Art@UMUC Magazine, Spring 2016

SPRING 2016

News and Perspectives for Friends of the Arts

4 ART S

The Artistic Vision of Delilah Pierce

PRO G R A M

12 U N I V E R S I T Y

Meet the Artist: Katja Oxman

O F

MA RY L A N D

18

The Empire Strikes Baltimore

U N IV E R S IT Y

CO LLEGE

GREETINGS From the President Dear Patrons, Art exists in a world marked by constant discovery. It sharpens our vision, broadens our experience and perception, and fires the creativity that drives us to innovate, learn, and grow.

At University of Maryland University College (UMUC), our Arts Program has long supported our mission of extending educational opportunities across Maryland and around the world. Our collection—which now includes some 2,800 individual works—is on regular display, free of charge, in our various facilities, in our gallery spaces, and at public exhibitions. It serves constantly to showcase new and established artists alike, introducing their work to broader and more diverse audiences.

One recent exhibition offers a clear example of that function. Plurality: The Conceptual Art of Akemi Maegawa, showcases the work of a conceptual artist—born in Japan, now living in Bethesda, Maryland—who produces work that makes political, social, and economic statements. Maegawa’s work is rich with nuance and meaning, and every piece shows us our world from a new and uniquely international perspective.

Your support of the Arts Program allows us to continue to introduce artists like Akemi Maegawa to new and broader audiences and to bring a rich and diverse array of exhibitions to our students, faculty, staff, and the local community. I thank you for your commitment to this important initiative—and I hope to see you at one of our openings this year.

Sincerely,

Javier Miyares, President University of Maryland University College

From the Chair Dear Art Patrons,

UMUC 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.

The UMUC Arts Program has had a remarkable year, filled with visual art exhibitions, exhibition tours, and lectures, beginning with a premiere exhibition of the works of Helen Zughaib. This was followed by Reini Maters: Modern Impressionist (at the Federal Courthouse in Greenbelt, Maryland); Raoul Middleman’s Romantic Expressionism: Honoring 55 years of Artistic Excellence; Delilah W. Pierce: Natural Perspective; and Plurality: The Conceptual Art of Akemi Maegawa.

Along with these exhibitions, the Arts Program continued management of our permanent exhibitions at UMUC: the Maryland Artists Collection, which includes the Gladys Goldstein Gallery, the Herman Maril Gallery, the Selma Oppenheimer Gallery, and the Leroy Merritt Center for the Art of Joseph Sheppard; the Art of China Gallery; and the Doris Patz Collection of Maryland Artists.

Maintaining these collections and providing access to them is a great responsibility, and the Arts Program takes its roles and responsibilities seriously. And with your help, the 2016 exhibition season can be just as captivating and thought-provoking as last year’s.

The Art Advisory Board and the Arts Program will soon begin a drive to support our future programs. We will be asking you to make a financial contribution so that we can continue using art as a tool for education, introspection, and transformation. The money that we raise will be used to help with costs associated with presenting culturally diverse exhibitions, supplemental education programs such as lectures and workshops, educational publications, and more.

The Wolpoff Family Foundation has provided us the opportunity to leverage your contributions to raise another $25,000 in matching funds. So, when you receive a letter asking for support, please be generous. We need to raise $25,000 to support our upcoming visual art exhibitions and supplemental education outreach programs. Your contribution will make a difference in the future of the arts in Maryland.

Thank you,

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

CONTENTS

12

4

Meet the Artist: Katja Oxman

The Artistic Vision of Delilah Pierce

ON THE COVER

18

The Empire Strikes Baltimore

In Every Issue Katja Oxman UMUC celebrates the work of visual artist and printmaker Katja Oxman. Learn more about this longtime friend of the Arts Program and her work on page 12.

Katja Oxman, An Acre for a Bird to Choose, 2000, print, edition 66 of 75, 24 x 30 inches

GREETINGS FROM THE PRESIDENT AND THE CHAIR 2 COLLECTION SPOTLIGHT 3 DID YOU KNOW? 16 NEWS AND EVENTS 20 BECOME A FRIEND OF THE ARTS AT UMUC

CLOCKWISE FROM TOP LEFT: Untitled (Two Jars and Fruits)

by Delilah W. Pierce; artist Katja Oxman working in her studio; Felise in Blue by Delita Martin

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LIZ WHITNEY QUISGARD / BY ERIC KEY

SPRING 2016 Managing Editor Eric Key Editors Sandy Bernstein Beth Butler Nancy Kochuk Director, Institutional Marketing Cynthia Friedman Graphic Designer Jennifer Norris Project Manager Laurie Bushkoff Arts Program Staff Rene Sanjines

Liz Whitney Quisgard’s relationship with UMUC began way back in 1981, with the donation of an untitled oil on canvas that is still a part of the art collection at UMUC. A Philadelphia native, Quisgard graduated from the Maryland Institute College of Art in 1949; studied with Morris Louis from 1958 to 1960; and received her MFA in 1966 from the Maryland Institute College of Art Rinehart School of Sculpture. In 1972, she earned a certificate from the Maryland Institute College of Art School of Architectural Design and Drafting, which accounts for the architectural style of her artistic creations.

Although she currently lives and works in New York, Quisgard has a long history in

Maryland. She served on the faculty of the Baltimore Hebrew Congregation, Maryland Institute College of Art, Goucher College, and University of Maryland, College Park; was a contributing writer for the Baltimore Sun, Craft Horizons magazine, Baltimore Magazine, and the Baltimore News American; and was a set designer for the theater department at Goucher College, Center Stage, and Theater Hopkins.

Quisgard’s strong, geometrical, and intricate

patterns have been described in various ways— as painted architecture, wildly colorful, sculptural, repeated rhythms of color, symmetrical, nonobjective, and rich. Her works clearly are tied to the Color Field painters in America.

She says, “My goal is to surprise and engage

UMUC Art Advisory Board Javier Miyares, UMUC President Anne V. Maher, Esq., Chair Eva J. Allen, Honorary Member Myrtis Bedolla, Vice Chair Joan Bevelaqua I-Ling Chow, Honorary Member Nina C. Dwyer Karin Goldstein, Honorary Member Juanita Boyd Hardy, Honorary Member Sharon Holston, Honorary Member Pamela Holt Eric Key Thomas Li, Honorary Member David Maril, Honorary Member Barbara Stephanic, PhD Past Vice Chair, Honorary Member Dianne A. 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

the mind by seducing the eye. Toward that end, I rely on pattern.”

Recently, the artist expanded UMUC’s collection

with a donation of seven works in various media. The Arts Program at UMUC is proud to add these new works to the Maryland Artist Collection.

PHOTOGRAPHY CREDITS: Cover: John Woo; Inside cover:

ABOVE: Liz Whitney Quisgard, Crater #2, 1998, acrylic on plywood, 8 x 48 x 74 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist; BELOW: Liz Whitney Quisgard, Tower D, 1990,

acylic on plywood, 72 x 18 x 18 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

2 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Katherine Lambert, Jonah Koch; p. 1 clockwise from top left: John Woo, Josh Kuckens, Daily Hampshire, Tracey Brown; pp. 2–15 John Woo; p. 16 top to bottom: Tracey Brown, John Woo; p. 17: John Woo; p. 18 Tracy Brown; p. 19 top to bottom: John Woo, Brooke Rogers, Vicki Minor

DID YOU KNOW? LITTLE-KNOWN FACTS ABOUT ARTISTS AND ARTWORKS IN THE UMUC PERMANENT COLLECTION

By Eric Key

Did you know . . .

Painter McArthur Binion, who

Christopher Klein, who was

Nelson Stevens, who currently

Master printmaker Susan J.

was born in the rural town of

an illustrator at the National

resides in Baltimore following

Goldman, who has her own

Macon, Mississippi, but lives

Geographic Society, is

a long teaching career at

printing press studio (Lily

and works in Chicago, had his

considered a surrealist painter?

University of Massachusetts,

Press in Rockville, Maryland),

first solo museum exhibition

is still a practicing member

teaches printmaking and is

at the Contemporary Arts

of AfriCOBRA, which was

the founding director of

Museum Houston?

founded in 1968 by the late

Printmaking Legacy Project?

Jeff Donaldson?

ABOVE, LEFT TO RIGHT: McArthur Binion, 152 W. 25th Street (detail), c. 1978–79, marking

crayon on aluminum, 72 x 48 inches, UMUC Permanent Collection, Maryland Artist Collection; Christopher Klein, Untitled (detail), n.d., etching on paper, edition 1 of 20, 55⁄8 x 7½ inches, UMUC Permanent Collection, Maryland Artist Collection; Nelson Stevens, Stevie Wonder, 1982, mixed media, 30 x 26 inches, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists; Susan J. Goldman, Explosion (detail), 1998, screenprint, 11 x 14 inches, UMUC Permanent Collection, Maryland Artist Collection

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Nature’s Symphony (triptych), 1980–81, acrylic on canvas, 48 x 108 inches, Collection of the Spence family

4 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

THE ARTISTIC VISION OF

Delilah Pierce

BY FLOYD COLEMAN, PhD www.umuc.edu/art

art@UMUC

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F

lowers, trees, water, earth, sky, and other natural items are subjects in the paintings and watercolors of Delilah W. Pierce. They do not, however, serve as ends in themselves but as tropes for exploring ideas, concepts, and various aesthetic subjectivities. Pierce uses her drawings and watercolor studies to develop and expand her language of forms, shapes, space, structure, color, composition, atmospheric effects, and mood.

To understand Pierce’s art, one should keep in mind that her life covered all but twelve years of the 20th century. The many transformative historical, political, social, economic, and cultural developments of the century were interwoven in the American tapestry that was taught and authenticated in the public schools, colleges and universities, and religious and cultural institutions and organizations of American society and absorbed by Pierce.

Delilah Williams Pierce was educated at Dunbar High School, Miner Normal School, and Howard University, three of Washington, D.C.,’s most prestigious black institutions. Although the city was segregated, these institutions exposed Pierce to informed cosmopolitan perspectives on global cultural and intellectual traditions and to ideas about modern art and artistic practices, the latter augmented by a wide variety of museum exhibitions and programs available in the District of Columbia.

In art history classes from the 1920s forward, Pierce and other art students across the country were introduced to world and modern art through publications such as Helen Gardner’s Art Through the Ages, John Ruskin’s Modern Painters, E. H. Gombrich’s The Story of Art, and Alfred H. Barr Jr.’s Cubism and Abstract Art. Pierce also received a steady diet of late 19th-century and early 20th-century modern art concepts in classes taught by Loïs Mailou Jones, James L. Wells, James A. Porter, and others at Howard University. In addition, she was exposed to the literary works of early 20th-century writers and poets, such as James Joyce, T. S. Eliot, Alain Locke, James Weldon Johnson, and Langston Hughes, who shaped African American modernist subjectivities. Visual artists such as Aaron Douglas, Hale Woodruff, Charles Alston, and others helped contextualize and shape the course of early 20th-century American modernist art and certainly Pierce’s art.

Like Claude Monet, Paul Cézanne, Wassily Kandinsky, Piet Mondrian, Paul Klee, and other artists with whom she was thoroughly familiar, Pierce frequently painted the same or similar scenes not to gain technical mastery but to acknowledge the complexities of forms; to explore different perspectives, views, and lighting effects; and to penetrate the essence of things—knowing that there is always more than what is seen. Her return to the same or similar subjects is acknowledgement that the serious artist is in constant dialogue with nature and the broad visual world and needs to carefully study and utilize memory, experience, and history to understand how to reveal the spiritual dimension of things and of existence itself.

6 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Giant Nature’s Splendor, circa 1982, watercolor on paper, 29½ x 22 inches, Collection of Dianne Whitfield-Locke and Carnell Locke

EXPLORATIONS OF NATURE

In numerous works, Pierce explored the intricacies, complexities, grandeur, and beauty of nature. Works such as Giant Nature’s Splendor, Ceremonial Stones (Gay Head Cliffs), and Nature’s Symphony #1 attest to her respect for and love of nature and of her interest in its spiritual lessons.

Giant Nature’s Splendor, one of Pierce’s largest watercolors (29½ inches in its greatest dimension), reveals the artist’s skill in handling the medium. Here she is able to capture a compelling feeling of freshness and energy.

The trunks of the trees are defined with a dark color that gives structural qualities that are in sharp contrast to the light yellows and off-whites of the leaves of the trees.

The structural and spatial qualities are reminiscent of techniques most often used by impressionist and 20th-century abstract expressionist artists. Techniques such as selecting fragments or small sections of scenes to create compositions give the work an intimacy and freshness that is also very much aligned with watercolor techniques and with the use of watercolor as a medium.

RIGHT: Nebulae X, 1983, acrylic on canvas, 39 x 24¾

inches, Collection of the Spence family

“Inspired by

nature

and the world around us,

colors, patterns, forms, shapes, and spaces, . . . my paintings have been

exploration of developing a visual an

language to communicate what I

see and feel.�

DELILAH W. PIERCE

www.umuc.edu/art

art@UMUC

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Pierce’s long fascination with light as an aesthetic quality and as a metaphor for spirituality can be seen in a variety of her works, such as Nature’s Symphony #1; Vineyard Haven Harbor, Mass.; Rocks by the Shore (Martha’s Vineyard); and Nebulae X, a painting that features colors that are within a limited spectral and value range but succeeds because of its subtle illumination.

By exploring many different scenes from nature, Pierce engaged in a dialogue with nature and the visual world— especially their natural, cultural, and spiritual dimensions.

Pierce’s landscapes are a manifestation of her desire to celebrate nature and acknowledge the sublimity that kept her in awe of its grandeur.

In Rocks by the Shore (Martha’s Vineyard), Pierce explores light differently. Here she focuses on the sea, the water, where it gently caresses the shore at a specific time of day. She captures the feel of a cloudy day, or the appearance of near dusk, in what is a familiar place for her. Pierce intimates here that the scene is the same as always, but the experience is different and distinct—that nature demands close scrutiny of its details and its secrets.

Similarly, Fishing Boats at Martha’s Vineyard depicts empty boats left in a cove on an overcast day. Pieces such

as this one bring to mind the work of African American artist Hughie Lee-Smith, whom Pierce greatly admired and collected. Lee-Smith was influenced by the Italian metaphysical painting movement, which was founded in 1917 by Giorgio de Chirico and Carlo Carrà and gained prominence in the 1920s, fueled by the emergence of surrealism. The works of these artists often depicted incongruous, enigmatic still lifes; scenes of empty streets; or a lone human figure in a large square or open space.

In Angel Wing Begonia, Pierce uses a restricted palette of colors within a relatively narrow value range to create a different effect by providing close-up, proximate views of flowers through a studied development of the petals and leaves of the flowers with subtle changes in color and by manifesting the orientation of the leaves in a variety of shapes. Works such as this are also reminiscent of the mood of works of Helen Frankenthaler, an abstract expressionist who created large abstract pieces based on landscapes, and particularly the works included in Frankenthaler’s breakthrough exhibition Mountains and Sea. Pierce frequently painted architectural structures in Washington, D.C.; New England; and many other parts of the world. Her houses often feature red or gray roofs

Fishing Boats at Martha’s Vineyard, 1951, watercolor on paper, 12 x 16 inches, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists

8 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

and walls in off-white and warm gray colors. At times, the architectural forms are presented within lush landscape scenes on hillsides, their contrasting colors creating different spatial effects, evoking the School of Paris sensibilities of Cézanne, Camille Pissarro, and Pierre Bonnard, among others.

THE HUMAN FIGURE

While the dominant subjects of Pierce’s paintings and watercolors are landscapes and still life scenes, she also painted portraits and images of the human figure. Two very fine examples are Twins and Sudanese Tradermen, No. II. Although the figurative paintings are quite well done, they do not rise to the level of visual poetry Pierce achieved in the landscapes, seascapes, and still lifes she produced during this same period.

Like many African American artists in the 1950s, Pierce exhibited her work in the annual exhibitions hosted by Atlanta University, known as the Atlanta University Art Annuals, which were founded by renowned artist Hale Woodruff. The exhibitions became an important venue for numerous African American artists, such as Charles White, Elizabeth Catlett, Felrath Hines, Romare Bearden, and Hughie Lee-Smith. Acceptance of work for the exhibitions became a standard by which individuals were judged with respect to their standing as serious and accomplished artists. Hope was Pierce’s submission to the 1952 exhibition. Even at this point in her career, compositionally the work is characteristic of Pierce—the head and shoulders of the female figure occupy most of the pictorial space, not unlike the way the artist depicts some landscape scenes in which one or two trees or objects occupy most of the visual field. Here the artist presents a close-up view of the figure, making it appear monumental.

Sudanese Tradermen, No. II, 1964, acrylic on canvas,

18 x 14 inches, Collection of the Spence family

Musicians and musical instruments are subjects Pierce returns to over the years. In Sudanese Traderman, No. II, drums appear prominently in the foreground. In the painting Cellist, the artist shows musical instruments and semiabstract images of musicians in an analytical cubist style.

This work is characterized by its transparency, achieved with what appears to be a glaze developed with yellow ocher and a hint of burnt umber, creating an overall feeling of unity, harmony, and completeness. The piece is an example of the artist painting with assurance and authority.

From the 1950s onward, Pierce produced a variety of works in semiabstract and pure abstract or nonobjective styles. In works like Gold Floating with White Edge, Pierce demonstrates that she is an accomplished abstractionist.

DC Waterfront, Maine Avenue is exemplary of Pierce’s most important work. It is clear that she knew what she wanted to accomplish with this painting, that is, to capture the essence of the scene in question in an abstract style.

In this work, the artist reveals her interest in visceral, tactile, impasto surfaces; broken-color techniques; and the desired effects of light. Although painted in a higher

Twins, 1952, oil on panel, 20 x 16 inches, Collection of the Spence family

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Vineyard Haven Harbor, Mass., not dated, acrylic on board, 23½ x 35½ inches, Collection of the Spence family

key, it has some of the aesthetic qualities of Monet’s paintings, especially Water Lilies, works that inspired the development of a variety of 20th-century approaches to abstraction, particularly abstract expressionism.

Long Bridge – DC, VA features a restricted palette and is painted in high-key colors with an emphasis on warm off-whites, burnt umber, and ochers with dark accents and white highlights. Some of the same kinds of imagery and characteristic color usage can be seen in Vineyard Haven Harbor, Mass. Although it is apparent that Pierce is partial to heavy impasto painting techniques, this becomes pronounced in the semiabstract and abstract paintings she completed from the 1950s forward.

SEARCHING AND EXPERIMENTING

Verticals and Horizontals, Dockside, not dated, acrylic on linen, 25 x 25 inches, Collection of the Spence family

10 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Pierce’s experimentation was part of her overall concern for communicating ideas, expressing feelings, and exploring new aesthetic possibilities. She experimented with a variety of concepts and modalities, which were realized in compositional strategies in works such as Gay Head Cliffs, Martha’s Vineyard. Her experiments included playing with characteristic color combinations, complex structural qualities, and mediations of impasto surfaces with superimposed lines that are not mindful of organic forms but of geometric constructs.

In several works, Pierce uses what appears to be a porthole as a device to construct space and to create unique compositional qualities. Verticals and Horizontals, Dockside shows Pierce’s overture to the minimalist reductionism of the mid-1960s and 1970s. She seems to be intrigued by the rhythm implicit in the repetition of the vertical poles and the absence of biomorphic forms in the verticals that dominate the pictorial space. The artist paints the water, which extends to the top section of the picture plane, in this same mode. In this piece, she provides markers for the viewer to conclude that it is an open window that allows the viewer to experience this scene on Martha’s Vineyard.

Occasionally the artist provides a different perspective or vantage point of a scene; a distinct example is Peace.

Here the viewer is below, looking up at the principal image.

In some of her later paintings, Pierce uses whites in combination with more intense light-blue and orange colors to create a characteristic chalky effect. Vineyard Friends, created during the last decade of Pierce’s career, reflects her intellectual and philosophical interests and concepts, which seem to be more pronounced; there is less emphasis on verisimilitude and more focus on layering and abstracted forms.

Vineyard Haven Harbor, Mass. shows the artist’s return to exploring the intimate seductiveness of light. There is also a feeling of absence evoked by the empty boats—some of them on their sides—that is truly thought provoking. As with many of her compositions, Pierce uses a select part of the scene to provide an entry point into the composition.

In the landscapes, seascapes, and other scenes that explore surf and shore, she carefully and artfully constructs the space, reflecting a sense of plasticity and solidness.

In distinctive gestural abstract expressionist paintings such as Gay Head Cliffs, Martha’s Vineyard, Pierce investigates scenes of water, sand and shore, rocks, land, and sky, captured with broad brush strokes loaded with paint and with colors that are expressive and also achieve spatial and structural unity and balance. In the tradition of Cézanne and Georgia O’Keeffe, Pierce is able to transform pedestrian still life subject matter into visual poetry.

Two fine examples are Lilies (Still Life) and Lobster Pots.

Lilies (Still Life) shows a large vase of flowers prominently placed in the foreground, consuming most of the pictorial space. The artist uses white and off-whites and warm and cool grays to create a subtle but very vibrant work. Lobster Pots resembles Pierce’s scenes of Martha’s Vineyard that date to the late 1970s. They have a calmness about them that belies the artist’s intense focus and empathy with the subject. Accordingly, in this sense, restraint and reservation can be linked to the artist’s personality and to her philosophy of life, expressed through order and balance.

In these and many other works, Pierce explores the intricate spatial markers that increase the mystery and complexity of works of art. Colors, shapes, and their orientation can induce certain feelings that may relate to the distinctly unique and personal.

Pierce, like many African American artists, was not represented by a mainstream commercial gallery and consequently felt free to move back and forth between representation and abstraction and continue to search for the serious and meaningful. In other words, she did not feel compelled to create a masterpiece and subsequently single-mindedly try to recreate it over and over again with changes that can best be described as infinitesimal.

Accordingly, Pierce, like many of her contemporaries, did not produce a strict brand, and her works are often overlooked and underappreciated.

This exhibition of selected works reveals that Pierce was an accomplished watercolorist, an engaging abstractionist, and an artist who was conversant with the aesthetic subjectivities of her time. It also reveals that Pierce was continuously searching for a more affecting spiritual dialogue that connects the art object and the viewer in light of how the artist uses form, space, color, texture, structure, proportion, balance, scale, and movement.

Finally, Pierce—at all times a teacher and intellectual— was ever searching and experimenting to expand her awareness and understanding of art and artistic processes and of herself as an artist, a woman, and an American of African descent living, working, and facing the challenges of the 20th century.

Excerpted from the UMUC exhibition catalog Delilah W. Pierce: Natural Perspective.

Lilies (Still Life), not dated, acrylic on canvas, 30 x 24 inches, Collection of the Spence family

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TH E

MEET

ARTIST

KATJA OXMAN The world of printmaking includes the works of thousands of talented visual artists who use the medium to create exquisite renditions of life, fantasy, and exploration.

Katja Oxman is one of them. A longtime friend of the Arts Program at UMUC, Oxman began donating works to the permanent collection in 1991 when she lived and worked in Maryland. She recently donated six more prints to our collection.

I invite you to learn more about her artwork and her career in her own words.

BY ERIC KEY

KEY: Who is Katja Oxman? Tell us about your background.

KEY: When did you know you wanted to be a visual artist?

OXMAN: My father, Mischa Protassowski, was a White

OXMAN: As far back as I can remember. It was the only

Russian who fought with the Bolsheviks in the Russian

thing I wanted to be.

revolution, and my mother, Gretl, was German. They met during the war, which resulted in my mother losing her citizenship and, as a result, placed the family in a dangerous position in Nazi Germany. I remember relocating to the United States in 1952. We settled in Rose Valley, Pennsylvania, just outside Philadelphia. Surviving the danger of war, my father became an automobile painter, and my mother became a psychiatric occupational therapist.

KEY: Did your parents support this goal?

OXMAN: My mother was completely supportive. My father had reservations about how precarious life can be for anyone in the arts. My mother had wanted to be an artist, but her family was not supportive and the war made just surviving the only priority.

KEY: Tell us about your educational experiences.

KEY: Were your parents patrons of the arts?

OXMAN: When I went to school, one had to choose

OXMAN: No!

between attending an art school or a college or university.

I wanted to spend more time in the studio and less in

KEY: Who or what inspired you to be a visual artist?

classrooms, so art school was the obvious choice. I studied

OXMAN: There is an old adage, “You do not chose art. Art

at the Pennsylvania Academy of the Fine Arts. At that time, it was not unusual to finish one’s studies abroad; I did my graduate work in Munich at the Akademie der Bildenden Kunste. I did postgraduate work at the Royal College of Art, London, England.

chooses you.” Visual art was the only thing I was interested in.

KEY: What does creating art do for you?

OXMAN: Actually, I think it keeps me sane.

LEFT: Katja Oxman, Most Practiced Distance, 1990, print, edition 137 of 150, 32½ x 24 inches,

UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

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KEY: What was one of the most rewarding experiences you had in creating and/or showcasing your art?

OXMAN: Struggling through the whole process to bring a work to a successful conclusion.

“THERE IS AN OLD ADAGE,

KEY: What do you want viewers to get from viewing

‘YOU DO NOT CHOSE ART.

your art?

OXMAN: As much as they can.

KEY: Why do you create art?

OXMAN: From what I can tell from myself and artist

ART CHOOSES YOU.’ VISUAL ART WAS THE ONLY THING I WAS INTERESTED IN.”

friends, it’s just a need that must be fulfilled and can’t be explained. It fulfills and gives me a reason for living.

—KATJA OXMAN

KEY: Why did you select printmaking as your medium?

OXMAN: It is hard to say. But there are many reasons . . .

KEY: What has helped propel your artistic career?

I liked the process, the limitation of color, and the drawing

OXMAN: Getting a New York publisher who was able to

aspect involved in printmaking.

KEY: Is there something unique about your printing process?

OXMAN: I use only three colors on three plates to make the myriad of colors that one sees in the print.

take my work nationwide.

KEY: What are your most prestigious awards?

OXMAN: I’ve received awards from the National Academy of Design in New York, the Philadelphia Print Club, and the Boston Printmakers.

KEY: Talk about your process.

KEY: Do you align your art with any art movement?

OXMAN: I set up a still life. This takes a long time as I

OXMAN: No. I only align myself with other artists who all

attempt to get it just right. I then make a black-and-white drawing of it in actual scale. The image is transferred to a copper plate, which is the blue plate. I develop this image as far as I can. I transfer that image onto another clean

through history are searching for their own unique voice.

KEY: Do you teach? If so, what and where?

plate, which is the red plate. I then develop that and then

OXMAN: I have taught at Bryn Mawr College, University

print both onto a third clean plate, which is the yellow plate.

of Massachusetts, American University, the Skowhegan

I then print the three together to see what changes need

School, and the Pennsylvania Academy of the Fine Arts.

to be made. The final image is a realist print or a print that is as real or imaginative as I want it to be.

KEY: Were you always a printer?

KEY: Do you get inspiration from your travels?

OXMAN: Yes, being able to appreciate great art firsthand is wonderful and helpful. It could be a large collection like

OXMAN: When I went to art school, all students had what

the Hermitage in St. Petersburg, Russia, or a small painting

was called the preliminary year. You took painting, sculpture,

or fresco in a little church in Padua, Italy.

drawing, etc. The second year you chose which area to concentrate in. I chose printmaking, and I was hooked.

KEY: Are you pursuing any special projects?

KEY: What would you tell aspiring student artists?

OXMAN: Look carefully at what the schools you may be interested in are teaching. They all have annual students’

OXMAN: Not really. I just hope to continue to work and

exhibits. This will let you know exactly what the school

build on the work that I have already done.

represents and what you will or will not learn.

14 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Katja Oxman, A Lane of Yellow Led the Eye, 1993, print, edition 40 of 100, 24 x 30 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

Oxman loves the printing process, and her excitement for the medium is contagious. Her prints, which are mostly etchings, are in many permanent collections in the United States, including the National Museum of Women in the Arts, the U.S. Department of State, the Smithsonian Institution, and American University, Washington D.C.; the Pennsylvania Academy of Fine Arts and the Philadelphia Museum, Pennsylvania; the New Jersey State Museum; the National Academy of Design, New York; the University of Delaware; and Johns Hopkins Hospital (Baltimore) and University of Maryland University College, Maryland. Dozens of corporate and private collectors in this country and abroad have exhibited or own her works.

UMUC is especially proud to have a series of the

artist’s works in our permanent collection so that viewers, including students, can appreciate the works and examine her complex printing process.

Katja Oxman, Textures of the Past, 1993, print, edition 73 of 125, 24 x 24 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

www.umuc.edu/art

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NEWS AND EVENTS Art Auction Draws High Interest, Spirited Bidding at Cyber Gala

kell, Margo Humphrey, Raoul

On September 12, UMUC hosted its third

Phil Koch, Noi Volkov, Kwabena

Cyber Gala. This black-tie event was held

Ampofo-Anti, Tim Davis,

at the splendid Gaylord National Resort

Sharon Wolpoff, Kathryn

and Convention Center in National Harbor,

O’Grady, Richard Franklin,

Maryland. Distinguished guests included

David Medwith, Trace Miller,

Director of National Intelligence James R.

Loring Cornish, James Phil-

Clapper, who gave the keynote address, and

lips, Alex Simpson, Alonzo

some of the world’s best-known figures in

Davis, Anne McLaughlin,

the technology field.

Cheryl Edwards, Marcie

Wolf-Hubbard, Gretchen

This year UMUC added a new element

Middleman, Joseph Sheppard, Joan Bevelaqua, Jim Adkins,

Cynthia Farrell Johnson and her husband, Stephen C. Johnson, bid on artwork during the silent auction.

to this elegant event—an art auction. More

Schermerhorn, Jessica

than 30 artists generously donated their

Damen, and Kevin Cole.

gala used the app Fundbid, while art

work to a silent auction to support the UMUC

enthusiasts unable to attend the event

Arts Program. The artists who participated

cocktail hour. Prominently displayed, the

placed bids online.

are well known to the community of collec-

works gave everyone the opportunity to

tors. Many are represented in the UMUC

share reactions and talk with the many par-

was to raise $10,000 to support the 2016

permanent collection; they include Alan

ticipating artists. While enjoying a fabulous

Visual Arts Exhibition Season. We are

Binstock, Preston Sampson, Winston Harris,

four-course dinner and decadent dessert

excited to announce that we not only met

Susan Goldman, Sheila Crider, Ulysses

bar, guests had the opportunity to continue

this goal but surpassed it.

Marshall, Helen Zughaib, Cynthia Johnson,

discussions with the artists and make their

Nina Dwyer, Gladys Goldstein, Patrick Craig,

final bidding decisions. The process was

thank you for your participation and contin-

Helen Frederick, Curlee Holton, David Dris-

easy, fun, and high tech. Those at the

ued support!

The art became the focal point of the

The Arts Program’s goal for the auction

On behalf of the Arts Program at UMUC,

POST-AUCTION SALES If you missed the Art Auction held during UMUC’s Cyber Gala in September, don’t despair. The Arts Program at UMUC is fortunate to have some collectible art available for purchase. A sample of the works, shown below, were donated to the program for the purpose of raising funds to support the arts at UMUC. Artists whose works were donated include Joan Bevelaqua, Alan Binstock, Patrick Craig, Alonzo Davis, Tim Davis, Richard Franklin, Gladys Goldstein, and Raoul Middleman, among others.

If you are interested in any of the works, please contact Eric Key, Arts Program director, at Eric.Key@umuc.edu for details

and special pricing.

Anne McLaughlin

Inside Out: Beet reduction woodcut 16 x 16 inches

16 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Tim Davis

Blue Sky Series: Oak acrylic on canvas 18 x 24 inches

Susan J. Goldman

Decantos, 2011 monotype with woodcut 20 x 20 inches

NEWS AND EVENTS New Acquisitions

Museum in the Bronx, New York; and the

to have erected a gallery at its Adelphi head-

We offer our sincere thanks to Gwen Clark

Taylor Museum and Hampton University

quarters to showcase Sheppard’s diverse

Museum in Hampton, Virginia. Adams creates

artistic mediums (painting, drawing, and

works in line with the Mexican muralists. His

sculpture).These two important additions to

works are skillful and detailed, and his style is

our permanent collection display the artist’s

a combination of realism and expressionism.

Aoyama for their donation of two magnificent

painting style.

He captures the inner spirit and dignity of his

untitled nude oil paintings by Baltimore artist

subjects, individuals whose aspirations may

Joseph Sheppard.

would like to thank the following donors:

be frustrated or never realized.

for her donation of a wonderful limitededition print, Fat Sam, by master printmaker Ron Adams and to Mary Carolyn and Stephen

Detroit native Ron Adams is a world-

Joseph Sheppard is well known to the

Additionally, the Arts Program at UMUC

• David and Sandra Durfee Sr.— for a work by Gladys Goldstein

renowned graphic artist whose works have

Arts Program at UMUC and to the broader

been exhibited in major museums and private

artistic community. He spends half his time

collections across the country—including the

in Baltimore, Maryland, and the rest in his

Library of Congress in Washington, D.C.;

studio in Pietrasanta, Italy. Sheppard is a

• Doris and John Babcock—

California African American Museum in

realist painter who follows the teachings of

for a work by Noel Rockmore

Los Angeles; Vanderbilt University Fine Arts

Jacques Maroger. His works are in many pri-

• The Spence Family—

Gallery in Nashville, Tennessee; Bronx

vate and public collections. UMUC is proud

for a work by Delilah Pierce

• Karin Batten— for a work by Edward Schmidt

CLOCKWISE FROM LEFT: Ron Adams, Fat Sam, 2005, hand engraving,

edition 5 of 70, 23¾ x 22 inches, UMUC Permanent Collection, International Collection, Gift of Gwen Clark; Joseph Sheppard, Untitled, 1992, oil on canvas, 36 x 30½ inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of Mary Carolyn and Stephen Aoyama; Joseph Sheppard, Untitled, 1990, oil on canvas, 30 x 20 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of Mary Carolyn and Stephen Aoyama

www.umuc.edu/art

art@UMUC

17

NEWS AND EVENTS The Empire Strikes Baltimore— and Raises Funds for UMUC Arts Program The Empire Strikes Baltimore, a fundraising event hosted by Galerie Myrtis to benefit the UMUC Arts Program, was held Halloween weekend, kicking off on Saturday, October 31, 2015, with an evening auction and entertainment and concluding with an open house on Sunday, November 1.

The festive evening was marked with

live entertainment by vocalist Joyce Scott and keyboardist Derrick Thompson and impersonators Tracey Farrar and Larkis Webber (who played Cookie and Lucious Lyon of the popular Fox television series Empire), an auction, food and drinks, and door prizes. The Arts Program offers many thanks to gallery owner Myrtis Bedolla and her staff and supporters and emcee Chardelle Moore, the multimedia host, traffic reporter, and producer for the Fox affiliate in Baltimore, Maryland. Heartfelt thanks also go to the many artists who donated 100 percent of the proceeds from the sale of their artworks to the Arts Program at UMUC. Artists included: Joan Bevelaqua

Winston Harris

Alan Binstock

Ronald Jackson

S. Ross Browne

Benjamin Jancewicz

Nina Buxenbaum

Jeffrey Kent

Larry Cook

T. Eliott Mansa

Loring Cornish

Ulysses Marshall

Patrick Craig

Delita Martin

Sheila Crider

Anne McLaughlin

Jessica Damen

David Medwith

Alonzo Davis

Raoul Middleman

CLOCKWISE FROM TOP LEFT: Gallery owner

Tim Davis

Jamea Richmond-Edwards

Cheryl Edwards

Joseph Sheppard

Richard Franklin

Alec Simpson

Helen Frederick

Arvie Smith

Susan Goldman

Marcie Wolf-Hubbard

and host Mrytis Bedolla and her husband, Alexander Hyman; Patricia Walters admires Angel Wing Begonia by Delilah W. Pierce; event attendees enjoy the diverse artworks on display; emcee Chardelle Moore; impersonators Tracey Farrar and Larkis Webber as Empire series characters Cookie and Lucious Lyon; event attendee studies The Persistence of History

by S. Ross Browne

Gladys Goldstein

A special thank-you is extended to owner Myrtis Bedolla and her staff at Galerie Myrtis for hosting and coordinating the event. It was truly a fun-filled art evening!

18 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

NEWS AND EVENTS COMING THIS SUMMER

SUNDAY, SEPTEMBER 18, 2016

Upcoming Events PLURALITY: THE CONCEPTUAL ART OF AKEMI MAEGAWA Sunday, January 17–Sunday, April 17, 2016 UMUC Arts Program Gallery, Lower Level College Park Marriott Hotel & Conference Center Japanese-born Akemi Maegawa graduated from the Cradle to Grave (detail) Corcoran College of Art & Design and the Cranbrook Academy of Art and currently lives and works in Maryland. Maegawa’s works question the Western material world, the artist’s position in society, and cultural barriers.

UMUC has been showcasing art by emerging and established artists for more than 35 years, and the 3rd Biennial Maryland Regional Juried Art Exhibition (BMRE) is a continuation of this important work. The BMRE draws attention to some of the area’s most talented artists and brings their works to our community. The exhibition, which opens in September, will feature artwork by artists from Maryland; Washington, D.C.; and Northern Virginia.

The call for entries will be released

soon by the Arts Program. If you’d like to receive that information, e-mail Eric Key, program director (Eric.Key@umuc.edu).

All announcements about this competition will be sent out electronically, so it’s important to get your name added to this e-mail list.

FACULTY ART INVITATIONAL Sunday, May 8–Sunday, July 31, 2016 UMUC Arts Program Gallery, Lower Level Opening Reception Sunday, June 12, 2016, 3–5 p.m.

UMUC Arts Program Gallery, Lower Level Brooke Rogers Presented by UMUC to honor teaching artists, the exhibition has Hometown historically included the creative expressions of approximately 30 Maryland artists, including faculty members who teach art at UMUC, art faculty members from other University System of Maryland institutions, and special invited guest artists. Guest curator: Joan Bevelaqua

COURTHOUSE EXHIBITION CONVERGENCE: NARRATIVES AND SYMBOLS Monday, May 16–Friday, July 22, 2016 U.S. District Courthouse, Greenbelt, Maryland Opening Reception Thursday, May 19, 2016, 5–6:30 p.m.

UMUC Arts Program Gallery, Lower Level

want to double the number of artists who en-

Maria-Lana Queen Art at the U.S. District Courthouse, an annual Arts Program exhiKindred Spirits bition at the U.S. District Courthouse in Greenbelt, Maryland, gives more individuals in the community the chance to see quality works of art by some of the area’s most talented artists. This year, the exhibition features the works of Bill Harris, Maria-Lana Queen, and Patrick Sargent and Erwin Thamm (known as Sargent-Thamm).

Each artist has a unique style and narrative and incorporates personal symbols in their works. Harris has merged his printmaking skills with woodworking, while Sargent-Thamm collaboratively creates prints, and Queen uses traditional painting for telling her story.

ter this year’s competition, so help us spread

Guest curator: Preston Sampson

The entry fee of $35 allows an artist to

make two submissions. A third entry can be submitted for only $5 more.

Our last BMRE drew some 125 artists

who submitted more than 400 pieces. We

the word about this prestigious exhibition.

Three highly qualified jurors who have

substantial experience in the visual arts in particular will select the number of artists and works for the exhibition.

We hope you will join us in September

for the new exhibition, and if you are a visual artist, we hope to see your submission. For details, visit www.umuc.edu/art or contact us at 301-985-7642.

ARTS PROGRAM: OUT AND ABOUT BUS TRIP Saturday, June 11, 2016 Join art patrons, collectors, and enthusiasts for a daylong educational art trip to New Jersey for a private tour of the Newark Museum, the Paul Robeson Galleries at Rutgers University, and the studio of Philemona Williamson, as well as gallery visits in the area. For more information, please contact the Arts Program at Eric.Key@umuc.edu and provide your e-mail address. The cost ($125) includes continental breakfast, lunch, entry fees, and bus transportation. Register by May 11, 2016, at https://www.etouches.com/166683.

Get the latest updates on the UMUC Arts Program.

Visit www.umuc.edu/art/newsonline

www.umuc.edu/art

art@UMUC

19

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 a thank-you for helping UMUC’s Arts Program become one of the most recognized in Maryland.

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

FRIENDS OF THE ARTS (July 1, 2014–December 31, 2015) Sapphire-Level Friends

Dorothy L. and Henry A. Rosenberg Jr. Foundation Sherman Family Foundation Wolpoff Family Foundation

Citrine-Level Friends Associate ($35) Name recognition in the arts newsletter, invitation to exhibit openings

Friend ($50)

John and Doris Babcock Maryland State Arts Council Anne V. Maher

Platinum-Level Friends

Above benefits, plus autographed poster from the Arts Program collection

Joan Burke Bevelaqua Bonnie N. Broh-Kahn Nina Dwyer Michèle E. Jacobs and Joseph V. Bowen Jr. Robert W. Jerome Eric Key Michael S. Tenner Marcia R. Watson

Silver-Level Friend ($250)

Gold-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)

Above benefits, plus name recognition on the donors' wall in the Arts Program Gallery

Kathryn Bugg

Gold-Level Friend ($500)

Alvah Beander Myrtis J. Bedolla Lisa Anne Jackson Julia Lindenmeier

Above benefits, plus full-color art catalog from a major UMUC art exhibition

Platinum-Level Friend ($1,000) 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) 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) 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.

20 UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Silver-Level Friends

Gift-in-Kind Donors

Michael Abrams James A. Adkins Eva J. and Nicholas H. Allen Kwabena Ampofo-Anti Carolyn Aoyama John and Doris Babcock Karin Batten Gwendolyn B. Clark Kevin E. Cole Loring Cornish Sandy Cryder David C. Driskell David R. Durfee Sr. Nina Dwyer Richard Franklin Graham Holding Company Winston Kain Harris Curlee Horton Margo Humphrey Cynthia F. Johnson Eric Key

Elmer A. Mendez Raoul Middleman Peter E. Quint, Esq. Brian Young

Bronze-Level Friends

Doreatha Bush Harriette E. Chiavacci Sarah Lanning Denise Melvin Yoshiko Oishi-Weick Jessica Schmidt Lydia Christina Waddler Denise Welch Sharon A. Wolpoff

Friends

Patricia A. Dubroof Cynthia F. Johnson Edith Ogella Sonya R. Pryor Mary Ellen Simon

Associates

Gregory Branch Elizabeth B. Duncan James Harrigan Kevin G. Herndon Charlotte E. Pointer Jacqueline K. Randolph

Matt Klos Philip F. Koch Peter W. Kriegsmann Pamela Lapides Thomas M. Li Ronald Lubcher Ulysses Marshall Wanda Spence McDow Anne McLaughlin Arthur Meisnere Trace Miller Kathryn O’Grady Tunde Odunlade Katja Oxman Constance Pitcher Preston W. Sampson Lucy Schoenfeld Joseph Sheppard Stephen Stein Noi Volkov Sharon A. Wolpoff Helen Zughaib