Art@UMUC Magazine, Fall 2014

FALL 2014

News and perspectives for friends of the arts

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A RT S

Acclaimed Abstract Painter Ed Clark

PROGR A M

10

U N I V E R S I T Y

Bus Trip Delights Art Lovers

O F

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MA RY L A N D

UMUC Becomes Repository for Maryland Printmakers

U N IV E R S IT Y

COLLEGE

GREETINGS From the President Dear Art Patrons, As we begin a new academic year at UMUC, I want to thank you for helping to making the past year one of the most exciting in the history of the Arts Program. Thanks in part to your interest and support, we hosted a total of seven exhibitions, showcasing the works and voices of some of Maryland’s most talented artists.

The Arts Program has a proud history at UMUC, managing and developing the university’s growing collection while presenting several annual exhibitions—free of charge and open to the public—that help fulfill our mission as an open access university. These exhibitions included the 2nd Biennial Maryland Regional Juried Art Exhibition (BMRE), the Joseph Sheppard: On A Grand Scale exhibition, Unveiled (which introduced a number of works never before put on public display), and the 2014 Faculty Arts Invitational. In all, works by more than 173 artists were highlighted.

And our collection continues to grow. We were thrilled and deeply honored to accept a donation of approximately 190 works by Baltimore native and artist Raoul Middleman, forming the new Raoul Middleman Collection at UMUC. I hope you will have the opportunity to enjoy his unique work in the months and years ahead.

Of course none of this is possible without the generous support of the many friends and patrons of the arts at UMUC. This support becomes increasingly important as UMUC—along with all of higher education—faces a budgetary climate that demands our most careful attention and stewardship.

As you plan your year-end charitable giving, I urge you to consider making a tax-deductible contribution to the Arts Program at UMUC, helping us to continue our tradition of introducing the work of Maryland and international artists to a broader audience.

Sincerely,

Javier Miyares President University of Maryland University College

From the Chair Dear Friends,

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

ARTS PROGRAM MISSION STATEMENT 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.

It is with great pleasure that I begin my position as chair of the Art Advisory Board. I thank Javier Miyares, president of UMUC, for appointing me to this position. I am flattered to serve alongside so many capable and talented board members, including most notably Michèle Jacobs, our outgoing chair.

I look forward to supporting the work of Brian Young, curator, and Eric Key, director of the Arts Program.

I am excited to contribute to UMUC’s Arts Program, its service to artists in the region, and the Art Advisory Board’s expanded commitment to raise funds and awareness for its annual exhibitions. In particular, I am looking forward to an extraordinary lineup of exhibitions ranging from the work of BMRE winner Helen Zughaib to the retrospective of Raoul Middleman. I intend to support the Arts Program in any way possible so that it can continue to contribute to the thriving cultural scene in the Maryland and Washington, D.C., area.

If you have any suggestions or support to offer, please don’t hesitate to contact me or Eric Key. We look forward to working with you to strengthen the Arts Program at UMUC. Sincerely,

Anne V. Maher, Esq. Chair, Art Advisory Board University of Maryland University College

CONTENTS

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10

cclaimed Abstract A Painter Ed Clark

Bus Trip Delights Art Lovers

13

UMUC Becomes

Repository for Maryland Printmakers

In Every Issue GREETINGS FROM THE PRESIDENT AND THE CHAIR 2 COLLECTION SPOTLIGHT 3 DID YOU KNOW? 12 NEWS AND EVENTS Clockwise from top right: Ed Clark, Egyptian Series, 1997, acrylic on canvas, 56 x 72 inches; Marjorie Talle Merriman, Flyaway, Again, 1991, woodcut #41 from an edition of 42, 11 x 14 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the Maryland Printmakers; prints from Kentler Flatfiles, Kentler International Drawing Space, Brooklyn, New York

15 BECOME A FRIEND OF THE ARTS AT UMUC

Cover: Ed Clark, Moroccan Series, 1973, dry pigment on paper, 36 x 46 inches

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ANDY WARHOL / ENDANGERED SPECIES / PINE BARRENS TREE FROG

FALL 2014 Managing Editor Eric Key Editors Sandy Bernstein Nancy Kochuk Director, Institutional Projects Cynthia Friedman Graphic Designer Jennifer Norris Project Manager Laurie Bushkoff Arts Program Staff Rene Sanjines Brian Young Magazine Committee Chair Dianne A. Whitfield-Locke, DDS

Andy Warhol (1928–1987) was born Andrew Warhola in Pittsburgh, Pennsylvania. He attended the Carnegie Institute of Technology (now Carnegie Mellon University) and earned a BFA in pictorial design, then moved to New York City to pursue a career in commercial illustration.

In the late 1950s, he shifted his focus to painting and soon after began to develop his

signature pop art style, featuring his Campbell’s soup cans, Brillo boxes, and more. In 1962, Warhol began creating silkscreens, including a memorable Marilyn Monroe based on an earlier publicity photograph. Employing a light-sensitive emulsion, Warhol and his studio produced numerous images based on photographs.

In 1983, Warhol created a series of ten bright-color screen prints that portrayed

UMUC Art Advisory Board Javier Miyares Anne V. Maher, Esq., Chair Alvah T. Beander Myrtis Bedolla, Co-chair Joan Bevelaqua I-Ling Chow, honorary member Patricia Dubroof Nina C. Dwyer Jeannette Glover Karin Goldstein, honorary member Pamela Holt Michèle Jacobs, Past Chair Eric Key Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD Past Vice Chair, honorary member Dianne Whitfield-Locke, DDS Sharon Wolpoff 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 Magazine Editor Arts Program University of Maryland University College 3501 University Boulevard East Adelphi, MD 20783-8007 Phone 301-985-7937 • Fax 301-985-7865

endangered animals from around the world: a Siberian tiger, San Francisco silverspot butterfly, orangutan, Grevy’s zebra, black rhinoceros, bighorn ram, African elephant, pine barrens tree frog, giant panda, and bald eagle. The Endangered Species (1983) portfolio was commissioned by Ronald and Frayda Feldman, long-time political and environmental activists who support innovative art projects and installations through their art gallery.

Andy Warhol, Endangered Species (Pine Barrens Tree Frog), 1983, screen print on Lenox Museum Board, 38 x 38 inches, UMUC Permanent Collection, International Collection, Gift of the Andy Warhol Foundation for the Visual Arts, Inc.

2 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

PHOTOGRAPHY CREDITS: Cover: courtesy of N’Namdi Contemporary; Inside cover: Katherine Lambert, Jonah Koch; p. 1 clockwise from top right: courtesy of N’Namdi Contemporary, John Woo, Eric Key; p. 2 John Woo; p. 3 left to right: Steven Halperson, Jim Morris, John Woo, John Woo; p. 4 John Woo; p. 5 courtesy of N’Namdi Contemporary; p. 6 Natalie Miranda, courtesy of N’Namdi Contemporary; p. 7 courtesy of N’Namdi Contemporary; p. 8 all courtesy of N’Namdi Contemporary; p. 9 all courtesy of N’Namdi Contemporary; p. 10: Mark Holdrege; p. 11 clockwise from top left: Mark Holdrege, courtesy of Kentler Gallery, Eric Key; p. 12 both by John Woo; p. 13 John Woo; p. 14 top: courtesy of Sheila Crider, bottom: John Woo, Tracey Brown for Beander and Wolpoff

DID YOU KNOW? LITTLE-KNOWN FACTS ABOUT ARTISTS WITH WORKS ACQUIRED BY OR EXHIBITED AT UMUC

By Dianne Whitfield-Locke

Did you know . . .

Valerie Maynard is a sculptor

D.C. native Ann Zahn is a

Edward Brown, professor of

Keith Martin (1911–1983)

and printmaker who lives in

master printmaker who has been

art at Salisbury University, has

completed his first art collage in

Maryland and taught at the

creating works of art for more

become a masterful artist in

1954, and the Baltimore Museum

Baltimore School for the Arts?

than 40 years? Her work has been

the medium of charcoal?

of Art organized an exhibition of

Her art is an expression of the

primarily done in the printmaking

African Diaspora.

mediums of etching, lithography,

56 of his collages in 1977?

and linoleum and woodcut, both in color and in black and white.

ABOVE, LEFT TO RIGHT: Valerie Maynard, Lost and Found Series (detail), 1989, serigraph

on paper, 29 x 20 inches, UMUC Permanent Collection, Maryland Artist Collection; Ann Zahn, Garden Journal XII (Earth, Air, Fire, Water, detail), 2001, viscosity etching on paper, 132 x 96 inches, UMUC Permanent Collection, Maryland Artist Collection; Edward Brown, Clouds (detail), 2005, charcoal on paper, 50 x 40 inches, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists; Keith Martin, White Collage, 1959, collage on canvas, 18¼ x 26¼ inches, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists

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Ed Clark ACCLAIMED ABSTRACT PAINTER IS KNOWN FOR HIS POWERFUL BRUSH STROKE AND USE OF COLOR ON LARGE-SCALE CANVASES

BY JUMAANE N’NAMDI DIRECTOR, N’NAMDI CONTEMPORARY

Whenever I visit Ed Clark at his New York studio, I rummage through rows and stacks of paintings. I try not to touch or move them around too much, but the artist doesn’t worry about people handling his work. He wants you to look at his creations. “Hey, don’t worry,” he says. “If it doesn’t have a footprint on it, it isn’t an Ed Clark.”

Every time I peruse his collection, I discover an intrigu-

ing detail about his life, going all the way back to the 1950s.

There is always a painting that conjures up a memory of a particular time or experience in his life. You see, from childhood, Clark’s life was full of travel and colorful adventures— and his art maps the entire journey.

4 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Left: Ed Clark, Mainstream I, 1975, acrylic on canvas, 119 x 188 inches, UMUC Permanent Collection, International Collection, Gift of the artist Below: Ed Clark in his studio, Taos, New Mexico, 1982

“

Hey, don’t worry.

If it doesn’t have a footprint on it, it isn’t an Ed Clark.

Ed Clark

Born in 1926 in New Orleans, Louisiana, Ed Clark was raised

money for groceries or to bring his father home. On those

in humble beginnings. When he was seven, he moved with

excursions back home, his dad often would share a piece of

his family—his mother Merion, his father Edward, and his

advice or a funny anecdote, many of which stayed with him.

sister Shirley—to the South Side of Chicago in search of

financial security and a better life. His mother, who ran the

but math, science, and art were second nature to him.

household, took jobs wherever she could find them, working

He believes his life and work were hugely influenced by

both as a seamstress and a factory worker. His father

his early art experiences, including the time when his New

eschewed the traditional work life, preferring to be out of

Orleans elementary teacher asked everyone to draw a

the house and on the streets. When Clark reminisces about

tree, promising to reward the winner with a gold star. The

his mother’s nurturing and sophisticated nature and his

students all turned in pictures typical for six-year-olds, using

father’s colorful gambling ways, he recalls the many times

lines and sticks for trunks and circles for the leaves. But

his mother would send him out to find his father, who

Ed Clark created something that looked distinctly different.

would be out playing cards. He was instructed either to get

He had captured the trunk of the tree, the individual limbs

As a child, Clark found reading especially challenging,

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of the branches, and the foliage in

back into the confines of the rectangular

detail, an artistic accomplishment

shape of the canvas, Clark decided that

quite impressive for a small child.

the placement beyond the edge was

Even though he did not receive that

their rightful place. Two shaped can-

gold star, he knew he had created

vases were created, and one—Untitled,

something special, and so he learned

Shaped Canvas—shook the New York

an important life lesson: even the

art scene when it was exhibited at the

best can be rejected.

famed Brata Gallery in 1957.

Drawing was a hobby for him as

The artist barely noticed the rave

a young man, and it wasn’t until his

reviews. He continued to work beyond

mother took him to the Art Institute

the confines of the canvas and started searching for a technique to allow the

of Chicago museum he realized that creating art could be a profession.

In high school, however, there

was little time for art. World War

Jumaane N’Namdi (left), director of N’Namdi Contemporary and author of Ed Clark: Master Painter, and Ed Clark (right)

paint itself to display force and motion.

In the early 1960s, he began using the broom as his artistic tool of choice— the wider the broom head, the better.

II had begun and Clark was intent on becoming an Air Force pilot. Even though he was well

qualified, he was denied that assignment and sent to serve

paintings in which the paint, which was thrown at the can-

in Guam. Despite his disappointment, he found this interna-

vas, moved by both gravity and the stroke of a large broom.

tional experience fed his thirst for travel and adventure.

In 1966, he returned to Paris to work with his new technique,

taking advantage of the natural light he loved so much. He

Two years later, Clark returned to Chicago and thanks

Back in New York, Clark began producing strong, large

to the GI Bill, he could go to college wherever he wanted.

also began a new series of oval paintings, including the Big

In 1947, he attended the Art Institute of Chicago; in 1952

Egg, a work he created in 1968 that will hang in the Smithso-

he moved to Paris to attend the L’Académie de la Grande

nian’s soon-to-open National Museum of African American

Chaumière, where his art career officially began.

History and Culture. Many of these paintings were created

in 1968, the year he visited the country home of fellow artist

The works he created that first year in Paris had literal

themes that he expressed abstractly, in works that included

and good friend Joan Mitchell in Vétheuil, France.

The Stove, The Church, and a painting he made for his mother, Nature Morte.

The Paris academy encouraged students to try out many different styles, techniques, and mediums, and Clark’s creativity flourished as he began to investigate pure abstraction more closely. He was discovering new ways to create art, and the freedoms afforded black American artists in Paris during those years allowed his artistic creativity to blossom. He began exhibiting locally and received reviews in the French press.

In 1956, he made art history

with the creation of the first shaped canvas. This form came about almost by accident: he ran out of paint and began gluing pieces of painted paper to the canvas, a few of which extended beyond the edges of the canvas. Instead of bringing them Ed Clark, Nature Morte, 1952, oil on canvas, 32 x 40 inches, Private collection

6 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Ed Clark, Untitled, Shaped Canvas, 1957, oil on canvas, 55 x 46 inches, Collection of the Art Institute of Chicago

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Ed Clark outside his studio, Paris, La CitĂŠ Internationale des Arts, 1988

Ed Clark, Louisiana Red, 2004, acrylic on canvas, 67 x 72 inches, Collection of Arthur Primas

8 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

The artist using a push broom to create wide brush strokes, 1992

Clockwise from top left: Ed Clark in his Paris studio, 1950s; artist Joan Mitchell and Clark, 1985; Brata Gallery in New York, first gallery to showcase Clark’s Shaped Canvas; invitation for Downtown Uptown, a group exhibition at Marino Galleries, 1960s

After returning to New York in 1969, Clark was invited

toward the middle, even stopping the stroke midcanvas,

to Crete by artist friend Jack Whitten. There he tried out a

allowing for negative space and giving each stroke its own

different technique—using the palm of his hand to apply

starting and stopping point.

pastels to the paper. The effect was soft and rich. At about

that time he noticed that the series he created in New York,

visited China from 1999 to 2000. His China series totally

Paris, and Crete each had an energy and color palette spe-

broke the mold, if ever there was one. The work was power-

cific to those places. This notion, that where he was painting

ful and inventive. With this series, he used dry pigments on

had a significant influence on his art, intrigued him, and

rice paper and began to experiment with creating collages

from that point, travel became an integral part of his artistic

directly on his canvases. This new energy gave birth to

experience. He sought out places rich in nature and light

Le Mouvement and the Rebirth series, which he began in

and spent most of the 1970s traveling and creating art in

2000. These bold and powerful works are considered some

places such as Ife, Nigeria; Mexico; Morocco; and his home

of his best work yet, vibrant and full of color, energy, life,

state of Louisiana. He was now experimenting with the oval

and movement.

floating on a rectangular plane, and these locales suited his

artistic pilgrimage.

nering lots of new attention, but the artist doesn’t seem

Clark carried the energy of the 1990s forward when he

Now at the age of 88, Ed Clark and his work are gar-

In the 1980s, Clark started to give the paint a less struc-

to notice. He has always found collectors who fall in love

tured and more fluid motion. While he made Paris his home

with his work and become eager benefactors, and he has

every summer, he embarked on travel that resulted in large

always found exotic places where he could work and culti-

vibrant pastel pieces with palettes influenced by places

vate relationships. He has assumed all along that the world

such as Martinique; Taos, New Mexico; and Bahia, Brazil.

has been thinking about him, and that is true. His longtime

By the 1990s, his work was more energetic than ever. He

admirers have indeed been following his footprints and

would sometimes push the broom from different directions

giving him a gold star.

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A Day of Discovery ART COMES ALIVE ON BUS TRIP TO BROOKLYN ERIC KEY

June 7 was a memorable day for art lovers.

sometimes sewing the leaves to paper and embellishing them

with other materials. Hoferer demonstrated how she uses

Some 38 art enthusiasts traveled by bus to Brooklyn on

a trip sponsored by the Arts Program at UMUC. The journey

rolls of paper tape, cuts the tape into the tiniest of pieces,

began shortly after sunrise at The Leroy Merritt Center for

and uses the pieces to create geometrical works of art

the Art of Joseph Sheppard in Adelphi. From the time we

on paper. Her technique—and patience—impressed us all.

boarded the bus until we returned safely that evening, art

was the topic of the day. On the way up to New York, we

(cheesecake, anyone?), we proceeded to the home and

got a preview of what we would see in Brooklyn, and we

studio of sculptor Frederick Eversley. We entered a four-

discussed the state of the arts in our local area. We shared

story building that serves as the artist’s home and studio.

information about our personal art collections and the art-

The main floor, which he uses as his living space, contains

ists who have created the works we love. We chatted about

stark white walls and an installation work toward the back

up-and-coming artists as well as the importance of the

of the space. When we moved on to the second floor, we saw

After lunching at the historic Junior’s Restaurant

arts in community.

some truly magnificent sculptures.

Eversley talked to us about his works,

Our first stop: the Kentler Interna-

tional Drawing Space. Florence Neal,

many of them made of polyester.

the artist who serves as director of the

“My sculpture deals with the notion

gallery, told us all about the Kentler

of energy in the very broad sense of

Flatfiles, a compendium of artwork

the word,” he told the group.

by 200 artists that showcases the gal-

lery’s commitment to contemporary

we visited the Red Hook Gallery

drawings and works on paper. Artists,

complex, where we peeked into the

curators, collectors, and the public all

various galleries and got to meet the

have access to this rich resource.

Uruguayan-born conceptual artist

Silvina Arismendi.

We had the opportunity to spend

After we left Eversley’s studio,

time with two artists connected to

the gallery, Ilene Sunshine and Mar-

Sugar Factory to see a much-talked-

ietta Hoferer. Sunshine, who told us

about sculpture by Kara Walker,

about her interest in negative space,

A Subtlety or the Marvelous Sugar

described how she uses natural ma-

Baby. This installation, a massive

terials such as leaves to expand the

sphinx-turned Mammie made of

notion of traditional drawing—sometimes tracing the leaves on paper,

10 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Artist Kara Walker’s Mammie sculpture, made from foam blocks and sugar, stands 35 feet tall.

We then journeyed to the Domino

foam blocks and coated in sugar, was 35 feet high and 75 feet long.

The artist’s full name of the installation, A Subtlety, or

“Had a great time,” L. Christina Waddler wrote in her

the Marvelous Sugar Baby An Homage to the unpaid and over-

evaluation. “Would love to go on another art trip with UMUC

worked Artisans who have refined our Sweet tastes from the

Arts Program. The most memorable experience was going

cane fields to the Kitchens of the New World on the Occasion

to Frederick Eversley home/studio. That made my day!”

of the demolition of the Domino Sugar Refining Plant, gives

you clues that the work is an examination of issues related

trip A+++. “I really enjoyed seeing the art in the galleries

to race and exploitation. “I used the figure of the Mammie

and studio and listening to the artists talk about their work.

because she is powerful and iconic in our history,” Walker

Nothing really can step into the place of being physically

says. “It is very important to look back.”

present in front of a piece of art. My biggest wonder that I

We appreciated getting the chance to see this provoca-

saw was the Kara Walker installation. The whole experience

tive work. This exhibition closed just a month after our visit

made the wheels in my head run around. I actually Googled

and the refinery is scheduled to be torn down later this year.

her the next day to find out more information about her

sculptures of Sugar Babies, and her sphinx sculpture. Then

Our final stop in Brooklyn was a reception at Dorsey’s

Diane Maglaque was enthusiastic as well, rating the

Art Gallery, the oldest continuously run black–owned

I wrote my blog about the impressions I received from her

and operated art gallery in the New York area. Artist

artwork. There were so many great parts to the trip that I

Karl McIntosh, who serves as gallery director, greeted

can’t tell you which was the best part.”

us and then two other artists, J. Bell-Bey and Otto Neals,

treated us to a short history of the gallery and talked

highlight. “Meeting an artist who is a living legend was awe

about some of the works.

inspiring. Fred Eversley’s story was moving. I am always hon-

ored when I get to be in the presence of African American

With a day like this, it’s no wonder the trip got such

positive and enthusiastic reviews.

For Maeva Dumena, connecting with the artists was the

pioneers. Thank you for that.”

“

The highlight of the trip was getting to connect with the artists.

Meeting an artist who is a living legend was awe inspiring.

Fred Eversley’s story was moving. . . .

Maeva Dumena

Clockwise from top left: Untitled, polyester sculpture by artist Frederick Eversley; artist Silvina Arismendi shows attendees her colorful rubber band-wrapped canvases at her Red Hook Gallery studio space; Eversley (front, center) with group

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NEWS AND EVENTS UMUC Art Featured in the Comptroller’s Office in Annapolis Brian Young, Curator, UMUC Comptroller Peter Franchot, Maryland’s chief financial officer, appreciates the visual arts—a fact evident to anyone who walks into his office in Annapolis. And he especially enjoys works by Maryland artists. Nearly all the artworks that adorn his office and nearby conference room are on loan from the UMUC collection and feature Maryland painters.

The works on display reflect the depth

of UMUC’s Maryland collection, which is renowned for its works by Gladys Goldstein, Herman Maril, Aaron Sopher, and many Maryland Comptroller Peter Franchot enjoys the scenic seascapes by artist Herman Maril on display in his office.

others. These artists especially helped boost the state’s reputation on the national and international scene with their embrace of modernism. All of them started as realists and then began moving toward modernism with its emphasis on the reduction of forms.

northeast prior to his public service career

interplay of sea, sky, and marsh that is

reflects the background and personal taste

in Maryland, perhaps it’s no surprise that

unique to the Cape.

of the comptroller. Franchot, who served 25

Franchot would be drawn to the work of

years in the Maryland House of Delegates

Herman Maril, a nationally known artist who

comptroller’s suite include four works by

before being elected to his current office,

also taught art for 40 years at the University

abstract painter Gladys Goldstein that give

earned a BA at Amherst College and a JD

of Maryland, College Park. The two shared a

aesthetic balance through their emphasis on

at Northeastern University School of Law,

deep affinity for Cape Cod, Massachusetts,

abstract form, color, and composition. The

both in Massachusetts.

and the paintings by Maril that hang in the

drawings by Aaron Sopher are intimate in

The art in Franchot’s office clearly

Considering the time he spent in the

comptroller’s office depict the wonderful

Other artists’ work on display in the

size yet reflect the daily bustle of Baltimore in the 1950s. Other works by June Gordon Hoke, Karl Metzler, James O’Brien, and Amalie Rothschild further reflect a sense of place.

Taken as a whole, the loan made by

UMUC to Franchot’s office reflects the talent and heritage of some of Maryland’s most creative and respected artists.

The Arts Program would like to acknowledge the contribution made to this article by Anne Maher, the new chair of the Art Advisory Board. Peter Franchot and his wife Anne Maher live in Takoma Park, where they raised their two children, Abigail and Nick.

ARTS PROGRAM UPDATES Get the latest updates on the UMUC Arts Program. Visit www.umuc.edu/art/newsonline Aaron Sopher’s Baltimore Harbor is one of the many works of art on loan from UMUC’s permanent collection.

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NEWS AND EVENTS UMUC Becomes Repository for Maryland Printmakers

Upcoming Events

Maryland Printmakers has selected the University of Maryland University College to become the repository for its Folio Archives for most of the years 1990–2005. This collection includes some 450 prints by some of the area’s most talented artists.

With this donation, the Arts Program at

MARYLAND PRINTMAKERS: PRINTMAKING IN A MODERN SOCIETY Sunday, September 7–Wednesday, December 31, 2014 UMUC Main Gallery Opening Reception: Saturday, October 25, 2014, 3–5 p.m.

UMUC is expanding its collection of works on paper and strengthening its commitment to Maryland artists. We will feature selected works from this donation in a fall exhibition, Maryland Printmakers: Printmaking in a Modern Society (details at right).

Maryland Printmakers, founded in 1989

by Sam Peters and John Sparks, educates the public on the techniques of printmaking and promotes this vital art. The organization has more than 250 members internationally.

Many thanks to all the artists repre-

sented in the donation and especially to Darryl Marsan, former president of Maryland Printmakers, who chose UMUC to house these works.

SYMPOSIUM: ROBERT BLACKBURN AND THE MODERNIST MOVEMENT IN PRINTS Friday, October 24–Saturday, October 25, 2014 College Park Marriott Hotel & Conference Center at UMUC Symposium Opening Reception: Friday, October 24, 2014, 5:30–7 p.m.

David C. Driskell Center, University of Maryland, College Park EXHIBITION: ROBERT BLACKBURN: PASSAGES Thursday, September 18–Friday, December 19, 2014 David C. Driskell Center, University of Maryland, College Park Exhibition Opening Reception: Thursday, September 18, 2014, 5–7 p.m.

David C. Driskell Center, University of Maryland, College Park The David C. Driskell Center at University of Maryland, College Park, and the Arts Program at University of Maryland University College (UMUC) will jointly present a symposium, “Robert Blackburn and the Modernist Movement in Prints,” on Saturday, October 25, 2014. The symposium will be held in conjunction with the Blackburn exhibition at the Driskell Center and the UMUC Arts Program exhibition “Maryland Printmakers: Printmaking in a Modern Society” at the UMUC Main Gallery.

Both the symposium and exhibition look at Blackburn’s work within the context of American modernism and printmaking in the Maryland region.

The symposium will open with a keynote presentation by a museum professional.

The next day will feature a workshop focusing on identifying print types and quality.

Other sessions include “Blackburn as an Artist/Printmaker and His Contemporaries” and “Blackburn and Modernism.”

HELEN ZUGHAIB: ADAPTATION AND IDENTITY IN COUNTRY AND CULTURE Sunday, January 11–Sunday, March 29, 2015 UMUC Main Gallery Reception and Talk by 2013 BMRE Winner Helen Zughaib Sunday, February 1, 2015 College Park Marriott Hotel & Conference Center at UMUC

Pat Hays-Gutzat, Sanctuary, 2003, linocut, 14 x 11¼ inches

Helen Zughaib received the President’s Award at the 2013 Biennial Maryland Regional Juried Art Exhibition (BMRE). This one-person exhibition will feature the complex works by an artist who explores and exposes her cultural heritage as a woman of Arab descent. Zughaib, who was born in Beirut, Lebanon, believes that her Middle Eastern background allows her to use her experiences as an American in a unique way.

She considers herself an observer of both cultures, and through her work she hopes to create a dialogue and understanding between the people of the Arab world and the United States.

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NEWS AND EVENTS Courthouse Exhibition Promotes Work of Local Artists

UMUC Welcomes New Members to the Art Advisory Board

The Arts Program at UMUC has collaborated

Alvah T. Beander is

with Federal District Judge Peter Messitte to

a personal property

produce a visual art exhibition for the court-

appraiser specializing

house in Greenbelt, Maryland, for many years.

in African, African

This summer, the collaboration again pro-

American, African

duced an outstanding exhibition. The off-site

Diaspora, and Aborigi-

venue gives the Arts Program the opportunity

nal art. She has served

to work with emerging artists in the area and

as a consultant to the National Museum of

share their work with the community.

African American History and Culture Plan Sheila Crider, The Emperor’s New Clothes #1, 2011, acrylic, Japanese, pH-neutral drawing paper and magnet wire, 45½ x 24 inches

for Action Presidential Commission and to the PBS series, The Rise and Fall of Jim Crow, for Johnnie Lee Gray paintings. She has appraised the African art gifts to former

Baltimore Watercolor Society’s Annual Juried Exhibition

President George W. Bush and former Secre-

This summer, UMUC proudly hosted the 2014 Mid-Atlantic Regional Watercolor Exhibition,

In 2007, she co-chaired the planning commit-

sponsored by the Baltimore Watercolor Society (BWS).

tee for the first public art project in Fairfax

County, Art Through the Pages, and Bennett

The arts, especially the visual arts, inspire creativity in all of us. Artists use their creative

tary of State Condoleezza Rice (2002–2009).

genius to share their views of the world through their work, and the Baltimore Watercolor Soci-

College for Women awarded her the Alumnae

ety provides opportunities for regional artists to explore and expand the medium of watercolor.

Achievement Award in 2008.

BWS has a long history of providing educational activities for the community, coordinating

exhibitions for its members, and offering lectures and workshops to expand the power of the

Artist Sharon Wolpoff

arts in communities all across Maryland.

is known for her vibrant,

light-filled oil paintings

The Arts Program at UMUC shares a common mission with the Baltimore Watercolor

Society, and so our Art Advisory Board decided to collaborate on this project.

of everyday scenes as

well as her other forms of

While the Arts Program at UMUC did not formally present this exhibition, we were delighted

to lend our Main Art Gallery for BWS to showcase selected works to visitors and students.

art: beadwork, etchings,

Indeed, our viewers were enlightened by the works on display and impressed by the masterful

and monoprints. She has

control of the medium demonstrated by the artists.

a BA in Fine Arts, an MFA in Painting, and a JD, all from American University (AU). After practicing law briefly for her family’s real estate business in the 1980s, she made a fulltime commitment to her art. Among the many places her work has been exhibited: AU’s Watkins Gallery, the Jacqueline C. Hudgens Center for the Arts (Atlanta, Georgia), Waterworks Visual Arts Center (Salisbury, North Carolina), Northwood University (Midland, Michigan), and, most recently, in California, at Monterey Peninsula College (Monterey) and at the John Natsoulas Gallery (Davis).

Her studio is located in Kensington, Maryland. Her artwork is represented by Edward Montgomery Fine Art in Carmel, California.

Old REO, Baltimore Watercolor Society, Gold Medal, Nancy M. Stark, Roanoke, Virginia

14 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

FRIENDS OF THE ARTS (January 1, 2013–present)

Sapphire-Level Friends

Become a Friend of the Arts at UMUC Make an Annual Contribution to the Arts Program 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

David C. Maril

Platinum-Level Friends John M. Derrick Jr. and Linda D. Derrick Nina Dwyer Michele E. Jacobs and Joseph V. Bowen Jr. Robert W. Jerome Eric Key Anne V. Maher

a thank you for helping UMUC’s Arts Program become one of the most

Gold-Level Friends

recognized in Maryland.

Joan Burke Bevelaqua Martin J. Oppenheimer and Helene G. Oppenheimer

Simply commit to making an annual contribution at one of the following levels and you can join our growing list of friends.

Silver-Level Friends

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

Diane Bartoo Jeannette R. Glover Elena Gortcheva Julia Lindenmeier Rene Sanjines Frances A. Volel-Stech

Friend ($35–$99)

Bronze-Level Friends

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

Platinum-Level Friend ($1,000–$2,499) Above benefits, plus VIP invitation to dinner with the guest artist and the university president, 10 percent discount at the Common (the restaurant at the College Park Marriott Hotel & Conference Center at UMUC)

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

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.)

Visit www.umuc.edu/art and click on “Join the Friends of the Arts Program” or call 301-985-7937.

Interested in being added to our e-magazine list?

Send your e-mail address to arts@umuc.edu.

Tracey Brown Doreatha Bush Harriette E. Chiavacci Jennifer M. Eubanks Lisa Anne Jackson Denise Melvin Maxwell Miller Lawrence E. Mize Charles A. Reiher Elinor Seidel Lydia Christina Waddler Marcia R. Watson Dianne Whitfield-Locke Starlene Williams Brian Young

Friends Eva J. Allen Nicholas H. Allen Lisa I. Anthony Barbara L. Bullock David C. Bruce Paula Cleggett Tara Balfe Clifford Jermaine A. Ellerbe Mary Ann Elliott Beverly A. Gray Irvin Greif Jr. and Nanette Greif Jean Barbara Harrod Henri E. Hill Vivian Hill Theresa A. Kulstad Miriam Davina Mokuena Christine C. Neill Robert Pagelsen Sonya R. Pryor Bettye J. Robertson Angelo Robinson Priscilla A. Scott Gail P. Smith Kathleen Sobieralski

Steven R. Stegner Steven Scott Gallery Barbara R. Tollerson Alfonso V. Valentino and Sylvia L. Valentino Robert S. Warren Yoshiko Oishi Weick

Associates Alvah T. Beander LaShea Blake Nathaniel Brought Angel S. Brown Dian Butler-Ellison Kristina R. Caryl Crystal Childress Marie Clark Curtis Coleman Annquinette D. Coles Sarah Conboy Nancy Cuenca Maryse Desrosiers Amanda DuRant Sandy Dysard Andrew J. Easton Pamela K. Esposito Stacey Evans Joe Ezell Derek Florence Bonnie Nance Frazier Larry Frazier Lauren Goodman Renee Harris-Etheridge John Harvin Eric C. Helfers Ann Marie Russo Herron Jeannen Hill Dre Hopson Vivian A. Jackson Alexis Jenkins Sha’Dana Jenkins Jaemellah Kemp Ali Koochek Taiwo Ladeji Monica Lee John R. Lion and Jill A. Lion Nelly Montes Lukas Kaecey McCormick Jennifer Mendez Cindy S. Menjivar Kathy Mitchell Elaine M. Neely Abisola Olasupo Jonathan Porto Frankesha Robinson Billy Roeder Joseph S. Rogers Luis Romero Irv S. Rowe Chris Rua Edith W. Schultz Suzzanne C. Slaughter Shayla Stark Catha Marie Stewart Eshe Swafford William C. Swann Tracy Teter Antoinette Thomas William Walker Jr. Marilyn B. Wassmann Carrie Ann Williams

www.umuc.edu/art

art@UMUC

15