The PorTraiT and The Figure

Faculty Art Invitational 2013

Arts Program / University of Maryland University College

FAhiMeh VAhdAthoward County Community College

From Freedom Series: Protest, 2011–12, mixed media on Arches paper, 50 in. (diameter)

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May 12–July 21, 2013

U.S. District Courthouse6500 Cherrywood LaneGreenbelt, Maryland

The PorTraiT and The Figure

Faculty Art Invitational 2013

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Welcome

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Welcome

Dear Patrons of the Arts,

Welcome to Faculty Art Invitational 2013: The Portrait and the Figure, the latest in the university’s annual series that showcases works by artists teaching within the University System of Maryland and by special guest artists.

The Faculty Art Invitational has become a special university tradition—one in which University of Maryland University College (UMUC) celebrates the personal and pro-fessional accomplishments of Maryland’s teaching artists and works with the Green-belt Division of the United States District Court for the District of Maryland to bring their work to the courthouse and consequently to the broader community.

This year, we are pleased to highlight works by 12 artists presented in a variety of media and styles. The result is an exhibition that is as beautifully diverse as our community and our state.

I hope you have the opportunity to visit the courthouse to enjoy the work of Mary-land’s teaching artists.

Sincerely,

Javier MiyaresPresidentUniversity of Maryland University College

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director’s Statement

Eric KeyDirector, Arts Program University of Maryland University College

The art of the portrait and figure has a long history. As many know, long ago very early conceptions of these art forms were created on the walls of caves. Today, these art forms appear in a variety of settings; artists and art teachers practice and execute them, of course, but so do young children whose parents give them crayons andpencils to play with. These children use their new communication tools to create stick figures andsimple drawings. Eventually, they will create awell-scaled figure. In college, art professors whohave been trained in the field impart their skillsto students so that they learn to create a well-balanced, realist image of a figure or human be-ing. In some programs, this instruction is included in the introductory freshman art studio class. In others, it is an advanced class for students who have reached some level of art proficiency. Using live models, students are challenged to create a work of art that is a full likeness of the person. Withthe tools at hand, they begin crafting an image onto paper or canvas. Most of this process is referred to as study drawing. However, it is one thing to be able to makethe shape of the human body and another to portray the inner spirit of a person inportraiture. Some artists are able to capture the glimpse in the eye, the expression onthe face, the wrinkle on the forehead. Others use the position of the body and head. And some use a background, objects, light, brush stokes, shadows, and/or geometri-cal designs to make the work come alive. The end result is a portrait or figure.

The art of portraiture is an age-old practice, a mastery of the art form. From expres-sionism to realism, the art of portrait painting has had its place. It would be difficult to think of an artist who has not produced a work of art in portraiture. We see it in depictions of a figure in a park, a nude reclining on a sofa, or a shopper at a mar-ket. Portraits are simple likenesses. Some are detailed images, and others are line figures. Some are the complete creation of a scene with a figure in it, and, others are straightforward images of a person or animal. Whether in oil, watercolor, pencil/graphite, mixed media, charcoal, or photography, the portrait and the figure present life through the eyes of the creator—the artist.

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“What interests me most is neither still life nor landscape but the human figure.” —Henri Matisse

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Welcome

Dear Patrons of the Arts,

Welcome to Faculty Art Invitational 2013: The Portrait and the Figure, the latest in the university’s annual series that showcases works by artists teaching within the University System of Maryland and by special guest artists.

The Faculty Art Invitational has become a special university tradition—one in which University of Maryland University College (UMUC) celebrates the personal and pro-fessional accomplishments of Maryland’s teaching artists and works with the Green-belt Division of the United States District Court for the District of Maryland to bring their work to the courthouse and consequently to the broader community.

This year, we are pleased to highlight works by 12 artists presented in a variety of media and styles. The result is an exhibition that is as beautifully diverse as our community and our state.

I hope you have the opportunity to visit the courthouse to enjoy the work of Mary-land’s teaching artists.

Sincerely,

Javier MiyaresPresidentUniversity of Maryland University College

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Faculty Art Invitational 2013: The Portrait and The Figure is our most recent exhibi-tion featuring works of art by artists who are a part of the University System of Mary-land and works by special guest artists. It promotes emerging and established artists within the system, serves as a resource for artists, and provides a professional venue for artists to exhibit.

The Arts Program would like to extend a warm word of gratitude to the judges of the United States District Court in Greenbelt, Maryland, for agreeing to host this year’s faculty exhibition. A special thanks to Judge Peter Messitte for his foresight in establishing an art exhibition program at the courthouse. Additionally, Mary Russell deserves thanks for her assistance in bringing the program to the courthouse. These individuals have helped bring the arts to a segment of our community that otherwise may not have had such an opportunity to experience it.

In addition, I would like to thank all of the participating artists, who deserve more accolades than I can give. They are teaching the next generation of artists and yet they continue to create their own works and serve as community ambassadors to the art world. When called upon to participate in this exhibition, they were not only supportive and willing but also excited about the opportunity.

I would also like to thank the UMUC family, which has supported the Arts Program at UMUC for 34 years and the staff of the Arts Program. Thanks to Brian Young, Rene Sanjines, Jennifer Norris, and Denise Melvin, who make these exhibitions happen. President Javier Miyares, who has continued the university’s proud history of support for the arts and the Arts Program deserves great thanks, as does the entire UMUC community for all that it does to support the arts.

Again, thanks to all who make the arts come alive and thrive in our community.

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in Between Portraits and Figures

Brian YoungCurator, Arts Program University of Maryland University College

In 2012, the Faculty Art Invitational—the university’s annual faculty show—focused on drawings. This theme allowed us to compare different artists’ approaches to a narrow range of materials. The result was a showcase for contemporary draftsmanship by those working, primarily, in the University System of Maryland (USM). For 2013, the location and the focus have changed. This year’s unifying theme is The Portrait and the Figure. The federal courthouse in Greenbelt is hosting the exhibition.

This year, 12 artists have been selected. Most of them teach at USM institutions and some are special guest artists. In an era of new media in which artists sometimes work in video or computer animation and are increasingly creating conceptual work, it is exciting that many are fully integrating the figure.

For centuries, the figure has enjoyed countless iterations as an object of worship and mythology, as the basis for formal portraits and metaphorical stories, as a reference point for social change, and as a vehicle for solidifying memories. In this exhibition, it was impossible to cover that full range—for instance, few USM artists pursue for-mal portraiture or religious painting as a vocation. Today, art professors who incorpo-rate the figure are more likely to utilize it as a stand-in for commentary on the human condition, both past and present.

Jinchul Kim takes a realist approach sparked by his immediate surroundings. As a result, the figure naturally plays a distinguished role. He states, “Thus, I endeavor to create paintings that are not mimetic but rather an amalgamation of what I see in the lives around me and how my own peculiar circumstances have distorted these discernments. This hybrid, as I call it, exists, and how I see it to exist has been the focal point of my sensibility.” For viewers, Kim’s meticulous approach to painting as a craft is inspiring. Layered over that tradition is the mystery he infuses into his art. If Kim has little interest in the pure verisimilitude of the appearance of his subjects, the viewer has the pleasure of parsing out “reality” from the artistic elements.

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Ulysses Marshall’s work is similar to Kim’s in that he relies on memory and surround-ings, albeit in a more stylized fashion, with an emphasis on color and texture. In ad-dition, Marshall instills in his work a socially conscious element that derives from his African American upbringing. He recalls, “My goal as an artist is to use these stories and tales as a tool for sharing the plight of the almost forgotten colored people . . . a people whose lives have been bent but not broken.” As the stories come to lifefor Marshall, viewers may be left pondering the fine line between disappointment and salvation.

Al Burts’s work is inspired by religious themes and “the beauty of Americans whose roots are African.” His signature style is a singular, monochrome figure drawn with a careful, undulating line. Despite his stylistic consistency, his figures range from the homeless to the anonymous figures of the Metro to, perhaps, the largely forgotten figures of baseball’s Negro leagues. Burts’s ambiguous titles blur society’s complex hierarchy that places importance on one’s identity as it concerns one’s family, profes-sion, or wealth.

Clayton Lang’s work has a similar connection to those who have been marginalized. Katrina Laments, with its use of coral and mushrooms, is meant to conjure the coastal communities affected by Hurricane Katrina in 2005. While the storm was devastat-ing, the artist recognizes that this was a tragedy brought on by nature. Fittingly, a somber face emerges from within the shadowbox frame. This composed figure, according to the artist, is not lamenting the loss due to hurricane forces, but rather our country’s response to the disaster. The earlier mask of Jan-Naj is more personal, as it commemorates the death of an individual close to the artist. The two-sided as-pect suggests the woman’s likeness in life and celebrates her spirit in death, resting within the vessel.

Richard Holt and Shin-Yeon Jeon mold their figures in three dimensions as well. While the tradition of using clay for nonutilitarian forms might seem rare today, the art of creating clay figures has a long history. Most notably, China’s recently uncovered terracotta warriors reveal the power of creating the figure in sculpturalform. Its tactility adds a dimension of empathy. While Holt is known for whimsical monsters in clay, his figurative work appears simultaneously to be pensive and slightly lighthearted. Their scale, however, suggests that the works might have a greater purpose—that they may be Cycladic idols or the stylized figures in Pre-Columbian clay. While Jeon’s work comes closer to Kim’s realism (they are longtime colleagues), Jeon sees her work as psychological portraits of her figures. “My goal is to depict the transient aspects of human emotions in solid ceramic sculpture, transforming them into a permanent state,” she says. “Instead of a literal description of the human form, I attempt to suggest feelings by use of ambiguous facial expressions.”

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When artists have a political or social message to convey, they can often reach a larger audience through printmaking, a term for the process of creating a large number of media that can be wholly original even if not unique. Within Maryland, Margo Humphrey is an artist whose imagery is disseminated in this manner through her lithographs. She may be celebrated for her social commentary, but Sunday Afternoon is an exuberant piece that emphasizes a young couple’s interaction through bright colors, a beaming sun, verdant hills, and a gentle embrace. The piece brims with optimism. All Crossed Up, in contrast, is more cryptic. Despite the obvious reference, All Crossed Up is not wholly a religious work. Rather, this print and others in its series are somewhat veiled references to the music of Rahsaan Roland Kirk and his song, Old Rugged Cross.

Whereas Humphrey might cite Kirk, Sister Gertrude Morgan, and others as inspira-tion, Elizabeth Kauffman references much larger entities, such as globalism, capital-ism, or her overall surroundings. She states, “The elements used have been pulled from a variety of places, including magazines, the Internet, and observational draw-ing. The result takes the form of something like a motivational or propaganda poster with shape-shifting slogans significant to everyone and no one in particular . . . ”While Iceberg is a surreal symphony of color and scale, it is a bold reminder that global warming exists in Greenland, for example.

Fahimeh Vahdat was born in Iran but has lived away from her homeland for the last 32 years. Her work, though, with its inclusion of the female figure, is her personal means of voicing opposition to Iran’s treatment of women. In particular, these works, with their mandala shape and repetition of the Farsi word that translates to “oh God,” are meant to serve as part of a larger campaign started by women in Iran beginning in 2006 in Tehran. Vahdat recently moved to Columbia, Maryland, from Milwaukee, Wisconsin, and believes works such as those in the From Freedom Series can help bring awareness to the ongoing struggles women face in Iran. The relatively minor role the female form plays in these works speaks to the greater marginaliza-tion that many women feel in Iran.

Joan Bevelaqua’s approach to the figure is unusual in this exhibition in that the figure is not actually shown. Mannequins, dresses and animal skulls become prox-ies. Ophelia and Study for Diana bring figures from mythology into a contemporary setting. Taking this surreal construct a step further, the artist has conveyed enough information in her elaborate tableaux to form a nascent narrative. The resulting dichotomy or irony is that Bevelaqua’s realist approach toward the figure is engaging and mysterious, even if not visible.

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Nicole Buckingham approaches the figure in a relatively traditional manner in com-position and scale. Yet, a slightly askew element causes her work to straddle humor and uneasiness. She has acknowledged that indefinite nature, saying “Through a series of portraits, self-portraits, and still life, I examine the experience of living, the events of our lives spanning the years from childhood through maturity . . . The work is very biographical. Much of it deals with my own frustrations and struggles and the frustrations and struggles of those I see around me, friends and family, from all stages of life.” First Rite underscores that indefiniteness, as it depicts a young child’s play with toilet paper that begins to resemble a heavily bandaged individual.

The work of Joseph Cassar has evolved over the years from the realist tradition and moved toward abstraction. His predilection away from the tedious quality of realism may not be surprising when one considers how Cassar is able to build up his sub-jects from a few quick strokes. Grandma, for example, has the economy and scale of a drawing by the 19th century master J.A.D. Ingres. Yet, Cassar’s work has the warmth and respect that he undoubtedly had for this woman of stature and maturity. In many respects, Burts and Cassar share similar approaches in technique and the manner in which they approach the inhabitants in their own respective spheres.

I hope that, for viewers, the sum of these 12 artists’ works is greater than the parts, that viewers draw comparisons among the different works, and that they recognize that The Portrait and the Figure is just a cross-section of figurative work being cre-ated across Maryland and within its universities’ walls.

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featured artists Joan Bevelaqua

nicole Buckingham

al BurTS

JoSePh caSSar

richard holT

margo humPhrey

Shin-yeon Jeon

elizaBeTh kauFFman

Jinchul kim

clayTon lang

ulySSeS marShall

Fahimeh vahdaT

Joan BevelaquaHoward County Community Collegeuniversity of Maryland university College

Ophelia2001watercolor on paper29¾ x 39¾ in.

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niCole BuCkingHaM Community College of Baltimore County

First Rite2010color pencil and acrylic on paper22 x 22 in.

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al Burts guest artist

No Sugar, No Cream2012ballpoint pen and black coffee on handmade paper38 x 28 in.

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JosepH Cassaruniversity of Maryland university College

Grandma1980pencil on paper12 x 7½ in.

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riCHard Holt towson university

Dichotomy2013clay27 x 18 x 12 in.

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Margo HuMpHreyuniversity of Maryland, College park

Sunday Afternoon1989lithograph29 x 42 in.UMUC Permanent Collection, Maryland Artist Collection

John

Woo

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sHin-yeon Jeontowson university

Recollection (front)2012ceramics12 x 10 x 8½ in.

Recollection (back)

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elizaBetH kauffMansalisbury university

Hover Craft2012oil on canvas60 x 42 in.

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Jinchul KimSalisbury university

What if You Come Back2011oil on canvas 30 x 48 in.

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Clayton langBowie state university

Jan-Naj (front)1977leather9½ x 9 x 6½ in.

Jan-Naj (side)

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John

Woo

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ulysses MarsHallguest artist

My Girl2008acrylic and paper doll, cardboard on canvas36 x 24 in.

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faHiMeH vaHdatHoward County Community College

From Freedom Series: I am Iran, I am America 2012mixed media on Arches paper 51 in. (diameter)

From Freedom Series: I am Iran, I am America(detail)

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John Woo

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exhibition list

JoAn BEvELAqUAHoward County Community College

University of Maryland University College

Ophelia, 2001, watercolor on paper, 24¾ x 39¾ in.

Dress Maker’s Coat, 2003, oil on panel, 48 x 24 in., UMUC Permanent Collection, Maryland Artist Collection, gift of the artist

Red Dress with Fox Skull, 2013, oil on canvas, 12 x 9 in.

Study for Diana, 2013, oil on canvas, 9 x 12 in.

niCoLE BUCKinGHAMCommunity College of Baltimore County

Denied, 2006, charcoal on paper, 23¾ x 14½ in., UMUC Permanent Collection, Maryland Artist Collection

Sight and Sound, 2006, charcoal on paper, 24 x 14½ in., UMUC Permanent Collection, Maryland Artist Collection

The Double Trouble, 2010, graphite and acrylic on Bristol vellum, 12 x 23 in.

The In Between, 2010, color pencil and acrylic on Arches paper, 65 x 42 in.

First Rite, 2010, color pencil and acrylic on paper, 22 x 22 in.

AL BUrtSGuest Artist

Dignity, 2008, ballpoint pen on board, 35 x 31 in.

Cinderella Man, 2011, oil and graphite on canvas, 60 x 48 in.

A Father’s Law, 2012, ballpoint pen on wood, 48 x 24 in.

No Sugar, No Cream, 2012, ballpoint pen and black coffee on handmade paper, 38 x 28 in.

Sade Mae, 2012, Prismacolor and pencil on board, 27½ x 21½ in.

JoSEPH CASSArUniversity of Maryland University College

Grandma, 1980, pencil on paper, 12 x 7½ in.

Grandpa, 1980, pencil on paper, 8 x 5½ in.

Jeroslav, 2012, charcoal on paper, 18 x 14 in.

Tomislao, 2012, charcoal on paper, 18 x 14 in.

Zivadinka I, 2012, charcoal on paper, 175/8 x 133/8 in.

Zivadinka II, 2012, charcoal on paper, 18 x 14 in.

riCHArD HoLt towson University

Dichotomy, 2013, clay, 27 x 18 x 12 in.

Firebox, 2013, clay, 20 x 6 x 6 in.

Jar Guy, 2013, clay, 16 x 5½ x 5½ in.

Two Guys, 2013, clay, 27 x 6 x 6 in.

MArGo HUMPHrEYUniversity of Maryland, College Park

Sunday Afternoon, 1989, lithograph, 29 x 42 in., UMUC Permanent Collection, Maryland Artist Collection

Tree of Life, 1990, lithograph, 41 x 30 in.private collection

A Smile of Promise, 1995, lithograph, 24 x 30 in., private collection

All Crossed Up, 2008, lithograph,14 x 11¼ in., UMUC Permanent Collection, Maryland Artist Collection

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SHin-YEon JEontowson University

Head Totem, 2012, ceramics and steel, 30 x 15½ x 12½ in.

Head Totem II, 2012, ceramics and steel, 38 x 14½ x 11½ in.

Recollection, 2012, ceramics, 12 x 10 x 8½ in.

Recollection II, 2012, ceramics, 11 x 11 x 12 in.

ELizABEtH KAUffMAnSalisbury University

Chiron, 2012, watercolor and typewriter text on Yupo, 14 x 11 in.

Halo 23, 2012, watercolor and typewriter text on Yupo, 14 x 11 in.

Hover Craft, 2012, oil on canvas, 60 x 42 in.

Iceberg, 2012, oil on canvas, 56 x 33 in.

They Come in Threes, 2012, watercolor on Yupo, 20 x 18 in.

JinCHUL KiMSalisbury University

Self-Portrait with Green Liquid, 2002, oil on canvas, 29¾ x 19½ in.

The Psychology of Judgment and Decision Making, 2008, oil on canvas, 30 x 48 in.

Semantic Occurrence 1, 2008, oil on canvas, 30 x 48 in.

Segment: The Condition of Solitude, 2011, oil on canvas, 30 x 46 in.

Segment: You’re Tangled in My Hair, 2011, oil on canvas, 20 x 30 in.

What if You Come Back, 2011, oil on canvas, 30 x 48 in.

CLAYton LAnGBowie State University

Spirit Image 10, 1976, leather, wood, and plastic, 50 x 25 x 3½ in., UMUC Permanent Collection, Maryland Artist Collection

Jan-Naj, 1977, leather, 9½ x 9 x 6½ in.

Leather Head, 1986, leather, 9½ x 8½ x 8 in.

Katrina Laments, 2007, mixed media, 18 x 16 x 2 in.

ULYSSES MArSHALLGuest Artist

Sonny B, 2000, acrylic on canvas, 40 x 30 in., collection of Brenda Baldwin-Marshall

Madam E. Spirit Seeker, 2005, acrylic and paper doll on canvas, 40 x 30 in.

My Girl, 2008, acrylic and paper doll, cardboard on canvas, 36 x 24 in.

Grandmom and Me, 2010, acrylic and paper doll with cloth on canvas, 36 x 23¾ in.

Nobody Knows, 2011, acrylic on canvas, 48 x 36 in.

Ella and Louis Sold Out, 2012, acrylic and paper doll on canvas, 48 x 36 in.

fAHiMEH vAHDAtHoward County Community College

From Freedom Series: Fariba, 2012, mixed media on Arches paper, 43 in. (diameter)

From Freedom Series: I am Iran, I am America, 2012, mixed media on Arches paper, 51 in. (diameter)

From Freedom Series: Oh God, 2012, mixed media on Arches paper, 43 in. (diameter)

From Freedom Series: Protest, 2011–12, mixed media on Arches paper, 50 in. (diameter)

Unless otherwise noted, all pieces are courtesy of the artist.

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ABoUt UMUCUMUC is the largest public university in the United States. As one of the 11 degree-granting institutions of the University System of Maryland, this global university specializes in high-quality academic programs tailored to working adults. UMUC has earned a worldwide reputation for excellence as a comprehensive virtual university and, through a combination of classroom and distance-learning formats, provides educational opportunities to more than 92,000 students.

The university is proud to offer highly acclaimed faculty and world-class student services to educate students online, throughout Maryland, across the United States, and in more than 25 countries and territories around the world. UMUC serves its students through undergraduate and graduate programs, noncredit leadership development, and customized programs. For more information regarding UMUC and its programs, visit www.umuc.edu.

ABoUt tHE ArtS At UMUCSince 1978, University of Maryland University College (UMUC) has proudly shown works from a large collection of international and Maryland artists at the UMUC Inn and Conference Center 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 its own collections, which have grown to include more than 1,900 pieces of art, and special exhibitions.

UMUC’s collections focus on both art by Maryland artists and art from around the world. They include the Maryland Artist Collection, the Doris Patz Collection of Mary-land Artists, the Asian Collections, the Education Collection, and the International Collection. The university’s collection of Maryland art includes approximately 1,400 works and provides a comprehensive survey of 20th- and 21st-century Maryland art. The university’s Asian Collections consist of nearly 420 pieces of Chinese art, Japanese prints, and Balinese folk art, dating from the Tang Dynasty (618–907 ad) through the 19th century—a historical reach of 13 centuries. The UMUC collection of Japanese prints includes more than 120 prints by 35 artists.

Artworks are on display throughout the UMUC Inn and Conference Center and the Administration Building in Adelphi as well as at the UMUC Academic Center at Largo. The main, lower-level gallery in Adelphi is open to the public from 9 a.m. to 9 p.m. seven days a week, and the Leroy Merritt Center for the Art of Joseph Sheppard is open to the public from 9 a.m. to 7 p.m. seven days a week. More than

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100,000 students, scholars, and visitors 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.

UMUC ArtS ProGrAM MiSSion StAtEMEntThe Arts Program at 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, exhibi-tion, 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.

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UMUC ARt AdViSORY BOARd

Javier MiyaresPresident University of Maryland University College

Michèle E. Jacobs, Chair Managing Director Special Events at Union Station

Anne V. Maher, Esq., Vice Chair Attorney at Law Kleinfeld, Kaplan & Becker, LLP

Eva J. Allen, PhD Art Historian

Myrtis BedollaOwner and Founding Director Galerie Myrtis

I-Ling Chow, honorary member Regional President and ManagingDirector, Ret. Asia Bank, N.A.

Linda Derrick Collector and Patron of the Arts

Patricia Dubroof Artist/Consultant IONA Senior Services

Nina C. DwyerArtist, Adjunct Professor of Art,Montgomery College

Jeannette GloverArtist, Program Manager, Maryland-National Capital Park and Planning Commission

Karin Goldstein, honorary member Art Collector

Juanita Boyd Hardy Director, Millennium Arts Salon Managing Principal Tiger Management Consulting Group, LLC

Sharon Smith Holston, Past Chair Artist’s Representative and Co-ownerHolston Originals

Pamela Holt Consultant Public Affairs Administration

Eric Key Director, Arts Program University of Maryland University College

Philip Koch Maryland Artist Professor, Maryland Institute College of Art

Thomas Li, honorary member Chairman and CEO, Ret. Biotech Research Labs, Inc.

David Maril, honorary member JournalistPresident, Herman Maril Foundation

Barbara Stephanic, PhD, Past Vice Chair, honorary member Professor of Art History, Ret. College of Southern Maryland

Dianne A. Whitfield-Locke, DDSCollector and Patron of the ArtsOwner, Dianne Whitfield-Locke Dentistry

UMUC BOARd OF ViSitORS

Mark J. Gerencser, ChairExecutive Vice PresidentBooz Allen Hamilton, Inc.

Evelyn J. Bata, PhDCollegiate ProfessorUniversity of Maryland University College

Richard F. BlewittMember EmeritusPresident and Chief Executive OfficerThe Blewitt Foundation

Joseph V. Bowen Jr.Senior Vice President, Operations, and Managing Principal, Ret.McKissack & McKissack

David W. BowerPresident and Chief Executive OfficerData Computer Corporation of America

John M. Derrick Jr.Chairman and Chief Executive Officer, Ret.Pepco Holdings, Inc.

Karl R. GumtowFounder and Chief Executive OfficerCyberPoint International

Michèle E. JacobsManaging DirectorSpecial Events at Union Station

Donald S. Orkand, PhD (Former Chair)Member EmeritusFounding PartnerDC Ventures and Associates, LLC

Lt. Gen. Emmett Paige Jr., U.S. Army, Ret.Vice President of Operations, Ret.Department of Defense/Intelligence ServicesLockheed Martin Information Technology

Charles E. (Ted) PeckChairman and Chief Executive Officer, Ret.The Ryland Group, Inc.

Sharon PinderFounder and Chief Executive OfficerThe Pinder Group

Brig. Gen. Velma Richardson, U.S. Army, Ret.Vice President, DoD IT Programsand Special Projects IS&GSLockheed Martin Corporation

Gen. John (Jack) Vessey Jr., U.S. Army, Ret.Member EmeritusFormer ChairmanU.S. Joint Chiefs of Staff

William T. (Bill) Wood, JDAttorney at LawWood Law Offices, LLC

Joyce M. WrightChief Claims Officer,People’s Trust Homeowners Insurance

COntRiBUtORS

Project Manager: Nichelle LenhardtCurator: Brian YoungEditors: Kate Thornton and Sandy BernsteinDesigner: Jennifer NorrisProduction Manager: Scott EuryFine Arts Technician: René A. SanjinesAdministrative Assistant: Denise Melvin

Unless otherwise noted, all artworkphotography was supplied by the artist.

© 2013 University of Maryland University College. All rights reserved. Copyright cred-its and attribution for certain illustrations are cited internally proximate to the illustrations. All rights reserved.

Cover artwork:Elizabeth Kauffman, Iceberg, 2012oil on canvas, 56 x 33 in.

13-ARTS-035

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The PorTraiT and The Figure

Faculty Art Invitational 2013

Arts Program / University of Maryland University College

FAhiMeh VAhdAthoward County Community College

From Freedom Series: Protest, 2011–12, mixed media on Arches paper, 50 in. (diameter)

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