiencies. For example the PriceWaterHouse Coopers report, Talent Mobility 2020 states, “Governments that anticipate the need to import talented individuals to replace gaps in their ageing workforces may remove their immigration barriers in a bid to stimulate their economy.” U.N. population growth projections show rapid growth

iii

in youthful and developing economies, in Africa, Asia,

Juanita Hardy served on the board of directors

and the Middle East. These countries have majority Muslim or minority Muslim populations of 33 percent or more.

for Artrain, Inc. from 2004 to 2010 and chaired its

For example, the combined population of the most populous

exhibition committee. She serves on the boards of

Muslim dominated countries—Bangladesh, Egypt, Nigeria,

the Brandywine Workshop, the Asian American Art Centre, and the UMUC Art Advisory Board. She is

Indonesia, Pakistan, and Turkey—was 24.2 million in 1950 and 882 million in 2009 and is projected to be 1.3 billion in 2050. By comparison, while these six countries will grow

cofounder of Millennium Arts Salon, a nonprofit

by 475 million by 2050, the six most populous developed

arts education program, and teaches intercultural

countries will grow by 44 million.

training as part of Tiger Management Consulting

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

By Linda Derrick

one’s origins, character, values, and

Did you know James Earl Reid won a landmark court battle to

Did you know that realist painter Jacob Glushakow was born in

strengthen creative and intellectual property rights in the “work for hire”

a steamship, the S.S. Brandenburg, as it crossed the Atlantic Ocean from

personal accomplishments

doctrine of copyright law? He received his Bachelor of Fine Arts from

Bremen, Germany, to Baltimore, Maryland? He enjoyed painting dilapidated

the Maryland Institute College of Art (MICA) in 1966 and his Master of Arts

scenes from his community and was not concerned about trends in modern art.

• Pride—Connotes an appreciation of

• Protest—Expresses a push against tyranny and exploitation and toward humanity, equality, and opportunity. Infinite Mirror invites a conversation about what it means to be American, about what American

from University of Maryland, College Park, in 1970.

Did you know A-Young Henriksen was born in Busan, Korea, and had an exhibition in Munich, West Germany?

Did you know Amalie Rothschild was primarily a painter but turned to sculpture in her later years? She had her first solo exhibit at the Baltimore Museum of Art in 1942.

identity is. The artists in this exhibition answer this

Did you know that Trace Miller’s father was a World War II veteran

question through their own experience, which

who fought in the Battle of the Bulge? His father was wounded and later

is simultaneously American and multicultural.

captured and made a prisoner of war.

Does American identity represent shared values and also celebrate the cultural heritage of its

Did you know that Bennard Perlman is an art critic, author, lecturer,

many ethnicities? Infinite Mirror offers the

and educator who explores design and composition in his works? He primarily

opportunity to inspect American culture and

works in charcoal, oil, and pastels and creates works reflective of the

its subcultures, to understand, build bridges,

Maryland scene.

and evolve. It reminds us that America is a country of immigrants, that our diversity is what has built our country and made it strong.

page 4

• www.umuc.edu/art

Above, left: Leamon Green, Little Big Girl, 2005, acrylic and silkscreen on paper, 55 x 42 in. Above, right: Kaylynn Sullivan TwoTrees, Maka Wicasa (detail), 1992, lithograph, leather, straw, collage

Left: Bennard Perlman, Swing Low, Sweet Chariot (detail), 1954, oil on board / Top, right: Trace Miller, Wall Tracings (detail), 1987, oil on canvas / Bottom, right: Jacob Glushakow, Untitled (Fells Point Market) (detail), 1965, oil on canvas

www.umuc.edu/art •

page 5

His Own Path: The Spirit and Legacy of Herman Maril The long-awaited book His Own Path: The Spirit and Legacy of Herman Maril is now available for your collection. His Own Path captures the life and

Monday, January 30–Sunday, April 8, 2012

more than 50 years. It is a reflection of Maril’s creative journey and includes

Opening Reception: Sunday, February 19, 2012, 3–5 p.m., Arts Program Gallery

duction by David Maril, the artist’s son. It also includes a DVD documentary about the artist. To order your book, please contact Denise Melvin at 301985-7937 or at arts@umuc.edu. The hardback, cloth-cover publication is available for $49 plus shipping.

Infinite Mirror: Images of American Identity is a collection of 70 multimedia works by a culturally diverse group of artists from across the United States. The collection’s theme is the use of portraiture and figuration as symbols for emotional and social ideas to depict the current circumstances and experiences of multicultural populations in the United States. Artrain, Inc. and a group of independent curators selected works of art by established and emerging American artists for inclusion in the exhibition. This exhibition was developed by Artrain, Inc. and Brandywine Workshop (Philadelphia, Pennsylvania) and is toured by International Arts & Artists (Washington, D.C.). It is presented with support from the Institute of Museum and Library Services and the National Endowment for the Arts.

Joseph Sheppard: A Voyage from Memory (1930–1960) Sunday, April 8, 2012–Monday, March 25, 2013 Opening Reception: Thursday, April 12, 2012, 5–8 p.m., The Leroy Merritt Center for the Art of Joseph Sheppard

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.

page 6

• www.umuc.edu/art

Sapphire-Level Friends John M. Derrick and Linda Derrick

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

Faculty Art Invitational Exhibition

Invited artists include but are not limited to Patrick Craig (University of Maryland, College Park), Joan Bevelaqua (UMUC), Brooke Rogers (Salisbury University), James Plumb (Chesapeake College), Mark Karnes (Maryland Institute College of Art), Matt Klos (Anne Arundel Community College), and others.

Gold-Level Friends Kenneth L. Greif Julia Lindenmeier Dr. Robert Steele and Mrs. Jean Steele Kathy L.Theden Patricia J. Toregas Nancy Williamson

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.

Silver-Level Friend ($250–$499) Above benefits, plus name recognition on the donor’s wall in the Arts Program Gallery

The Faculty Art Invitational Exhibition is an annual event that features the work of UMUC faculty members and teaching artists from the University System of Maryland along with special guest artists. The 2012 show will have a new theme—drawing—introduced by the program’s curator, Brian Young. For this exhibition, a drawing will be defined as any unique work on paper that is not a print or photograph. Works will include charcoal sketches, watercolors, pastels, and oil on canvas.

Platinum-Level Friends Dr. Susan C. Aldridge Joseph Vernon Bowen Jr. and Michele E. Jacobs Robert W. Jerome Eric Key Thomas M. Li Anne V. Maher Friends of Joan F. Stern

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.

Bronze-Level Friend ($100–$249) Above benefits, plus autographed poster from the collection

Opening Reception: Thursday, May 3, 2012, 6–8 p.m., Arts Program Gallery

University of Maryland University College Arts Program Mission Statement

(Janurary 1, 2011–present)

Make an Annual Contribution to the Arts Program

This exhibition will showcase the works of Joseph Sheppard, an artist who explored and taught realism painting for many years and whose works are based on cultural moments and events in the history of the United States.

Sunday, April 22, 2012–Friday, June 22, 2012

Above: Herman Maril, Sunday at the Docks,1938, oil on canvas, 28 x 36 in.

Friends of the Arts

Infinite Mirror: Images of American Identity

spirit of Maryland artist Herman Maril, who was active in the art scene for major essays by David W. Scott, PhD, and Howard E. Wooden with an intro-

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