GreetinGs from the President

Dear Friends,

This summer proved to be a busy one for the Arts Program at University of Maryland University College (UMUC). The university brought several additional exhibitions to the community this season, including the Faculty Art Invitational Exhibition, Celebrating Paper and Color: The Art of GladysGoldstein and Preston Sampson, and Noi Volkov: Reforming the Masters.Unleashing the Humor in Art! These exhibitions brought unique artworkin a variety of media to our art patrons and helped enrich our perspectives on the world around us.

This fall, the university will exhibit Vista: Contemporary Works by Latin American Artists. This exhibition will highlight works by Latino artists and explore the various styles that have emerged in work by artists from countries such as Mexico, Colombia, and Argentina. I hope that you will be able to find time to join us for the opening reception on Sunday, September 23, 2012. UMUC’s art receptions provide a wonderful avenue for lifelong learning—they provide the opportunity for those in our community with similar interests to gather, get to know one another, and exchange ideas.

As you may know, the Arts Program is committed to bringing art not only to its students, faculty members, and staff but also to the greater community. To encourage community involvement inthe arts, UMUC opens its galleries at the Inn and Conference Center in Adelphi, Maryland, to the public from 9 a.m. to at least 7 p.m. every day. Please consider paying us an occasional visit. Thenumerouspieces of brilliant artwork adorning our halls and galleries are surely worth your while.

Sincerely,

GreetinGs from the Chair

Dear Friends,

Thank you to everyone who has been able to join us at one or more of the very exciting receptions and exhibitions we held this spring and summer. As chair of the Art Advisory Board at UMUC, I am so proud to be part ofan organization that has brought such an extensive and impressive groupof exhibitions to our students, faculty, staff, and community. I assure you, thoug, that the work of the Art Advisory Board continues; we are diligently working to ensure that our community has every opportunity for expo-sure to art. We are collaborating to bring you art by the best artists from the Maryland region and beyond.

If you have not been to one of UMUC’s art exhibitions recently, I strongly encourage you to do so. The Arts Program has a great deal in store for this fall and winter, including Vista: Contemporary Works by Latin American Artists, Modernism: James Hilliary and Color, and Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Victor Ekpuk, and Skunder Boghossian. We are also planning a symposium in conjunction withthe David C.Driskell enter for the Study of theVisual Arts and Culture of African Americans and the African Diaspora. The symposium, Jazz: A Dailogue in the Performance and Visual Arts, is scheduled for February 2013. More details will become available as the event approaches.

As always, thank you for your support. Without our community art patrons, many of these events would not be possible.

Sincerely

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

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www.umuc.edu/art• page 1

PRESORTED FIRST CLASS

U.S. POSTAGE PAID

UMUCArts Program3501 University Boulevard EastAdelphi, MD 20783-8007 USAwww.umuc.edu/art

U N I V E R S I T Y O F M A R Y L A N D U N I V E R S I T Y C O L L E G E

Fall 2012

News and perspectives for friends of the arts

IN THIS ISSUE

1 Greetings from the President & Greetings from the Chair

2 In Appreciation of Bylee Massey, Her innovative idea and spirit drove the creation of the Maryland Artist Collection

3 The Singular Vision of Sheep Jones

4 The Wonderful and Wacky World of Noi Volkov

5 Did You Know?

6 University of Maryland University College Arts Program Mission Statement

6 Upcoming Events

7 Become a Friend of the Arts at UMUC

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GreetinGs from the President

Dear Friends,

This summer proved to be a busy one for the Arts Program at University of Maryland University College (UMUC). The university brought several additional exhibitions to the community this season, including the Faculty Art Invitational Exhibition, Celebrating Paper and Color: The Art of Gladys Goldstein and Preston Sampson, and Noi Volkov: Reforming the Masters. Unleashing the Humor in Art! These exhibitions brought unique artwork in a variety of media to our art patrons and helped enrich our perspectives on the world around us.

This fall, the university will exhibit Vista: Contemporary Works by Latin American Artists. This exhibition will highlight works by Latino artists and explore the various styles that have emerged in work by artists from countries such as Mexico, Colombia, and Argentina. I hope that you will be able to find time to join us for the opening reception on Sunday, September 23, 2012. UMUC’s art receptions provide a wonderful avenue for lifelong learning—they provide the opportunity for those in our community with similar interests to gather, get to know one another, and exchange ideas.

As you may know, the Arts Program is committed to bringing art not only to its students, faculty members, and staff but also to the greater community. To encourage community involvement in the arts, UMUC opens its galleries at the Inn and Conference Center in Adelphi, Maryland, to the public from 9 a.m. to at least 7 p.m. every day. Please consider paying us an occasional visit. The numerous pieces of brilliant artwork adorning our halls and galleries are surely worth your while.

Sincerely,

Javier MiyaresActing President, University of Maryland University College

GreetinGs from the Chair

Dear Friends,

Thank you to everyone who has been able to join us at one or more of the very exciting receptions and exhibitions we held this spring and summer. As chair of the Art Advisory Board at UMUC, I am so proud to be part of an organization that has brought such an extensive and impressive group of exhibitions to our students, faculty, staff, and community. I assure you, though, that the work of the Art Advisory Board continues; we are diligently working to ensure that our community has every opportunity for expo-sure to art. We are collaborating to bring you art by the best artists from the Maryland region and beyond.

If you have not been to one of UMUC’s art exhibitions recently, I strongly encourage you to do so. The Arts Program has a great deal in store for this fall and winter, including Vista: Contemporary Works by Latin American Artists, Modernism: James Hilliary and Color, and Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Victor Ekpuk, and Skunder Boghossian. We are also planning a symposium in conjunction with the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora. The symposium, Jazz: A Dailogue in the Performance and Visual Arts, is scheduled for February 2013. More details will become available as the event approaches.

As always, thank you for your support. Without our community art patrons, many of these events would not be possible.

Sincerely,

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

Fall 2012 University of Maryland University College

is a constituent institution of the University

System of Maryland. Art@umuc is published

twice a year by UMUC’s Art Advisory Board.

Please send comments to arts@umuc.edu

or mail to

Newsletter Editor

Arts Program

University of Maryland University College

3501 University Boulevard East

Adelphi, MD 20783-8007

Phone 301-985-7937 • Fax 301-985-7865

Managing Editor

Eric Key

Graphic Designer

Jordan Campbell

UMUC Art Advisory Board

Javier Miyares

Michèle E. Jacobs, Chair

Anne V. Maher, Esq., Vice Chair

Eva J. Allen, PhD

Myrtis Bedolla

I-Ling Chow, honorary member

Paula Cleggett

Linda Derrick

Patricia Dubroof

Karin Goldstein, honorary member

Juanita Boyd Hardy

Sharon Smith Holston, Past Chair

Pamela Holt

Eric Key

Philip Koch

Thomas Li, honorary member

David Maril, honorary member

Barbara Stephanic, PhD, Past Vice Chair,

honorary member

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ER

INE

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RT P

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www.umuc.edu/art • page 1

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UMUC

On cover (clockwise from left): 1 Noi Volkov, Two Knights 2 Marie Linnekin, On the Edge of Change (detail) 3 Noi Volkov, Plumber 4 David C. Driskell, Fall’s Glow, Falmouth, Maine (detail)

Arts Programs UpdatesGet the latest updates on

the UMUC Arts Program. Visit

www.umuc.edu/art/newsonline

Arts Program3501 University Boulevard EastAdelphi, MD 20783-8007 USAwww.umuc.edu/art

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Fall 2012

News and perspectives for friends of the arts

IN THIS ISSUE

1 Greetings from the President & Greetings from the Chair

2 In Appreciation of Bylee Massey, Her innovative idea and spirit drove the creation of the Maryland Artist Collection

3 The Singular Vision of Sheep Jones

4 The Wonderful and Wacky World of Noi Volkov

5 Did You Know?

6 University of Maryland University College Arts Program Mission Statement

6 Upcoming Events

7 Become a Friend of the Arts at UMUC

TRA

CE

y B

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WN

PH

oTo

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www.umuc.edu/art • page 3page 2 • www.umuc.edu/art Above, left: Bylee Massey, founder of the UMUC Maryland Artist Collection

“I absolutely love these paintings!” “Is that her

real name!?!” These exclamations are the first

things I hear from gallery visitors on an almost

daily basis when people first encounter the work

of Sheep Jones.

Born and raised in rural Waterville, Maine, the

former Elaine Cyr grew up in a strict Catholic,

French-Canadian-speaking household, the oldest

of five children. The artist’s unique perspective

in her work is partly the result of a childhood

accident at age three—she ran headfirst into

a tree branch while running with five playmates

around an apple tree and lost the vision in her left

eye. She now has very limited depth perception

and often wears jeweler’s glasses to create her

oil and encaustic paintings.

Sheep met her high school sweetheart, Charlie

Jones, in the eleventh grade. His father used

to ask about Charlie’s new girlfriend, who had

long, unruly bangs surrounding her adorable

face like a “sheepdog.” After college, her boy-

friend became her husband, and her nickname

became a keeper also.

Sheep attended the University of Maine at

Portland/Gorham and majored in art education,

satisfying her parents’ wishes and attaining the

skills she would need to survive as an artist.

During college, she developed a passion for the

muted colors and patterns of Vuillard, Schiele,

and Braque as well as the expressive, high-keyed

tones and textures found in Klimt, Matisse, and

the contemporary printmaker Hundertwasser.

During high school and college, Sheep and

Charlie often traded handmade books and drawings

instead of letters, and both developed a love for

Japanese art and culture. They married in 1973

and moved first to Annapolis and then to Japan

for six months on an academic fellowship to

study Japanese at a Shinto shrine while working

in a papermaking village.

Upon their return to the United States in 1980,

they lived in Northampton, Massachusetts, while

Charlie pursued his PhD. Sheep rarely painted

during these five years, and instead devoted

herself to raising their two sons.

In 1985, the family moved to Fairfax, Virginia,

as Charlie had received a tenured position at

George Mason University. Restless from her

hiatus from painting and with her sons now

in school, Sheep began taking classes in paint-

ing at the Art League School at the Torpedo

Factory in old Town Alexandria in 1987. She

found that she was drawn to growth below the

surface—the roots and bulbs, soil, and insects.

Focusing on the boundaries of earth and air,

sea and shore, interiors and exteriors, Sheep

began to utilize a cutaway composition in which

the flower or vegetable is depicted above the

horizon in equal measure to the mysterious

subterranean life of roots and rocks, beetles

and larvae, underground streams, and the water

table. Hence, her favored subjects of beets,

carrots, parsnips, radishes, and tubers as well

as daffodils, dahlias, thistles, and assorted

fanciful flowers are exposed in their entirety

in her lush, verdant, expressively brushed oils.

Sheep shares a Maine vacation home with

her sister, Julie Cyr, who is also a painter, so

Sheep frequently depicts the area’s houses

and coastlines. The often-rundown structures—

one- or two-story houses, sheds, barns, ice

shacks, and numerous beehives—seem to be

buzzing with activity. The artist tends to choose

the solitary structures for their uniqueness

and because they are so very different from

the monotony of suburbia. Images are usually

centered in the compositions, and the viewer

is able to peer through the building’s doors

and windows to encounter a magical realm

inside, much like the surprises found beneath

the earth in her botanical renderings. Another

equally common subject in her recent work

is the solitary female figure, dressed in exotic

costume, standing tall on the horizon, and wel-

coming the viewer into her enchanting vista.

Sheep taught at the Art League School in

Alexandria from 1994 to 2004, became a resi-

dent artist at the Torpedo Factory in 2000, and

was named the Torpedo Factory Artist of the

year in 2003, which resulted in an acclaimed

solo show at the Target Gallery. She has been

represented by Steven Scott Gallery, Baltimore,

since 2009, and UMUC acquired three of her

paintings in 2010. Visitors to my gallery marvel

at Sheep’s bravura brushwork, unexpected

color choices; evocative compositions; and

faux-naive, flattened perspective, the result of

her monocular vision and the great challenge

caused by her lack of depth perception.

This singular, surreal, and often-whimsical style

has become so popular that Sheep has been

nearly selling out shows for almost a decade now.

She no longer feels the pressure to paint for the

marketplace; she can now experiment with many

themes and realize her lifelong vision of being

a much cherished, highly successful artist.

Copyright 2012 Steven Scott

Above, right: Sheep Jones, Flag, 2012, oil on canvas, 40 x 40”

In Appreciation of Bylee MasseyHer innovative idea and spirit drove the creation of the Maryland Artist Collection

When Bylee Massey arrived at UMUC’s Inn

and Conference Center in 1978, something

didn’t seem quite right.

Her husband, T. Benjamin Massey, PhD, who

had been named president of the university,

recalled in a 1998 interview with the Baltimore

Sun, “My wife looked at the walls and said,

‘My, this looks like a hospital.’”

That impersonal, antiseptic atmosphere was

about to change very quickly.

“This is a rather splendid facility,” Bylee Massey

told Baltimore Sun Art Critic John Dorsey. “It

was crying out for something to make it whole.

I kept thinking of what we might do that would

be beneficial for the community and for UMUC.”

Bylee Massey, who died on December 17, 2011,

in Durham, North Carolina, at age 84, discov-

ered the answer was to enrich UMUC’s walls

with artwork. She founded the university’s

Maryland Artist Collection without funding or

a paid staff.

“But the collection quickly developed when we

learned that there were collectors and support-

ers of the Maryland artists who were very happy

to donate works, and that’s when the focus

changed. There were people like Jules Horelick,

who had been buying works by Baltimore artists

for years and years, and he was most happy to

share,” she told the Baltimore Sun.

The timing to begin a collection of work by

Maryland artists was perfect—the Baltimore

Museum had recently alienated the regional artist

community by eliminating the annual juried ex-

hibitionsand was in the process of closing down

the rental gallery. Both had been considered key

avenues for local artists to gain exposure.

In 1983, Bylee Massey approached my father,

Herman Maril, about establishing a collection

of his work at UMUC. I remember him being

very impressed with her concept and philoso-

phy in developing a collection. My father, who

had been a professor in the art department at

the University of Maryland, College Park, (just

a 10-minute walk from UMUC’s Inn and Confer-

ence Center) for three decades, liked the idea

of supporting a UMUC collection. Both Ben-

jamin and Bylee Massey visited my father in

Baltimore several times, and, in 1985, he was

awarded an honorary Doctor of Fine Arts and

spoke at a UMUC commencement ceremony.

After my father’s death in 1986, my mother,

Esta C. Maril, and I worked very closely with

the Masseys in expanding the Maril collection

and encouraging other artists and collectors to

donate work. I can remember Bylee Massey

and my mother spending long hours in Reuben

Kramer’s studio, convincing him to give pieces

of his sculptures and paintings by his wife,

Perna Krick, to the collection.

“The art made a tremendous difference to the

university, and it was Bylee who convinced Ben

to begin and establish the Maryland art collec-

tion,” recalled Allan Hershfield, PhD. Hershfield

was executive vice chancellor of UMUC from

1980 to 1989.

“What a difference her efforts meant,” said

Hershfield, who is now retired and lives in

Amherst, Massachusetts. “The collection of

art brought so much to the university, trans-

forming those bleak walls into something

that was beautiful for the UMUC community.

I watched her work very hard, determined to

establish the collection.”

The Masseys were committed to making the

overall collection grow in a careful, non-commer-

cial manner. They set high ethical and academic

standards and most of the changing exhibitions

were linked with lectures and forums.

Bylee Massey had a very gracious, elegant

southern charm and a warm sense of humor.

She always checked on the art when she

walked through the building. I can recall many

times talking with her while walking through

one of the UMUC hallways and then suddenly

seeing her veer off to push a potted indoor tree

over a few inches because it was blocking the

view of a painting.

When Benjamin Massey retired in 1999 and

the Masseys left UMUC, the art collection

had grown large enough to hire a director and

curators, expand storage space, and establish

an art advisory board. Without Bylee Massey’s

vision to establish a Maryland art collection,

the rooms, walls, and halls would be barren

today instead of enriched by oils, works on

paper, and sculptures.

David Maril, an honorary member of the UMUC Art Advisory Board, is the son of the late Herman Maril and is president of the Herman Maril Foundation.

The Singular Vision of Sheep JonesBY STEVEN SCOTT, DIRECTORSTEVEN SCOTT GALLERY, BALTIMOREBY STEVEN SCOTT, DIRECTORSTEVEN SCOTT GALLERY, BALTIMORE

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www.umuc.edu/art • page 3page 2 • www.umuc.edu/art Above, left: Bylee Massey, founder of the UMUC Maryland Artist Collection

“I absolutely love these paintings!” “Is that her

real name!?!” These exclamations are the first

things I hear from gallery visitors on an almost

daily basis when people first encounter the work

of Sheep Jones.

Born and raised in rural Waterville, Maine, the

former Elaine Cyr grew up in a strict Catholic,

French-Canadian-speaking household, the oldest

of five children. The artist’s unique perspective

in her work is partly the result of a childhood

accident at age three—she ran headfirst into

a tree branch while running with five playmates

around an apple tree and lost the vision in her left

eye. She now has very limited depth perception

and often wears jeweler’s glasses to create her

oil and encaustic paintings.

Sheep met her high school sweetheart, Charlie

Jones, in the eleventh grade. His father used

to ask about Charlie’s new girlfriend, who had

long, unruly bangs surrounding her adorable

face like a “sheepdog.” After college, her boy-

friend became her husband, and her nickname

became a keeper also.

Sheep attended the University of Maine at

Portland/Gorham and majored in art education,

satisfying her parents’ wishes and attaining the

skills she would need to survive as an artist.

During college, she developed a passion for the

muted colors and patterns of Vuillard, Schiele,

and Braque as well as the expressive, high-keyed

tones and textures found in Klimt, Matisse, and

the contemporary printmaker Hundertwasser.

During high school and college, Sheep and

Charlie often traded handmade books and drawings

instead of letters, and both developed a love for

Japanese art and culture. They married in 1973

and moved first to Annapolis and then to Japan

for six months on an academic fellowship to

study Japanese at a Shinto shrine while working

in a papermaking village.

Upon their return to the United States in 1980,

they lived in Northampton, Massachusetts, while

Charlie pursued his PhD. Sheep rarely painted

during these five years, and instead devoted

herself to raising their two sons.

In 1985, the family moved to Fairfax, Virginia,

as Charlie had received a tenured position at

George Mason University. Restless from her

hiatus from painting and with her sons now

in school, Sheep began taking classes in paint-

ing at the Art League School at the Torpedo

Factory in old Town Alexandria in 1987. She

found that she was drawn to growth below the

surface—the roots and bulbs, soil, and insects.

Focusing on the boundaries of earth and air,

sea and shore, interiors and exteriors, Sheep

began to utilize a cutaway composition in which

the flower or vegetable is depicted above the

horizon in equal measure to the mysterious

subterranean life of roots and rocks, beetles

and larvae, underground streams, and the water

table. Hence, her favored subjects of beets,

carrots, parsnips, radishes, and tubers as well

as daffodils, dahlias, thistles, and assorted

fanciful flowers are exposed in their entirety

in her lush, verdant, expressively brushed oils.

Sheep shares a Maine vacation home with

her sister, Julie Cyr, who is also a painter, so

Sheep frequently depicts the area’s houses

and coastlines. The often-rundown structures—

one- or two-story houses, sheds, barns, ice

shacks, and numerous beehives—seem to be

buzzing with activity. The artist tends to choose

the solitary structures for their uniqueness

and because they are so very different from

the monotony of suburbia. Images are usually

centered in the compositions, and the viewer

is able to peer through the building’s doors

and windows to encounter a magical realm

inside, much like the surprises found beneath

the earth in her botanical renderings. Another

equally common subject in her recent work

is the solitary female figure, dressed in exotic

costume, standing tall on the horizon, and wel-

coming the viewer into her enchanting vista.

Sheep taught at the Art League School in

Alexandria from 1994 to 2004, became a resi-

dent artist at the Torpedo Factory in 2000, and

was named the Torpedo Factory Artist of the

year in 2003, which resulted in an acclaimed

solo show at the Target Gallery. She has been

represented by Steven Scott Gallery, Baltimore,

since 2009, and UMUC acquired three of her

paintings in 2010. Visitors to my gallery marvel

at Sheep’s bravura brushwork, unexpected

color choices; evocative compositions; and

faux-naive, flattened perspective, the result of

her monocular vision and the great challenge

caused by her lack of depth perception.

This singular, surreal, and often-whimsical style

has become so popular that Sheep has been

nearly selling out shows for almost a decade now.

She no longer feels the pressure to paint for the

marketplace; she can now experiment with many

themes and realize her lifelong vision of being

a much cherished, highly successful artist.

Copyright 2012 Steven Scott

Above, right: Sheep Jones, Flag, 2012, oil on canvas, 40 x 40”

In Appreciation of Bylee MasseyHer innovative idea and spirit drove the creation of the Maryland Artist Collection

When Bylee Massey arrived at UMUC’s Inn

and Conference Center in 1978, something

didn’t seem quite right.

Her husband, T. Benjamin Massey, PhD, who

had been named president of the university,

recalled in a 1998 interview with the Baltimore

Sun, “My wife looked at the walls and said,

‘My, this looks like a hospital.’”

That impersonal, antiseptic atmosphere was

about to change very quickly.

“This is a rather splendid facility,” Bylee Massey

told Baltimore Sun Art Critic John Dorsey. “It

was crying out for something to make it whole.

I kept thinking of what we might do that would

be beneficial for the community and for UMUC.”

Bylee Massey, who died on December 17, 2011,

in Durham, North Carolina, at age 84, discov-

ered the answer was to enrich UMUC’s walls

with artwork. She founded the university’s

Maryland Artist Collection without funding or

a paid staff.

“But the collection quickly developed when we

learned that there were collectors and support-

ers of the Maryland artists who were very happy

to donate works, and that’s when the focus

changed. There were people like Jules Horelick,

who had been buying works by Baltimore artists

for years and years, and he was most happy to

share,” she told the Baltimore Sun.

The timing to begin a collection of work by

Maryland artists was perfect—the Baltimore

Museum had recently alienated the regional artist

community by eliminating the annual juried ex-

hibitionsand was in the process of closing down

the rental gallery. Both had been considered key

avenues for local artists to gain exposure.

In 1983, Bylee Massey approached my father,

Herman Maril, about establishing a collection

of his work at UMUC. I remember him being

very impressed with her concept and philoso-

phy in developing a collection. My father, who

had been a professor in the art department at

the University of Maryland, College Park, (just

a 10-minute walk from UMUC’s Inn and Confer-

ence Center) for three decades, liked the idea

of supporting a UMUC collection. Both Ben-

jamin and Bylee Massey visited my father in

Baltimore several times, and, in 1985, he was

awarded an honorary Doctor of Fine Arts and

spoke at a UMUC commencement ceremony.

After my father’s death in 1986, my mother,

Esta C. Maril, and I worked very closely with

the Masseys in expanding the Maril collection

and encouraging other artists and collectors to

donate work. I can remember Bylee Massey

and my mother spending long hours in Reuben

Kramer’s studio, convincing him to give pieces

of his sculptures and paintings by his wife,

Perna Krick, to the collection.

“The art made a tremendous difference to the

university, and it was Bylee who convinced Ben

to begin and establish the Maryland art collec-

tion,” recalled Allan Hershfield, PhD. Hershfield

was executive vice chancellor of UMUC from

1980 to 1989.

“What a difference her efforts meant,” said

Hershfield, who is now retired and lives in

Amherst, Massachusetts. “The collection of

art brought so much to the university, trans-

forming those bleak walls into something

that was beautiful for the UMUC community.

I watched her work very hard, determined to

establish the collection.”

The Masseys were committed to making the

overall collection grow in a careful, non-commer-

cial manner. They set high ethical and academic

standards and most of the changing exhibitions

were linked with lectures and forums.

Bylee Massey had a very gracious, elegant

southern charm and a warm sense of humor.

She always checked on the art when she

walked through the building. I can recall many

times talking with her while walking through

one of the UMUC hallways and then suddenly

seeing her veer off to push a potted indoor tree

over a few inches because it was blocking the

view of a painting.

When Benjamin Massey retired in 1999 and

the Masseys left UMUC, the art collection

had grown large enough to hire a director and

curators, expand storage space, and establish

an art advisory board. Without Bylee Massey’s

vision to establish a Maryland art collection,

the rooms, walls, and halls would be barren

today instead of enriched by oils, works on

paper, and sculptures.

David Maril, an honorary member of the UMUC Art Advisory Board, is the son of the late Herman Maril and is president of the Herman Maril Foundation.

The Singular Vision of Sheep JonesBY STEVEN SCOTT, DIRECTORSTEVEN SCOTT GALLERY, BALTIMOREBY STEVEN SCOTT, DIRECTORSTEVEN SCOTT GALLERY, BALTIMORE

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www.umuc.edu/art • page 5page 4 • www.umuc.edu/art

work could be shown in secret. Within this polar-

ized climate, Volkov continued to make paintings

as he saw fit, some of which were increasingly

political in nature. He worked out of a cellar

studio (literally underground) and like most art-

ists felt pressured by the risk of being caught.

Any wider dissemination of artworks proved too

difficult to sustain.

While other Jewish artists and friends had

already resettled in Israel, Europe, and the

United States, Volkov began the harsh bureau-

cratic petition to leave in late 1977. For what-

ever reason, repeated requests for an exit visa

from the government were routinely denied. It

was during this 14-month process that the KGB

focused their attention on his painting. A knock

at the door in early 1979 proved fateful and

unfortunate—two paintings were seized, Christ

Appears to Brezhnev and The Cranes Are Flying.

The former was deemed illegal for its use of

religious imagery and satire of the Soviet

leader; the latter for its depiction of peasants

heeding nature’s call against the backdrop of So-

viet banners after a festive all-nighter. In short

order, Volkov was arrested and jailed for two

months, subjected to interrogations, and threat-

ened with time in psychiatric hospitals. Upon

his release, his kiln was confiscated and, in

effect, so were his livelihood, career, and source

of income. Paintings produced in this dark period

proved intensely personal and offered deep

social insights into anti-Semitism, the facade of

Communism, and the skepticism of Perestroika.

Finally in 1990, he got out with his wife and child.

Settling in Baltimore, Volkov was almost imme-

diately recognized for his unique imagination and

technical mastery. In 1990, a series of ceramic

samovars he made led to the exploration of

creating teapots. A year later, he was given his

first solo exhibition at Baltimore Clayworks as

part of a broader welcoming of local artisans and

craftsmen. The art he had kept inside for nearly

That Noi Volkov’s recent work vibrates with bold

colors, sweeping movement, a great sense of

humor, warmth, kitsch, and a relaxed simplicity

is no surprise to his friends, his collectors, and

to those who have been lucky enough to know

him. The idea behind the Noi Volkov: Reform-

ing the Masters. Unleashing the Humor in Art!

exhibition, however, is anything but effortless.

The artist’s dedication to the craft of making

his ceramics, be they sculptures or teapots, is

evident in both his creative process and the end

result. Volkov’s portrayal of artists and their most

famous masterpieces pays homage to his early

and longtime influences; however, he pushes

that envelope further so as not to interpret them

for us but rather to discover and reimagine what

art history looks like in the mind of a contem-

porary artist. Never derivative, Volkov’s work is

wholly recognizable, above all, and rooted in a

deep understanding of and respect for art and

in his own personal émigré experience.

Born in 1947, Volkov began painting as a child and

swiftly emerged in secondary school as a stand-

out student. Upon graduation, he was accepted

to the prestigious Vera Mukhina Higher School

of Art and Design in Leningrad, where he spent

ample time visiting the Hermitage Museum,

studying the classics. Working as an independent

artist in the Soviet Union, however, was a mine-

field full of risks and creative censorship. By the

late sixties, two approaches to navigating away

from suppressive controls were prevalent. one

was to work within the confines and aesthetic

rules of the “official” Union of Soviet Artists, for

which an artist was given a means to make a

living and a studio. The alternative was to be an

outsider, a nonconformist, “unofficial,” an outcast,

with the understanding that one’s work would

never be exhibited and that self-expression was

a farce. In his lifetime, Volkov would know both.

Artists were seen as servants of the state, and

while he developed his craft in the monumental

section of the Union of Soviet Artists by way of

decorative ceramic murals and government-au-

thorized commissions for public works, paintings

done for himself—after hours and underground—

were considered contraband. And thus, a duality

emerged: Volkov, along with his contemporaries,

would live out two creative lives—one for Them

(the regime) and one for themselves (for art’s

sake). The two rarely crossed paths. one time

they did, however, was when Volkov refused

an “official” request to render a portrait of Lenin,

which was considered a prestigious assignment.

Eyebrows were raised. It was in odessa, after

compulsory military service, during which he

painted signs and slogans, that he found his niche.

By the mid-1970s, established artists in odessa

began showcasing each other’s work in so-called

“apartment” exhibitions. These exhibitions

were part of a wider nonconformist movement

throughout the Soviet Union, especially in Mos-

cow and Leningrad, in which artists bucked the

system and became their own critics, admirers,

collectors, competitors, and, above all, commu-

nity, in the wake of authoritarian rules against

them. There was no art market. There were no

galleries. Soviet artists weren’t even allowed

access to international magazines and journals

that featured images of work that was being

done in the West. yet, it was in these apartments

where an art world of its own was created and

DID You Know? lITTlE-kNowN FacTS aboUT arTISTS wITH workS acqUIrEd by or ExHIbITEd aT UMUc By Linda Derrick

Above, left: David C. Driskell, Fall’s Glow, Falmouth, Maine (detail), c. 1961, tempera and watercolor / Above, right: Howie Lee Weiss, Monuments (detail), c. 1985, vine charcoal on paper

Did you know david c. driskell was born into a sharecropper family

and now has nine honorary degrees and a center named in his honor at the

University of Maryland, College Park? His artwork is on display on the main

floor of the inn and Conference Center.

Did you know Howie lee weiss has enriched the lives of a countless

number students as a professor of art at the Maryland institute College of

Art for 33 years? At the request of Doris Patz, Weiss donated his 150th work,

Monuments, to UMUC’s Maryland Artist Collection in 1989. Monuments can

be seen in the Arts Program office at the inn and Conference Center.

Did you know reini Maters was born in the netherlands and now

lives in Cockeysville, Maryland? the inspiration for his impressionist style

paintings comes from his extensive travels. His artwork is on display on the

main floor of the inn and Conference Center.

Did you know Marie M. linnekin was an arts advocate in the

Washington, D.C., and Maryland area and is a practicing artist and educator

who lives in Maryland? Her artwork is on display on the main floor of the inn

and Conference Center.

Did you know Selma l. oppenheimer traveled extensively with her

husband, Judge reuben Oppenheimer, and kept a journal of drawings and

writings? she was also a sculptor and used the drawings and writings as

the sketches for larger works of art. Her artwork is on display on the main

floor of the inn and Conference Center.

Above, left: Noi Volkov, Ed Hopper #4, Эд Хоппер #4 (teapot), 2011, ceramic, 8 x 15 x 5 in.Above, right: Noi Volkov, Plumber, Водопроводчик, 2006, ceramic, 25 x 19 x 6 in., Collection of Paul and Ellen Saval (Maryland)

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Above: Noi Volkov, Two Knights, Два рыцаря (teapot, front), 2012, ceramic, 30 x 14 in.

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The Wonderful and Wacky World of

BY MARk kELNER, PRIVATE DEALER AND CURATOR

www.umuc.edu/art • page 5page 4 • www.umuc.edu/art

work could be shown in secret. Within this polar-

ized climate, Volkov continued to make paintings

as he saw fit, some of which were increasingly

political in nature. He worked out of a cellar

studio (literally underground) and like most art-

ists felt pressured by the risk of being caught.

Any wider dissemination of artworks proved too

difficult to sustain.

While other Jewish artists and friends had

already resettled in Israel, Europe, and the

United States, Volkov began the harsh bureau-

cratic petition to leave in late 1977. For what-

ever reason, repeated requests for an exit visa

from the government were routinely denied. It

was during this 14-month process that the KGB

focused their attention on his painting. A knock

at the door in early 1979 proved fateful and

unfortunate—two paintings were seized, Christ

Appears to Brezhnev and The Cranes Are Flying.

The former was deemed illegal for its use of

religious imagery and satire of the Soviet

leader; the latter for its depiction of peasants

heeding nature’s call against the backdrop of So-

viet banners after a festive all-nighter. In short

order, Volkov was arrested and jailed for two

months, subjected to interrogations, and threat-

ened with time in psychiatric hospitals. Upon

his release, his kiln was confiscated and, in

effect, so were his livelihood, career, and source

of income. Paintings produced in this dark period

proved intensely personal and offered deep

social insights into anti-Semitism, the facade of

Communism, and the skepticism of Perestroika.

Finally in 1990, he got out with his wife and child.

Settling in Baltimore, Volkov was almost imme-

diately recognized for his unique imagination and

technical mastery. In 1990, a series of ceramic

samovars he made led to the exploration of

creating teapots. A year later, he was given his

first solo exhibition at Baltimore Clayworks as

part of a broader welcoming of local artisans and

craftsmen. The art he had kept inside for nearly

That Noi Volkov’s recent work vibrates with bold

colors, sweeping movement, a great sense of

humor, warmth, kitsch, and a relaxed simplicity

is no surprise to his friends, his collectors, and

to those who have been lucky enough to know

him. The idea behind the Noi Volkov: Reform-

ing the Masters. Unleashing the Humor in Art!

exhibition, however, is anything but effortless.

The artist’s dedication to the craft of making

his ceramics, be they sculptures or teapots, is

evident in both his creative process and the end

result. Volkov’s portrayal of artists and their most

famous masterpieces pays homage to his early

and longtime influences; however, he pushes

that envelope further so as not to interpret them

for us but rather to discover and reimagine what

art history looks like in the mind of a contem-

porary artist. Never derivative, Volkov’s work is

wholly recognizable, above all, and rooted in a

deep understanding of and respect for art and

in his own personal émigré experience.

Born in 1947, Volkov began painting as a child and

swiftly emerged in secondary school as a stand-

out student. Upon graduation, he was accepted

to the prestigious Vera Mukhina Higher School

of Art and Design in Leningrad, where he spent

ample time visiting the Hermitage Museum,

studying the classics. Working as an independent

artist in the Soviet Union, however, was a mine-

field full of risks and creative censorship. By the

late sixties, two approaches to navigating away

from suppressive controls were prevalent. one

was to work within the confines and aesthetic

rules of the “official” Union of Soviet Artists, for

which an artist was given a means to make a

living and a studio. The alternative was to be an

outsider, a nonconformist, “unofficial,” an outcast,

with the understanding that one’s work would

never be exhibited and that self-expression was

a farce. In his lifetime, Volkov would know both.

Artists were seen as servants of the state, and

while he developed his craft in the monumental

section of the Union of Soviet Artists by way of

decorative ceramic murals and government-au-

thorized commissions for public works, paintings

done for himself—after hours and underground—

were considered contraband. And thus, a duality

emerged: Volkov, along with his contemporaries,

would live out two creative lives—one for Them

(the regime) and one for themselves (for art’s

sake). The two rarely crossed paths. one time

they did, however, was when Volkov refused

an “official” request to render a portrait of Lenin,

which was considered a prestigious assignment.

Eyebrows were raised. It was in odessa, after

compulsory military service, during which he

painted signs and slogans, that he found his niche.

By the mid-1970s, established artists in odessa

began showcasing each other’s work in so-called

“apartment” exhibitions. These exhibitions

were part of a wider nonconformist movement

throughout the Soviet Union, especially in Mos-

cow and Leningrad, in which artists bucked the

system and became their own critics, admirers,

collectors, competitors, and, above all, commu-

nity, in the wake of authoritarian rules against

them. There was no art market. There were no

galleries. Soviet artists weren’t even allowed

access to international magazines and journals

that featured images of work that was being

done in the West. yet, it was in these apartments

where an art world of its own was created and

DID You Know? lITTlE-kNowN FacTS aboUT arTISTS wITH workS acqUIrEd by or ExHIbITEd aT UMUc By Linda Derrick

Above, left: David C. Driskell, Fall’s Glow, Falmouth, Maine (detail), c. 1961, tempera and watercolor / Above, right: Howie Lee Weiss, Monuments (detail), c. 1985, vine charcoal on paper

Did you know david c. driskell was born into a sharecropper family

and now has nine honorary degrees and a center named in his honor at the

University of Maryland, College Park? His artwork is on display on the main

floor of the inn and Conference Center.

Did you know Howie lee weiss has enriched the lives of a countless

number students as a professor of art at the Maryland institute College of

Art for 33 years? At the request of Doris Patz, Weiss donated his 150th work,

Monuments, to UMUC’s Maryland Artist Collection in 1989. Monuments can

be seen in the Arts Program office at the inn and Conference Center.

Did you know reini Maters was born in the netherlands and now

lives in Cockeysville, Maryland? the inspiration for his impressionist style

paintings comes from his extensive travels. His artwork is on display on the

main floor of the inn and Conference Center.

Did you know Marie M. linnekin was an arts advocate in the

Washington, D.C., and Maryland area and is a practicing artist and educator

who lives in Maryland? Her artwork is on display on the main floor of the inn

and Conference Center.

Did you know Selma l. oppenheimer traveled extensively with her

husband, Judge reuben Oppenheimer, and kept a journal of drawings and

writings? she was also a sculptor and used the drawings and writings as

the sketches for larger works of art. Her artwork is on display on the main

floor of the inn and Conference Center.

Above, left: Noi Volkov, Ed Hopper #4, Эд Хоппер #4 (teapot), 2011, ceramic, 8 x 15 x 5 in.Above, right: Noi Volkov, Plumber, Водопроводчик, 2006, ceramic, 25 x 19 x 6 in., Collection of Paul and Ellen Saval (Maryland)

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Above: Noi Volkov, Two Knights, Два рыцаря (teapot, front), 2012, ceramic, 30 x 14 in.

GE

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UR

VIC

H P

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The Wonderful and Wacky World of

BY MARk kELNER, PRIVATE DEALER AND CURATOR

Make an Annual Contribution to the Arts Program

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

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

Interested in being added to our e-newsletter list? Send your e-mail address to arts@umuc.edu.page 6 • www.umuc.edu/art

UNIvErSITy oF MarylaNd UNIvErSITy collEgE arTS PrograM MISSIoN STaTEMENT

The Arts Program at University of Maryland University College

(UMUC) creates an environment in which its diverse constituents,

including members of the university community and the general

public, can study and learn about art by directly experiencing it. The

Arts Program seeks to promote the university’s core values and to

provide educational opportunities for lifelong learning. From the

research and study of works of art to the teaching applications of

each of our exhibitions, the Arts Program will play an increasing role

in academic life at the university. With a regional and national focus,

the Arts Program is dedicated to the acquisition, preservation, study,

exhibition, and interpretation of works of art of the highest quality in

a variety of media that represent its constituents and to continuing

its historic dedication to Maryland and Asian art.

Upcoming Events

VISTA: CONTEMPORARY WORkS BY LATIN AMERICAN ARTISTS

Sunday, September 16–Thursday, November 25, 2012

Opening Reception:

Sunday, September 23, 2012, 3–5 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

Vista is Spanish for "view." The name of this exhibition draws upon

the inspirations of the Latin American artists whose works are fea-

tured. These artists pull from the creative process of mapmaking

and touch upon issues of identity, immigration, and memory at

the same time they explore topography, urbanity, and space. The

exhibition was organized by the UMUC Arts Program; two guest

curators: Eva Mendoza Chandas and Jodie Dinapoli; and Brian

Young, curator in the university's Arts Program.

MODERNISM: JAMES HILLEARY AND COLOR

Monday, December 3, 2012–Sunday, February 3, 2013

Opening Reception and Talk:

Thursday, December 6, 2012, 6–8 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

Modernism: James Hilliary and Color will be an exploration of the

artist’s paintings. James Hilliary was born in Washington, D.C., in 1924,

now resides in Bethesda Maryland, and is one of Maryland’s best-kept

secrets. Even though he is not commonly listed as a Washington Color

School painter, he certainly was exploring color in his art just as many

of the well-known Washington Color School painters did. James, who

had very little formal training in art, has said, “I never planned a career

in art; it just happened.”

SYMPOSIUM: JAzz: A DIALOGUE IN THE PERFORMANCE

AND VISUAL ARTS

Friday, February 15, 2013, 8 a.m.–5 p.m.,

Location to be announced

DIASPORA DIALOGUE: ART OF kWABENA AMPOFO-ANTI,

VICTOR EkPUk, AND SkUNDER BOGHOSSIAN

Monday, February 18–Saturday, April 20, 2013

Opening Reception:

Sunday, February 21, 2013, 3–5 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

This exhibition showcases works by artists from Africa who have

been creating works of art all their lives. Kwabena Ampofo-Anti,

who is from Ghana and lives in Washington, D.C., creates ceramic

sculptures inspired by African architecture. Victor Ekpuk, a well-

published artist from Nigeria, is inspired by the secretive writing

language of his country and creates works with universal themes

to communicate contemporary human experiences and conditions.

Alexander “Skunder” Boghossian, a celebrated renowned artist,

was from Ethiopia but spent most of his adult life in the United

States and taught at Howard University for 31 years.

FRIENDS OF THE ARTS (Janurary 1, 2012–present)

Platinum-Level Friends

I-Ling ChowJohn M. Derrick

and Linda Derrick

Silver-Level Friends

Julia LindenmeierPatricia J. Toregas

Bronze-Level Friends

Robert W. Jerome, PhDEric KeyLila A. SnowSylvia L. ValentinoWinifred B. WallaceNancy Williamson, JD

Friends

Marie A. Cini, PhDMichael S. Frank, PhDJoyce RobertsL. Christina WaddlerRobert Weick and

yoshiko oishi WeickBrian young

Associates

Diane BartooAnna C. FinchJoan M. FloodSeymour GresserBradley P. HudsonDenise MelvinJoseph S. RogersMarcia R. Watson

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

Friend – ($35–$99) Above benefits, plus 10 percent discount on specialty items produced by the Arts Program, 10 percent discount on tickets to nonfundraising events, Arts Program lapel pin

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 donor’s 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 on breakfast or lunch, and 15 percent discount on dinner at the Marriott Garden Restaurant at the UMUC Inn and Conference Center

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

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

bEcoME a FrIENd oF THE arTS aT UMUc

Personal Information

NAME (PLEASE PRINT)

ADDRESS

CITY STATE ZIP COUNTRY

PHONE E-MAIL

I have enclosed a check in the amount of made payable to the UMUC Foundation*. Please charge $ to my: American Express MasterCard Visa

NAME THAT APPEARS ON CARD (PLEASE PRINT)

ACCOUNT # ExP. DATE

SIGNATURE (REqUIRED)

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

JOIN FRIENDS OF THE ARTS TODAY.

Complete and return this form to

University of Maryland University College, Arts Program3501 University Boulevard East, Adelphi, MD 20783-8007

Or fax it to 301-985-7865.

Contribution Level

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

PLEASE CUT oN DoTTED LINE.

20 years came pouring out. And like the works featured in this exhibition,

they celebrate his visionary spirit and represent a new stage in his artistic life.

While creative freedom in America gave way to exploration, Volkov’s strong

sense of Russian identity is key to understanding his appreciation for the

ironic and the absurd. Like the writer Mikhail Bulgakov before him, Volkov

relishes in depicting images of the fantastic and the supernatural. His has

become a world of Pop, transitioning itself with an easygoing human appeal,

a sharp perception, and a wit about where he’s been and where he’s going.

At the same time, his arrival to the United States coincided with the media

and Internet revolution (made possible by the personal computer), which

allowed for hyper exposure to and immersion in popular and often unknown

images of classical art history, pop culture, and international contemporary

art. In his own words, “they invaded my mind like a flood.”

Read more about Noi Volkov in Kelner’s full essay, which has been

published in Noi Volkov: Reforming the Masters. Unleashing the

Humor in Art! The catalog is available at the Inn and Conference Center

in Adelphi, Maryland.

Above: Noi Volkov, The Genius Should Not Die, Гений не должен умирать, 2009, ceramic and mixed media, 8 x 20 x 4 in.

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Make an Annual Contribution to the Arts Program

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

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

Interested in being added to our e-newsletter list? Send your e-mail address to arts@umuc.edu.page 6 • www.umuc.edu/art

UNIvErSITy oF MarylaNd UNIvErSITy collEgE arTS PrograM MISSIoN STaTEMENT

The Arts Program at University of Maryland University College

(UMUC) creates an environment in which its diverse constituents,

including members of the university community and the general

public, can study and learn about art by directly experiencing it. The

Arts Program seeks to promote the university’s core values and to

provide educational opportunities for lifelong learning. From the

research and study of works of art to the teaching applications of

each of our exhibitions, the Arts Program will play an increasing role

in academic life at the university. With a regional and national focus,

the Arts Program is dedicated to the acquisition, preservation, study,

exhibition, and interpretation of works of art of the highest quality in

a variety of media that represent its constituents and to continuing

its historic dedication to Maryland and Asian art.

Upcoming Events

VISTA: CONTEMPORARY WORkS BY LATIN AMERICAN ARTISTS

Sunday, September 16–Thursday, November 25, 2012

Opening Reception:

Sunday, September 23, 2012, 3–5 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

Vista is Spanish for "view." The name of this exhibition draws upon

the inspirations of the Latin American artists whose works are fea-

tured. These artists pull from the creative process of mapmaking

and touch upon issues of identity, immigration, and memory at

the same time they explore topography, urbanity, and space. The

exhibition was organized by the UMUC Arts Program; two guest

curators: Eva Mendoza Chandas and Jodie Dinapoli; and Brian

Young, curator in the university's Arts Program.

MODERNISM: JAMES HILLEARY AND COLOR

Monday, December 3, 2012–Sunday, February 3, 2013

Opening Reception and Talk:

Thursday, December 6, 2012, 6–8 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

Modernism: James Hilliary and Color will be an exploration of the

artist’s paintings. James Hilliary was born in Washington, D.C., in 1924,

now resides in Bethesda Maryland, and is one of Maryland’s best-kept

secrets. Even though he is not commonly listed as a Washington Color

School painter, he certainly was exploring color in his art just as many

of the well-known Washington Color School painters did. James, who

had very little formal training in art, has said, “I never planned a career

in art; it just happened.”

SYMPOSIUM: JAzz: A DIALOGUE IN THE PERFORMANCE

AND VISUAL ARTS

Friday, February 15, 2013, 8 a.m.–5 p.m.,

Location to be announced

DIASPORA DIALOGUE: ART OF kWABENA AMPOFO-ANTI,

VICTOR EkPUk, AND SkUNDER BOGHOSSIAN

Monday, February 18–Saturday, April 20, 2013

Opening Reception:

Sunday, February 21, 2013, 3–5 p.m.,

Arts Program Gallery, Inn and Conference Center, Lower Level

This exhibition showcases works by artists from Africa who have

been creating works of art all their lives. Kwabena Ampofo-Anti,

who is from Ghana and lives in Washington, D.C., creates ceramic

sculptures inspired by African architecture. Victor Ekpuk, a well-

published artist from Nigeria, is inspired by the secretive writing

language of his country and creates works with universal themes

to communicate contemporary human experiences and conditions.

Alexander “Skunder” Boghossian, a celebrated renowned artist,

was from Ethiopia but spent most of his adult life in the United

States and taught at Howard University for 31 years.

FRIENDS OF THE ARTS (Janurary 1, 2012–present)

Platinum-Level Friends

I-Ling ChowJohn M. Derrick and Linda Derrick

Silver-Level Friends

Julia LindenmeierPatricia J. Toregas

Bronze-Level Friends

Robert W. Jerome, PhDEric KeyLila A. SnowSylvia L. ValentinoWinifred B. WallaceNancy Williamson, JD

Friends

Marie A. Cini, PhDMichael S. Frank, PhDJoyce RobertsL. Christina WaddlerRobert Weick and yoshiko oishi WeickBrian young

Associates

Diane BartooAnna C. FinchJoan M. FloodSeymour GresserBradley P. HudsonDenise MelvinJoseph S. RogersMarcia R. Watson

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

Friend – ($35–$99) Above benefits, plus 10 percent discount on specialty items produced by the Arts Program, 10 percent discount on tickets to nonfundraising events, Arts Program lapel pin

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 donor’s 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 on breakfast or lunch, and 15 percent discount on dinner at the Marriott Garden Restaurant at the UMUC Inn and Conference Center

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

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.)

bEcoME a FrIENd oF THE arTS aT UMUc

Personal Information

NAME (PLEASE PRINT)

ADDRESS

CITY STATE ZIP COUNTRY

PHONE E-MAIL

I have enclosed a check in the amount of made payable to the UMUC Foundation*. Please charge $ to my: American Express MasterCard Visa

NAME THAT APPEARS ON CARD (PLEASE PRINT)

ACCOUNT # ExP. DATE

SIGNATURE (REqUIRED)

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

JOIN FRIENDS OF THE ARTS TODAY.

Complete and return this form to

University of Maryland University College, Arts Program3501 University Boulevard East, Adelphi, MD 20783-8007

Or fax it to 301-985-7865.

Contribution Level

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20 years came pouring out. And like the works featured in this exhibition,

they celebrate his visionary spirit and represent a new stage in his artistic life.

While creative freedom in America gave way to exploration, Volkov’s strong

sense of Russian identity is key to understanding his appreciation for the

ironic and the absurd. Like the writer Mikhail Bulgakov before him, Volkov

relishes in depicting images of the fantastic and the supernatural. His has

become a world of Pop, transitioning itself with an easygoing human appeal,

a sharp perception, and a wit about where he’s been and where he’s going.

At the same time, his arrival to the United States coincided with the media

and Internet revolution (made possible by the personal computer), which

allowed for hyper exposure to and immersion in popular and often unknown

images of classical art history, pop culture, and international contemporary

art. In his own words, “they invaded my mind like a flood.”

Read more about Noi Volkov in Kelner’s full essay, which has been

published in Noi Volkov: Reforming the Masters. Unleashing the

Humor in Art! The catalog is available at the Inn and Conference Center

in Adelphi, Maryland.

Above: Noi Volkov, The Genius Should Not Die, Гений не должен умирать, 2009, ceramic and mixed media, 8 x 20 x 4 in.

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