University of Maryland University College 3501 University Boulevard East Adelphi, Maryland 20782-8000 USA umuc.edu/art
Paul REED WASHINGTON COLOR SCHOOL PAINTER
Catalog published in conjunction with the exhibition Paul Reed: Washington Color School Painter UMUC Arts Program Gallery July 8–September 16, 2018 © 2018 University of Maryland University College. All rights reserved. Copyright credits and attribution for certain illustrations are cited internally proximate to the illustrations. ISBN: 13:978-0-9842265-0-4 ISBN: 10:0-98442265-0-8 COVER ARTWORK:
Untitled #8, 1986 PAGE 1 ARTWORK:
Gilport IV B, Gilport series, 1971
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Steven Halperson
Katherine Lambert
WELCOME Javier Miyares President University of Maryland University College
since its inception in 1947—has focused on bringing
the work of this acclaimed and innovative artist, we
affordable, quality education within reach for women
are invited to explore and expand our understanding
and men everywhere. Our Arts Program supports that
of color and our experience of it. It is truly a privilege
mission, allowing us to introduce the work of emerging
to showcase the talent and unique perspective of this
On behalf of University of Maryland
and established artists to new and broader audiences,
remarkable visionary.
University College (UMUC) and
including our own local and regional communities.
the 80,000 students we serve each
I sincerely hope that you enjoy this wonderful exhibi-
year, let me say what an honor it is to host Paul Reed:
As I have so often said, art fires our imaginations,
tion, and I thank you for your continued support of the
Washington Color School Painter. As you know, UMUC—
drives innovation, and enriches our world. Through
arts and our Arts Program in 2018 and beyond.
Eric Key Director, Arts Program University of Maryland University College
painting in a style that was different from that defined
Collection (Washington, D.C.); Phoenix Art Museum
as color field painting or abstract expressionism.
and Scottsdale Museum of Contemporary Art (Arizona);
The Washington Color School movement was primarily
Oklahoma City Museum of Art; Westmoreland Museum
characterized by the use of geometric shapes of
of American Art (Greensburg, Pennsylvania); and
Paul Allen Reed (1919–2015) was
vibrant color stained into the canvas. The painters
Baltimore Museum of Art (Maryland). His works are
born in Washington, D.C., and
adopted a process of staining in which they would pour
in public collections such as the Weatherspoon Art
was one of the founding members
color onto the canvas and let it soak in for a while—
Museum (Greensboro, North Carolina), Nelson-Atkins
of the famed Washington Color School painters.
leaving no evidence of any other painting materials,
Museum of Art (Kansas City, Missouri), Smithsonian
Reed was dedicated to moving beyond the traditional
such as a paintbrush.
Hirshhorn Museum and Sculpture Garden (Washington,
four-sided canvas painting to geometrically shaped
D.C.), Brooklyn Museum (New York), and Birmingham
canvas paintings—a style he became known for.
Although not all the members of the Washington Color
When we met him in 2014, he and his wife were living
School knew each other, Reed and Gene Davis were
in Arlington, Virginia, and he was the last surviving
childhood friends who grew up together in north-
Thanks to Reed’s daughter, Jean Roberts, who is the
member of the Washington Color School artists.
east Washington, D.C. He and Davis started painting
trustee of the Paul A. and Esther K. Reed Trust,
together, went to museums and galleries together,
UMUC now has in its permanent collection a body of
The original members of the Washington Color School
and got jobs together. Reed’s painting process was
Reed’s works that details five decades of his artistic
movement—Gene Davis, Kenneth Noland, Howard
much like his personality; he was a quiet, methodical
creation. We are proud to present in this exhibition a
Mehring, Morris Louis, Thomas Downing, and Reed—
man who enjoyed both his family and his art.
sampling of that donation and a look into the artistry
participated in the landmark exhibition The Washington
Museum of Art (Alabama).
of one of America’s historic artists.
Color Painters at the Washington Gallery of Modern Art
After the landmark exhibition, Reed went on to exhibit
in 1965. The goal of the exhibition was to showcase
his works at such venues as the Corcoran Gallery of
the works of area artists who were working in abstract
Art, Smithsonian American Art Museum, and Phillips 3
Paul Reed:
Painter and sculptor Paul Allen Reed
the Washington Color School and Beyond
to the Washington, D.C., art community
JON WEST-BEY CURATOR, ARTS PROGRAM
was best known for his contributions
“Pollack
dripped,
by becoming one of the six founders of the
[Helen] Frankenthaler
Washington Color School. He was a prolific artist, producing hundreds of paintings and
poured.
sculptures over the course of his career, which
Morris Lewis
spanned more than 60 years. Reed was the last of
poured,
the original group of six painters of the Washington
and Howard Mehring
Color School, and his work is as diverse as it is inventive. Reed’s art is in dozens of museums across the country, including the Smithsonian American Art Museum
sprinkled. And I
(Washington, D.C.), the Detroit Institute of Arts (Michigan), the Walker Art Center (Minneapolis, Minnesota), the Dallas Museum of Art (Texas), the High Museum of Art (Atlanta,
blotted.” —PAUL REED, 2011
Georgia), the San Francisco Museum of Modern Art (California), and the Art Institute of Chicago (Illinois). The works in this exhibition are from a generous donation to the UMUC Arts Program in 2016 by Reed’s daughter, Jean Roberts. The donation consists of more than 200 works, including paintings on canvas and paper as well as sculptures, that illustrate how this legendary artist evolved and offer insight into his approach. Born in Washington, D.C., on March 28, 1919, Reed graduated from McKinley High School and grew up in the same neighborhood as his longtime friend and fellow Washington Color School artist Gene Davis. In an NPR interview in 2014, Reed indicated that Washington, D.C., did not have much of an art scene before the 1950s. He did, however, state that much of his exposure to art came from visiting the Phillips Collection, the National Gallery of Art, and the Corcoran Gallery of Art, museums he would return to over and over again for inspiration Paul Reed, Self Portrait 38, 1999, signed lithograph, 91/4 x 67/8 inches
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throughout his life.
Reed studied art for a semester at San Diego State University and then moved to New York City to work in the advertising
University (Waltham, Massachusetts), and Walker Art Center (Minneapolis, Minnesota). The circulation of this exhibition
business as a graphic designer. The art scene in New York
pushed Reed and the developments in color painting going
City had a major influence on him; he often visited the
on in Washington, D.C., into the national spotlight.
Metropolitan Museum of Art, the Museum of Modern Art, and the Guggenheim Museum. In 1950, he returned to
Reed’s early work in the 1950s was mostly in the abstract
Washington, D.C., to work as a graphic artist at the
impressionist style with heavy brush strokes. He experi-
Washington Times-Herald, while also taking art classes
mented with collage and began introducing words and let-
at the Corcoran School of Art. He went on to open a free-
ters in 1960. He began using Magna paint in the early 1960s
lance graphic design business and eventually became an
because of its absorbing qualities. This was a new type of
art director for the Peace Corps. His work in commercial art and advertising influenced his early art: he incorporated collage elements of newspaper and magazine clippings into his work.
paint at the time, and it allowed him to bleed colors into the canvas, which eventually led him to create more hard-edged paintings. It is important to note that what made the Washington Color School painters unique was that they emphasized allowing paint
Reed’s first solo exhibition was at the Adams-Morgan Gallery in Washington, D.C.,
to absorb deep into the canvas in an effort to enhance the colors. The circles that
in January 1963. In 1964, he was part of a group exhibition at the Museum of
appeared in the center of Reed’s work would become important throughout his
Modern Art and had a solo show at the East Hampton Gallery in Manhattan as
career. His work Blue and
well as one in 1966 at the Corcoran Gallery of Art.
Green (1963–71) is a great example of the circular works
In the early stages of what would become the Washington Color School painting
that he produced throughout
style, some of the artists of the founding group—which would include Reed,
much of the early and mid-
Kenneth Noland, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis—
1960s and is similar to his
would meet and discuss their work and influences. According to Emily Lenz,
work in The Washington Color
president of the D. Wigmore Fine Art Gallery, “Reed got to know Howard Mehring
Painters exhibition. In 1964,
and Thomas Downing through their exhibitions at Jefferson Place Gallery in 1960
Reed produced 40 silkscreen
and 1961. Through Reed’s friendship with Mehring, Downing, and Davis, he gained
studies with his signature
information about their experiments with form and color while sharing his own
circle in the middle that he
ideas and discoveries.”¹
eventually transferred to canvas. Untitled #9c (1965)
Reed consistently played down his significance in the group and considered himself
is one of these works.
the “low man on the totem pole of that group of six.”² The Washington Color School launched with a defining major exhibition titled The Washington Color Painters in 1965 at the now defunct Washington Gallery of Modern Art. The exhibition, curated by Gerald Nordland, traveled to the University of Texas at Austin Huntington Art Gallery, University of California at Santa Barbara, Rose Art Museum of Brandeis
ABOVE: Blue and Green, 1963–71, acrylic on paper, 20 x 20 inches RIGHT: Untitled #9c,
1965, acrylic on canvas, 27 x 21 inches
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In the mid-1960s, Reed branched out into sculpture, working with Bill Truitt, a welder in Baltimore. Truitt taught Reed how to weld, and the two would go on to design and produce about 50 pieces. One of those pieces, Mercury (1967), was part of a series about mythology and gods. Step (1966) was also a piece Reed would make multiple versions of. During this time, Reed began to experiment with action pieces, in which he placed the sculpture in a way that suggested movement, a style he would return to later in his career. Reed began the Upstart series in 1966, including Upstart XXXIX. This series marked a departure from the curves he had previously used. He began taking advantage of the large studio space that he had at the time to produce ABOVE: Mercury,
1967, wood and metal, 18 x 14 x 7 inches
more ambitious work, in which he used larger canvases to explore lines. These bright, colorful pieces were very popular, and he began experimenting with shaped canvases, such as Emerging XV (1967). Reed was not
LEFT: Upstart XXXIX,
the only artist in the Washington Color School to experiment with shaped canvases;
Upstart series, 1966, acrylic on canvas, 43 x 23 inches
Davis, Downing, and Merhing also produced pieces in this fashion. Reed began the Gilport series in the early 1970s as a shaped canvas series. It is interesting to note that they were made to be nailed to the wall because of the challenges of finding appropriate framing. An example is H II (1972), which is a massive canvas piece with vibrant colors. Reed created dozens of these works as well as numerous prints using the same form and pattern. In 1974, Reed left his large studio to move to his home studio; his work reflected the smaller space, and he began experimenting with charcoal drawings. He produced dozens of these pieces, mostly abstract works using oil pastels and charcoal paper. The same year, he began teaching at the Corcoran School of Art, which may have encouraged his return to experimentation with limited medium. He began using thin oil to modify the shapes he explored. He also started his Don Quixote series, producing windmill shapes and incorporating photos of human-made and natural shapes on paper, such as in Untitled #60 (1975).
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“The most important thing about Washington color painting [is the] application of pigment into the canvas. . . . it’s married to the canvas.”
In the late 1980s and early 1990s, Reed began mixing photo negatives and prints to form geometric shapes; he produced about a hundred of these pieces. He also began experimenting with manipulating early forms of digital photography. In 2 (1989), he used a photograph of an eye as the focal point and a scraping pattern in the background. Around the same time, in order to match the color in the photographs, he began to wash the colors by diluting the paint and applying it to paper or canvas and then scraping directly onto the paper and canvas, as he did with Untitled #15 (1987). During the 2000s, in what would become his late career work, Reed incorporated all the techniques he had experimented with throughout his professional life. He began to play with three-dimensional shapes using wood planks. A prime example is CM6-L2 (2005), which shows the floating object with its matching reflection. He did a series of these pieces using the same motif to create action and movement
—PAUL REED, 2011
within the piece. He also began using blank space again, not just in the center of the work but in different parts of his paintings, going back to some of the original shapes he had played with in the beginning of his career. He began a series exploring minimalist shapes with colorful backgrounds. He also started playing with light
the work could become. Although
and using muslin fabric. HH2 (2010)
he is primarily associated with the
was meant to capture light through
Washington Color School, he didn’t
a window. He had several pieces
confine his work to that style. He was
on muslin in the windows of his
an artist fascinated with color, shapes,
home studio. Even as he neared
textures, and light. He experimented with
the end of his career, Reed still
multiple mediums and was not afraid to take
had a desire to explore what was artistically possible.
Emerging XV, 1967 acrylic on canvas 54 x 30 inches
chances. Throughout his career, he pushed himself to create works that exposed new possibilities. In 2015, he passed away at age 96, and his legacy has
Reed’s boundless curiosity and
not gone unnoticed. He has had major retrospectives
constant willingness to experi-
at the Workhouse Art Center in Lorton, Virginia, and Georgetown University Library
ment are reflected in his work. He
and American University in Washington, D.C. This exhibition is a celebration of a
approached his art with an excite-
true artist and master of his craft.
ment about the possibility of what NOTES 2, 1989, oil pastel on paper, mixed media 12 x 9 inches
¹ Emily Lenz, “Paul Reed: Washington Color School Painter” (New York: D. Wigmore Fine Art). Essay published in conjunction with an online exhibition of the same title. http://www.dwigmore.com/reed_essay.html. ² Paul Reed, “The Colorful, Blossoming D.C. Arts Scene in the 1950s, ’60s,” interview by Susan Stamberg, Morning Edition, NPR, October 31, 2014.
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“If you know what a painting is going to look like before you start it, there’s no use painting it.” —PAUL REED, 2011 Paul Reed, 1968
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Untitled 3, 1987, oil pastel on paper, triptych, 111/2 x 231/2 inches
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AMAG 2001 acrylic on canvas 20 x 18 inches
10
CHO 2003 acrylic on canvas 16¼ x 16¼ inches
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2 [11/12/87] 1987 oil pastel on paper diptych 24 x 9 inches
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3 1989 oil pastel on paper diptych 11 x 15 inches
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14
Untitled 1 [4/27/90], 1990, oil pastel on paper, diptych, 7½ x 22 inches
15
CM6-L2 2005 acrylic on muslin 40 x 27 inches
16
Untitled 1976 oil pastel on paper 18 x 12 inches
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Gilport One Gilport series 1971 acrylic on paper 22 x 24 inches
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Gilport Two Gilport series 1971 acrylic on paper 22 x 24 inches
19
HH2 2010 acrylic on muslin 24 x 30 inches
20
Lamut 1975 acrylic on canvas 80 x 26 inches
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22
Untitled #98 1978 oil pastel on paper triptych 12 x 27 inches
23
Untitled 2001 acrylic on metal 16½ x 4½ x 4½ inches
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Untitled #15 1987 oil pastel on paper diptych 12 x 18 inches
25
Untitled #8 1986 oil pastel on paper diptych 9 x 24 inches
26
2 [10/17/87] 1987 oil pastel on paper 11 x 8 inches
27
#14G 1964 acrylic on canvas 28 x 28 inches
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ALTAIR II 1996 acrylic on canvas 27 x 26 inches
29
Untitled 1 [10/10/88] 1988 oil pastel on paper triptych 11 x 22½ inches
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31
13 1987 oil pastel on paper 12 x 9 inches
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Untitled #9c 1965 acrylic on canvas 27 x 21 inches
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Emerging XV 1967 acrylic on canvas 54 x 30 inches
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Untitled [12/2/90] 1990 acrylic on paper 22½ x 30 inches
35
Untitled 2 1988 oil pastel on paper diptych 12 x 18 inches
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Untitled #96 1982 oil pastel on paper 12 x 9 inches
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Gilport IV B Gilport series 1971 acrylic on canvas diptych 27 x 22 inches
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Gilport D LXVII Gilport series 1972 acrylic on canvas diptych 58 x 46 inches
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1, 2, 3 1979 oil pastel on paper triptych 12 x 27 inches
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41
HOB 2011 acrylic on muslin 21½ x 28½ inches
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Two Reds 1963–71 acrylic on paper 20 x 20 inches
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Untitled 2 and 6 1987 oil pastel on paper diptych 24 x 9 inches
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Untitled #14 1986 oil pastel on paper diptych 9 x 24 inches
45
DBL 2003 acrylic on canvas 16 x 16 inches
46
AHAA 2001 acrylic on canvas 14 x 20 inches
47
48
Untitled 4 [11/3/86] 1986 oil pastel on paper triptych 12 x 27 inches
49
Untitled #80 1989 oil pastel on paper 12 x 9 inches
50
Step 1966 metal 23ž x 13 x 6 inches
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Upstart XXXIX Upstart series 1966 acrylic on canvas 43 x 23 inches
52
Untitled #2 1987 oil pastel on paper diptych 12 x 18 inches
53
54
Untitled not dated photo on glossy paper 6½ x 31½ inches
55
Untitled [8/22/90] 1990 acrylic on paper 22½ x 30 inches
56
Untitled #10 [5/5/87] 1987 oil pastel on paper diptych 18 x 12 inches
57
Oriya 1987 acrylic on canvas 12 x 12 inches
58
Untitled #29 1977 oil pastel on paper diptych 9 x 24 inches
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60
Untitled #10 [10/16/86], 1986, oil pastel on paper, diptych, 9 x 24 inches
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Mercury 1967 wood and metal 18 x 14 x 7 inches
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H II Gilport series 1972 acrylic on canvas diptych 142 x 141 inches
63
Blue and Green 1963–71 acrylic on paper 20 x 20 inches
64
Untitled #4 [10/5/88] 1988 oil pastel on paper diptych 11 x 15 inches
65
Zigfield 1970 acrylic on paper 20 x 35 inches
66
6 1979 oil pastel on paper 12 x 9 inches
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EXHIBITION LIST 1, 2, 3 1979 oil pastel on paper triptych, 12 x 27 inches 2 [10/17/87] 1987 oil pastel on paper 11 x 8 inches 2 [11/12/87] 1987 oil pastel on paper diptych, 24 x 9 inches 3 1989 oil pastel on paper diptych, 11 x 15 inches 6 1979 oil pastel on paper 12 x 9 inches 13 1987 oil pastel on paper 12 x 9 inches #14G 1964 acrylic on canvas 28 x 28 inches AHAA 2001 acrylic on canvas 14 x 20 inches
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ALTAIR II 1996 acrylic on canvas 27 x 26 inches AMAG 2001 acrylic on canvas 20 x 18 inches Blue and Green 1963–71 acrylic on paper 20 x 20 inches CHO 2003 acrylic on canvas 16¼ x 16¼ inches CM6-L2 2005 acrylic on muslin 40 x 27 inches DBL 2003 acrylic on canvas 16 x 16 inches Emerging XV 1967 acrylic on canvas 54 x 30 inches Gilport D LXVII Gilport series 1972 acrylic on canvas diptych, 58 x 46 inches Gilport IV B Gilport series 1971 acrylic on canvas diptych, 27 x 22 inches
Gilport One Gilport series 1971 acrylic on paper 22 x 24 inches Gilport Two Gilport series 1971 acrylic on paper 22 x 24 inches H II Gilport series 1972 acrylic on canvas diptych, 142 x 141 inches HH2 2010 acrylic on muslin 24 x 30 inches HOB 2011 acrylic on muslin 21½ x 28½ inches Lamut 1975 acrylic on canvas 80 x 26 inches Mercury 1967 wood and metal 18 x 14 x 7 inches Oriya 1987 acrylic on canvas 12 x 12 inches
Step 1966 metal 23¾ x 13 x 6 inches
Untitled #2 1987 oil pastel on paper diptych, 12 x 18 inches
Untitled #14 1986 oil pastel on paper diptych, 9 x 24 inches
Two Reds 1963–71 acrylic on paper 20 x 20 inches
Untitled 2 and 6 1987 oil pastel on paper diptych, 24 x 9 inches
Untitled #15 1987 oil pastel on paper diptych, 12 x 18 inches
Untitled 1976 oil pastel on paper 18 x 12 inches
Untitled 3 1987 oil pastel on paper triptych, 111/2 x 231/2 inches
Untitled #29 1977 oil pastel on paper diptych, 9 x 24 inches
Untitled [8/22/90] 1990 acrylic on paper 22½ x 30 inches
Untitled 4 [11/3/86] 1986 oil pastel on paper triptych, 12 x 27 inches
Untitled #80 1989 oil pastel on paper 12 x 9 inches
Untitled [12/2/90] 1990 acrylic on paper 22½ x 30 inches
Untitled #4 [10/5/88] 1988 oil pastel on paper diptych, 11 x 15 inches
Untitled #96 1982 oil pastel on paper 12 x 9 inches
Untitled 2001 acrylic on metal 16½ x 4½ x 4½ inches
Untitled #8 1986 oil pastel on paper diptych, 9 x 24 inches
Untitled #98 1978 oil pastel on paper triptych, 12 x 27 inches
Untitled 1 [10/10/88] 1988 oil pastel on paper triptych, 11 x 22½ inches
Untitled #9c 1965 acrylic on canvas 27 x 21 inches
Untitled not dated photo on glossy paper 6½ x 31½ inches
Untitled 1 [4/27/90] 1990 oil pastel on paper diptych, 7½ x 22 inches
Untitled #10 [10/16/86] 1986 oil pastel on paper diptych, 9 x 24 inches
Upstart XXXIX Upstart series 1966 acrylic on canvas 43 x 23 inches
Untitled 2 1988 oil pastel on paper diptych, 12 x 18 inches
Untitled #10 [5/5/87] 1987 oil pastel on paper diptych, 18 x 12 inches
Zigfield 1970 acrylic on paper 20 x 35 inches 69
UMUC ART ADVISORY BOARD Javier Miyares President University of Maryland University College Anne V. Maher, Esq., Chair Attorney at Law Kleinfeld, Kaplan & Becker, LLP
Pamela G. Holt Consultant Public Affairs and Cultural Policy Administration
UMUC BOARD OF VISTORS Mark J. Gerencser, Chair Chairman of the Board CyberSpa, LLC Evelyn J. Bata, PhD Professor Emerita University of Maryland University College
Eva J. Allen, PhD, Honorary Member Art Historian
Eric Key Director, Arts Program University of Maryland University College
Richard F. Blewitt, Member Emeritus Managing Partner, R&B Associates, and President, The Blewitt Foundation
Myrtis Bedolla, Vice Chair Owner and Founding Director Galerie Myrtis
Thomas Li, Honorary Member Chairman and Chief Executive Officer, Ret. Biotech Research Labs, Inc.
Joan Bevelaqua Artist, Collegiate Professor University of Maryland University College
Joseph V. Bowen Jr. Senior Vice President, Operations, and Managing Principal, Ret. McKissack & McKissack
David Maril, Honorary Member Journalist President, Herman Maril Foundation
Schroeder Cherry, EdD Artist, Adjunct Professor of Museum Studies Morgan State University
Christopher Shields Director, Business Operations NASDAQ.com
I-Ling Chow, Honorary Member Regional President and Managing Director, Ret. Asia Bank, N.A. Nina C. Dwyer Artist, Adjunct Professor of Art Montgomery College
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Sharon Smith Holston, Honorary Member Artist’s Representative and Co-Owner Holston Originals
David W. Bower Chief Executive Officer Data Computer Corporation of America Karl R. Gumtow Co-Founder and Chief Executive Officer CyberPoint International, LLC
Barbara Stephanic, PhD Honorary Member Professor Emerita of Art History College of Southern Maryland
Anne V. Maher, Esq. Attorney at Law Kleinfeld, Kaplan & Becker, LLP
Dianne A. Whitfield-Locke, DDS Collector and Patron of the Arts and Owner, Dianne Whitfield-Locke Dentistry
Sharon R. Pinder President and Chief Executive Officer Capital Region Minority Supplier Development Council
Karin Goldstein, Honorary Member Collector and Patron of the Arts
Sharon Wolpoff Artist and Owner Wolpoff Studios
Juanita Boyd Hardy, Honorary Member Executive Director, CulturalDC
Elizabeth Zoltan, PhD Collector and Patron of the Arts
Brig. Gen. Velma L. Richardson, U.S. Army, Ret. President, VLR Consulting William T. (Bill) Wood, JD Founder, Wood Law Offices, LLC Joyce M. Wright Senior Consultant Fitzgerald Consulting
ABOUT UMUC
ARTS PROGRAM MISSION STATEMENT
University of Maryland University College was founded
The Arts Program at UMUC creates an environment in
more than 70 years ago specifically to serve the higher
which its diverse constituents, including members of
education needs of working adults and servicemembers.
the university community and the general public, can
Today, UMUC continues that tradition online and offers
study and learn about art by directly experiencing it.
more than 90 degrees, certificates, and specializations backed by the reputation of a state university and the University System of Maryland. For more information, visit umuc.edu.
ABOUT THE ARTS PROGRAM AT UMUC Since 1978, UMUC has proudly shown works from a large collection of international and Maryland artists at its headquarters in Adelphi, Maryland, a few miles from the nation’s capital. Through its Arts Program, the university provides a prestigious and wide-ranging forum for emerging and established artists and brings art to the community through special exhibitions and its own collections, which have grown to include more than 2,900 pieces of art.
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.
CONTRIBUTORS Director, Arts Program: Eric Key
Artworks are on display throughout the College Park
Curators: Eric Key, Jon West-Bey
Marriott Hotel & Conference Center at UMUC and the
Editors: Sandy Bernstein, Nancy Kochuk, Barbara Reed
Administration Building in Adelphi as well as at the
Director, Institutional Projects: Cynthia Friedman
UMUC Academic Center at Largo. The main, lower-
Designer: Jennifer Norris
level gallery in Adelphi is open to the public from
Project Manager: Laurie Bushkoff
9 a.m. to 9 p.m. seven days a week, and the Leroy
Production Manager: Scott Eury
Merritt Center for the Art of Joseph Sheppard is open
Fine Arts Technician: René A. Sanjines
to the public from 9 a.m. to 7 p.m. seven days a week.
Administrative Assistant: Tawanna Manago
More than 75,000 students, scholars, and visitors
Artwork photography: John Woo
come to the Adelphi facilities each year. Exhibitions at the UMUC Academic Center at Largo are open to visitors from 9 a.m. to 5 p.m., Monday through Friday.
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18-ARTS-011 (07/18)
University of Maryland University College 3501 University Boulevard East Adelphi, Maryland 20782-8000 USA umuc.edu/art