umuc faculty art invitational exhibition, 2016

ALL THAT’S ART MAY 8–JULY 31, 2016

FACULTY ART INVITATIONAL 20

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ARTS PROGRAM | UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

ANNE McLAUGHLINUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Breaking Away, no date, mezzotint-style etching, 14 x 14 inches


2016

© 2016 University of Maryland University College. All rights reserved. Copyright credits and attribution for certain illustrations

are cited internally proximate to the illustrations.

ISBN 13:978-0-9842265-0-4ISBN-10: 0-98442265-0-8

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Dear Patrons of the Arts,

Every year, University of Maryland University College (UMUC), through its Arts Program, is privileged to showcase the work of some of Maryland’s most distinguished artists. Now, it is a special honor to highlight the talents of some of our own—artists who teach at UMUC or other institutions within the University System of Maryland—in the Faculty Arts Invitational 2016.

These faculty members embody the creative fire within our institutions, and they share their passion by working to equip the next generation of visual artists, designers, and graphic designers with the tools they need to achieve professional and personal success.

The Faculty Arts Invitational 2016 offers these artists—and their invited guests—a showcase for their fine art. It also serves to remind us of the importance of art in our communities.

No matter what subject they teach, these faculty members share information, perspective, appreciation, history, and criticism with their students. These students share their insights in return, and the resulting exchange shapes the future—of the arts and of our nation.

The Faculty Arts Invitational 2016 is curated by Joan Bevelaqua—a UMUC adjunct faculty member who deserves special recognition for her service to our students, her deep involve-ment in the arts community, and her efforts on behalf of the artists represented here. Through this exhibition, the remarkable talents on display are shared with a broader community— wholly consistent with UMUC’s mission of extending educational opportunities across Maryland and around the world.

Many thanks to Ms. Bevelaqua, to the staff and board members of the UMUC Arts Program, to all of the educators whose work is on display—and special thanks to you for your interest in and support of the arts.

Sincerely,

Javier MiyaresPresident University of Maryland University College

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MESSAGE FROM THE PRESIDENT

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Faculty members who engage students from year to year are the backbone of every educational institution. Faculty members who teach art within the USM are as important as those who provide instruction in any other academic field. These artists are training the next generation of artists. They impart their knowledge of a certain aspect of the art discipline to students. Whether they are teaching literary art, dance, visual art, or performing art, art professors give their students the tools and abilities to produce works that push the creative envelope or detail a narrative of daily life. In the visual arts, these narratives are portrayed in paintings, drawings, mixed media, photography, videography, and sculpture.

An artist once said to me that art is nothing but a creative process to express one’s state of mind and that those who have the ability to create such works broaden viewers’ minds. After further discussion, we concluded that art is an essential part of the cultural fiber of the world and has been part of the development of every society since early humans provided a glimpse into their lives through the drawings they left on cave walls. Today, we celebrate art and artists as tools of societal well-being. Communities with arts programs and students engaged in art are generally healthier communities in which to live. Universities and col-leges with arts programs produce creative thinkers and problem solvers as a result of their students’ exposure to some aspect of art.

The Faculty Art Invitational 2016 at UMUC is a product of the Arts Program and presents the creative expressions of artists who are faculty members within the USM along with invited guest artists from the community and surrounding colleges. It is a broad representation encompassing diverse styles, mediums, and theatrical approaches. Each work by each artist presents a unique dialogue for the viewer. More importantly, this exhibition provides a venue for artists in our community to showcase their works. It also recognizes them as professional artists who deserve respect and the attention of a larger audience. Many thanks to Joan Bevelaqua, an adjunct professor of art at UMUC, an artist, and a devoted participant in the field, who knows many of the artists in this exhibition and who served as guest curator for this project.

Eric Key Director, Arts Program University of Maryland University College

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DIRECTOR’S STATEMENT

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This year’s Faculty Art Invitational celebrates the recent achievements of artist/faculty mem-bers from Maryland’s public universities and community colleges by exhibiting their latest works in the UMUC Arts Program Gallery.

Today’s teaching artists serve as the first point of contact for many students who are major-ing in art or graphic communication or who simply wish to explore their creative talents. As teachers, these artists give students the guidance they need to become art practitioners, no matter what the students’ artistic ambitions may be. As artists, they devote time and energy to their own body of work. There is often a struggle between becoming an excellent instruc-tor and developing an artistic body of work, not only because of the time needed for both but also because the demands and challenges are so different.

A favorite author of mine, Joyce Carol Oates, who teaches writing at Princeton University, wrote about teaching and being a writer in A Widow’s Story: A Memoir. Much of what she wrote can also be applied to teaching art and being an artist. To paraphrase Oates, “Teaching art is an act of communication.”

Henry Adams wrote, “A teacher attains a kind of immortality because one never knows where a teacher’s influence ends.” There are tangible rewards with teaching students to think, evolve, and stretch their imaginations. I have received e-mails and been thanked by students for providing fundamentals, assigning creative work, and giving constructive feedback. The rewards as an artist, however, can be elusive. And while teaching is by nature a communal activity, working alone in a studio is the opposite.

To recognize Maryland’s teaching artists’ commitment to art, their students, and their profession, UMUC is proud to exhibit their most recent artworks at this year’s Faculty Art Invitational.

Joan Bevelaqua Guest Curator, Adjunct Faculty Member University of Maryland University College

CURATOR’S STATEMENT

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Clayton Lang, Bowie State University, Tale of All Tails (detail)

JAMES ADKINS

JOAN BEVELAQUA

ED BROWN

JOSEPH P. CASSAR

MATT SMITH CHAVEZ

DUSTIN DAVIS

JESSICA C. DAVIS

MICHEL S. DEMANCHE

SUSAN DODGE

NINA CHUNG DWYER

COLLEEN FITZGERALD

JAMES FITZSIMMONS

CHRISTOPHER HARRINGTON

PETER HERZFELD

BRADLEY HUDSON

THEODORE JOHNSON

MATT KLOS

DAVID LABROZZI

CLAYTON LANG

LINDSAY McCULLOCH

ANNE McLAUGHLIN

TRACE MILLER

NARE RATNAPALA

DING REN

DANIEL RIESMEYER

BROOKE ROGERS

JOHN RUPPERT

STUART STEIN

NORA STURGES

FAHIMEH VAHDAT

SARAH WEGNER

FEATURED ARTISTS

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JAMES ADKINSGUEST ARTIST

Passages2014, oil on canvas24 x 30 inches

I paint the nude figure, which has long been a traditional subject, but I consider myself a contemporary artist. The nude has symbolized the human condition; been used as allegory; and portrayed gods, heroines, victims, or objects of desire. I like to reference this past and other artists.

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JOAN BEVELAQUAUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Myth of Possession #42015, oil on canvas41½ x 35¾ inches

My paintings are based on observation. I have always enjoyed challenging myself to create an illusion of the real. I also employ images that explore the psychological and subconscious nature of reality to express what cannot be seen. Through my work I attempt to search for personal themes that have universal and archetypal meanings.

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ED BROWN SALISBURY UNIVERSITY

Wave II2014, charcoal27½ x 39½ inches

My interests in beginning a drawing or painting are formal, but I hope the end results are expressive of an emotional or spiritual state. My drawings begin as an exploration of line, value, and space. I am drawn to line. When I first look at a work of art, I look more at the lines on the surface than at the overall form.

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JOSEPH P. CASSARUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Balancing Act I2015, acrylic on canvas32 x 32 inches

I am interested in the language of color, forms, shapes, and textures.

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MATT SMITH CHAVEZUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Symbol and referent 3no date, archival inkjet print mounted on Sintra11 x 12 inches

For this series, I photographed studio materials on which I’ve used processes that are decidedly nonarchival—in this case, silk-screened fabric that will eventually disintegrate because it has been soaked in bleach. As these materials become archival inkjet prints, they take on hybrid properties: at once abstract fetishized art objects that are inherently nonreferential and photographs that are indexical archives of something destined for the waste bin.

Symbol and referent 3 (detail)

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DUSTIN DAVISFROSTBURG STATE UNIVERSITY

Games We Play 2014, mixed media 18 x 8 x 6 inches

My goal is to create artwork by using found objects and arranging the objects so they visually relate to one another in a simple and direct way. I integrate a conceptual attitude in each piece and use the title to influence the viewer’s perception.

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JESSICA C. DAVISSALISBURY UNIVERSITY

After Cartona2016, etching with alcohol, ink overlay, 14 x 11 inches

This new series of anatomical screen prints on layered glass and vellum, along with a series of etchings with translucent alcohol ink overlays, are a modern take on medical references of the High Renaissance period, with prints being the most common visual.

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MICHEL S. DEMANCHEUNIVERSITY OF MARYLAND EASTERN SHORE

UP22015, edition 1 of 5, silver gelatin print18 x 18 inches

UP2 is a response to another print (UP1) that evokes memories for me of 9/11. It is ambiguous. Is he jumping or falling?

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SUSAN DODGE FROSTBURG STATE UNIVERSITY

Quadrants.Untitledno date, oil on paper and pastel, 18 x 20 inches

As my work evolves, so do the sources that inspire my work. Some influences, however, remain constant. Images and readings relating to Native American cultures and mythologies inspire me. Initial ideas about spiritual rituals and the structure of the night sky used as both an allusion to protection and as a visual framework surface time and again in subtle ways. Other influences are formal and process-related or relate to the landscape of family structures, mothers and daughters, and growth. It is important for me to challenge myself and to have my work continually move forward.

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NINA CHUNG DWYER

MONTGOMERY COLLEGE

Passacaglia2015, silkscreen print on Arches 8817 x 23 inches

These works are part of a series of prints inspired by formations of wooden sticks used for erosion control in a wildlife refuge. The works seek to create a visual musicality from the rhythm of the lines, the geometry of their forms, the tension between natural and man-made elements, and the echo of the images by their reflections.

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COLLEEN FITZGERALDUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Becoming (Detail C)2015, pigment print10 x 8 inches

Becoming reflects the notion that the self is not a fixed entity but rather one that exists in a perpetual state of flux. The series echoes the paradoxical notion that creation often arises from destruction.

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JAMES FITZSIMMONSANNE ARUNDEL COMMUNITY COLLEGE

Coffee Maker #12015–16, oil on board60 x 48 inches

I have a desire to understand my place in a tradition that was born in the Renaissance, which includes a holistic reverence for nature and the mystery of life. However, I also want to speak to my time as a modern artist steeped in the tradition of painting, with the ability to create the world as it might be; to understand the underlying need for doing so; and to be sympathetic to the desire to express this need with paint in the twenty-first century.

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CHRISTOPHER HARRINGTON UNIVERSITY OF MARYLAND EASTERN SHORE

Echoesno date, mixed media (resin and pigment)30 x 24 inches

My objects blur the line between painting and sculpture. By using iridescent pigments, pumice, acrylic polymers, and resins, I attempt to create works that are dynamic from a distance but that also have many secrets that are revealed only on close inspection.

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PETER HERZFELDFROSTBURG STATE UNIVERSITY

Mom Cop Mom (triptych)2016, laser-engraved shina plywood, 3 pieces18 x 12 inches each

These images represent my journey toward minimalism. The added process of laser etching accentuates my desire to break boundaries within art and myself.

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BRADLEY HUDSON UNIVERSITY OF MARYLAND EASTERN SHORE

Dita Von Doom2014, acrylic on canvas36 x 24 inches

As an artist, printmaker, and illustrator, I like to make works that tell a story. I am currently creating Star Wars illustrations for Topps, and each one depicts a little portion of the Star Wars universe.

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THEODORE JOHNSONANNE ARUNDEL COMMUNITY COLLEGE

Clippings2015, oil on canvas 21½ x 21½ inches

For me, painting is a mechanism to process and meditate on systems and to respond to immediate and far-flung surroundings. It is also a way to imagine, construct, and recollect.

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MATT KLOS ANNE ARUNDEL COMMUNITY COLLEGE

Fort Howard #152014, oil on panel 48 x 48 inches

My Fort Howard painting project depicts abandoned Veterans Administration structures located on federal land in Sparrows Point, Maryland. The paintings objectively combine formal aspects of drawing and color while subjectively asking questions about federally owned property and the care and protections afforded historic homes on the national registry.

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DAVID LABROZZIUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

San Francisco Cyclist #22015, oil on linen34 x 38 inches

The primary focus of my work for the past nine years has been centered around understanding the phenomena of perceived motion on the static picture plane. On an abstract level, my paintings are designed to manipulate the physiological state of the viewer.

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CLAYTON LANGBOWIE STATE UNIVERSITY

Tale of All Tails2014, leather and mixed media, 58 x 64 inches

I work in leather because it allows me to pursue my dual interests in painting (color) and sculpture (form). In addition, the organic nature of leather seems appropriate in my quest to describe the spirit or life force embodied in all living things.

Tale of All Tails (detail)

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LINDSAY McCULLOCHANNE ARUNDEL COMMUNITY COLLEGE

Degeneration/Regeneration2014, oil on panel24 x 42½ inches

The paintings and prints in my Interference series are created through a complex interweaving of images sourced from specific places and events. Layers of digitized interference are then superimposed over the images to simulate the gradual distortion of memory through the passage of time.

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ANNE McLAUGHLIN UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Protecting the Nest no date, reduction woodcut14 x 14 inches

My goal is to look for designs, colors, and patterns in nature and interpret them beyond realism to the two-dimensional world of a print—finding the essence of a familiar object through intimacy. Printmaking to me is a challenge that forces a freedom in style by its lack of control combined with limitless avenues of experimentation.

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TRACE MILLERTOWSON UNIVERSITY

Entanglement2014, oil on vellum on panel42 x 36 inches

The black-and-white line abstractions here are intended to capture the fractal nature of the forest as a playful underlying grid for storing nature’s bountiful source of energy.

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NARE RATNAPALAUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Corresponding Quantity 22no date, acrylic on canvas48 x 38 inches

Evolving thoughts and a sequence of expressions are documented in visuals to capture a moment in the process.

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DING REN

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE EUROPE

inverted world2015–16, series of 15 digital C-prints from 35mm analog film, plastic sleeve64 x 6 inches

I use a field-driven approach to examine cross-cultural patterns at the junction between the foreign and the familiar. Instead of exploring obvious patterns, I am interested in the ones that are subtle and nuanced—traces in the topography and geography. My photographs are meant to show a connectedness with the immediate environment as well as express an interest in emotions and the human condition.

inverted world (detail)

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DANIEL RIESMEYERANNE ARUNDEL COMMUNITY COLLEGE

Night Logic 2015, oil on canvas24½ x 20½ inches

As a painter, fidelity to perception (to both my outer and inner worlds) is my chief concern. I think this is one of the most beautiful aspects of artistic expression—a painting can come from a very personal interior space while saying something that transcends our limited scope.

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BROOKE ROGERS SALISBURY UNIVERSITY

Overhead2015, acrylic on canvas36 x 36

I trace my painting roots to two important movements at the tail end of late modernism: pop art and minimalism. My minimalist bent comes from the flat Atlantic horizon, while the pop influences were the characteristic look of the surfing industry in the 1980s and the sparkling imagery of the boardwalk amusements in Ocean City, Maryland, where I grew up.

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JOHN RUPPERTUNIVERSITY OF MARYLAND, COLLEGE PARK

Fissure with Yellow Sky2015, composite photograph, 92 x 32 inches

I am inspired by the pull of gravity, the fiery origins of rock, the persistence of erosion, the splintering power of lightning, and the slow roll of the earth as we travel through space. A stone presents a story of geological time, dating back billions of years preceding human history and will endure well beyond our time. Similarly, the subjects in my work invariably show traces of their own making, whether formed by nature or by me.

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STUART STEINTOWSON UNIVERSITY

Win Man Win2015, oil and charcoal on canvas34 x 30 inches

My process is based on the development of a specific representational context for a period of painterly study. The representational structure is a reference that enables the artist to evaluate all aspects of process in relation to something concrete and understood, at least to some degree. I often use historical imagery because of the cultural context it occurs in and the potential for a painting to create an arena that is open for the viewer on a number of levels. The imagery provides a mixture of historical, cultural, textural, and even photographic density that hopefully provides the viewer with a basis for rich interaction.

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NORA STURGESTOWSON UNIVERSITY

Mattress2015, oil on medium-density fiberboard, 8 x 10 inches

Mattress is one of the paintings in The Building, a series of paintings of the least architecturally adventurous areas of the building I work in. At first glance generic, the off-white, cinder block hallways are enlivened by their human construction and use.

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FAHIMEH VAHDATHOWARD COMMUNITY COLLEGE

Adelabad Prison, Shiraz, IranFreedom Series, 2015–16 oil, print, ink, fabric, and collage on wood panel 90 x 48 x 3 inches

Like many Iranian artists living in exile, I speak through symbolism embedded in the rich tapestry of the Persian language. Symbolism shows up in my work not only as imagery but as an inherent part of the installation, in the materials I use in the traditional and nontraditional processes of printmaking, painting, and drawing. I usually incorporate interactive artwork and performance pieces within exhibition spaces. My work confronts female oppression and human rights abuses, especially in Iran, as well as throughout the Middle East and the United States. As an Iranian-American Baha’i artist in exile, my work also addresses the experience of “in-between-ness” as Eastern and Western ideals merge and separate.

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SARAH WEGNERPRINCE GEORGE’S COMMUNITY COLLEGE

Paincirca 2012, steel, found objects, and ram skull64 x 24 x 24 inches

My sculpture gives physical form to psychological states, which are revealed through the poses and through the choices and treatment of materials.

ANNE ARUNDEL COMMUNITY COLLEGE

BOWIE STATE UNIVERSITY

FROSTBURG STATE UNIVERSITY

HOWARD COMMUNITY COLLEGE

MONTGOMERY COLLEGE

PRINCE GEORGE’S COMMUNITY COLLEGE

SALISBURY UNIVERSITY

TOWSON UNIVERSITY

UNIVERSITY OF MARYLAND, COLLEGE PARK

UNIVERSITY OF MARYLAND EASTERN SHORE

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE EUROPE

FEATURED INSTITUTIONS

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James AdkinsGuest Artist

Passages2014, oil on canvas24 x 30 inches

Vanitas2015, oil on canvas36 x 36 inches

Joan BevelaquaUniversity of Maryland University College

Myth of Possession #12015, oil on canvas32 x 36 inches

Myth of Possession #42015, oil on canvas41½ x 35¾ inches

Ed BrownSalisbury University

Wave II2014, charcoal27½ x 39½ inches

Wave III2014, charcoal27½ x 39½ inches

Joseph P. CassarUniversity of Maryland University College

Balancing Act I2015, acrylic on canvas32 x 32 inches

Balancing Act II2015, acrylic on canvas32 x 32 inches

Matt Smith ChavezUniversity of Maryland University College




Dustin DavisFrostburg State University

Games We Play 2014, mixed media18 x 8 x 6 inches

Value Added 2016, mixed media24 x 5 x 3 inches

Jessica C. DavisSalisbury University

After Cartona2016, etching with alcohol, ink overlay14 x 11 inches

The Resulting Portrait2016, screen priston on vellum with light pad14 x 11 inches

Michel S. DemancheUniversity of Maryland Eastern Shore

UP12015, edition 1 of 5, silver gelatin print18½ x 18½ inches

UP22015, edition 1 of 5, silver gelatin print18 x 18 inches

Susan Dodge Frostburg State University

Postcards: Alternative Latitudesno date, monoprint, collage, and pastel 20 x 36 inches

Quadrants.Untitledno date, oil on paper and pastel 18 x 20 inches

Nina Chung DwyerMontgomery College

Crescendo2015, silkscreen print on Arches 8823 x 17 inches

Passacaglia2015, silkscreen print on Arches 8817 x 23 inches

Rondo I2015, silkscreen print on Arches 8817 x 23 inches

EXHIBITION LIST

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Colleen FitzgeraldUniversity of Maryland University College

Becoming (Detail C)2015, pigment print10 x 8 inches

James FitzsimmonsAnne Arundel Community College

Coffee Maker #12015–16, oil on board60 x 48 inches

Pumpkin Stack2014–15, oil on board48 x 32 inches

Christopher HarringtonUniversity of Maryland Eastern Shore

Echoesno date, mixed media (resin and pigment)30 x 24 inches

Radioactive Toy2014, mixed media (resin and pigment)24 x 24 inches

Peter HerzfeldFrostburg State University

Mom Cop Mom (triptych)2016, laser-engraved shina plywood, 3 pieces, 18 x 12 inches each

Bradley Hudson University of Maryland Eastern Shore

Dita Von Doom2014, acrylic on canvas36 x 24 inches

Murray2015, watercolor on paper14 x 11 inches

Theodore JohnsonAnne Arundel Community College

Clippings2015, oil on canvas 21½ x 21½ inches

Receipt2015, oil on canvas 40 x 50 inches

Matt KlosAnne Arundel Community College



David LabrozziUniversity of Maryland University College

Las Vegas #1circa 2015, oil on linen30 x 44 inches

San Francisco Cyclist #22015, oil on linen34 x 38 inches

Clayton LangBowie State University

Tale of All Tails2014, leather and mixed media58 x 64 inches

Lindsay McCullochAnne Arundel Community College

Degeneration/Regeneration2014, oil on panel24 x 42½ inches

Interference IV2014, screen print on Arches 889 x 16 inches

Anne McLaughlinUniversity of Maryland University College

Breaking Awayno date, mezzotint-style etching, 14 x 14 inches

Protecting the Nest no date, reduction woodcut14 x 14 inches

Trace MillerTowson University

Entanglement2014, oil on vellum on panel42 x 36 inches

Mandelbrot’s Premise (diptych)2014, oil on canvas, 2 pieces, 30 x 40 inches each

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Nare RatnapalaUniversity of Maryland University College

Corresponding Quantity 22no date, acrylic on canvas48 x 38 inches

Ding RenUniversity of Maryland University College Europe

Lungs2015, series of 15 digital C-prints from 35mm analog film, plastic sleeve64 x 6 inches

inverted world2015–2016, series of 15 digital C-prints from 35mm analog film, plastic sleeve64 x 6 inches

Daniel RiesmeyerAnne Arundel Community College

Night Logic 2015, oil on canvas24½ x 20½ inches

View of Dinan from Lehon2015, oil on canvas 21 x 19 inches

Brooke Rogers Salisbury University

Hometown2015, acrylic on canvas36 x 36

Overhead2015, acrylic on canvas36 x 36

John RuppertUniversity of Maryland, College Park

Column 2016, basalt and cast iron7½ x 4 x 3 inches

Fissure with Yellow Sky2015, composite photograph92 x 32 inches

Stuart SteinTowson University

Win Man Win2015, oil and charcoal on canvas34 x 30 inches

Nora SturgesTowson University

Mattress2015, oil on medium- density fiberboard8 x 10 inches

Table with Gloves2015, oil on medium- density fiberboard7 x 8¾ inches

Fahimeh VahdatHoward Community College

Adelabad Prison, Shiraz, IranFreedom Series, 2015–16 oil, print, ink, fabric, and collage on wood panel90 x 48 x 3 inches

Aylan Kurdi, the Drowned Syrian Refugee Boy2016, oil, print, ink, and collage on wood panel7½ x 4 x 3 inches

Sarah WegnerPrince George’s Community College

The Things I Did For Youcirca 2015, steel, found objects, and bronze 65 x 30 x 20 inches

Paincirca 2012, steel, found objects, and ram skull64 x 24 x 24 inches

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UMUC ARTS PROGRAM MISSION STATEMENTThe Arts Program at UMUC creates an environment in which its diverse constituents, includ-ing 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 teach-ing 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 dedi-cated 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.

CONTRIBUTORSDIRECTOR, ARTS PROGRAM: Eric Key CURATORS: Eric Key, Jon West-Bey, Joan BevelaquaEDITORS: Sandy Bernstein, Barbara ReedDIRECTOR, INSTITUTIONAL PROJECTS: Cynthia FriedmanDESIGNER: Jennifer NorrisPROJECT MANAGER: Laurie BushkoffPRODUCTION MANAGER: Scott EuryFINE ARTS TECHNICIAN: René A. SanjinesARTWORK PHOTOGRAPHY: pages 12, 15, 16, 18–19, 21, 25, 27, 31–33, 34, and 36–38 supplied by the artist; all others by John Woo

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UMUC ART ADVISORY BOARDJavier Miyares President University of Maryland University College

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

Eva J. Allen, Honorary Member Art Historian

Myrtis Bedolla, Vice Chair Owner and Founding Director Galerie Myrtis

Joan Bevelaqua Artist, Art Faculty University of Maryland University College

Schroeder Cherry, EdD Artist, Adjunct Professor of Museum Studies Morgan State University

I-Ling Chow, Honorary Member Regional President and Managing Director, Ret. Asia Bank, N.A.

Nina C. Dwyer Artist, Adjunct Professor of Art Montgomery College

Karin Goldstein, Honorary Member Collector and Patron of the Arts

Juanita Boyd Hardy, Honorary Member Executive Director CulturalDC

Sharon Smith Holston, Honorary Member Artist’s Representative and Co-Owner, Holston Originals

Pamela G. Holt Consultant Public Affairs and Cultural Policy Administration

Eric Key Director, Arts Program University of Maryland University College

Thomas Li, Honorary Member Chairman and Chief Executive Officer, Ret. Biotech Research Labs, Inc.

David Maril, Honorary Member Journalist President, Herman Maril Foundation

Terrie S. Rouse Executive Director, Georgetown Heritage, and President, Rouse Consulting

Christopher Shields Director, NASDAQ.com Business Operations

Barbara Stephanic, PhD, Honorary Member Professor Emerita of Art History College of Southern Maryland

Dianne A. Whitfield-Locke, DDS Collector and Patron of the Arts Owner, Dianne Whitfield-Locke Dentistry

Sharon Wolpoff Artist and Owner Wolpoff Studios

Elizabeth Zoltan, PhD Senior Director, School Support, Connections Education

UMUC BOARD OF VISITORSMark J. Gerencser, Chair Chairman of the Board CyberSpa, LLC

Evelyn J. Bata, PhD Collegiate Professor University of Maryland University College

Richard F. Blewitt, Member Emeritus Managing Partner, R&B Associates, and President, The Blewitt Foundation

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

David W. Bower Sr. Chief Executive Officer Data Computer Corporation of America

Karl R. Gumtow Co-Founder and Chief Executive Officer CyberPoint International, LLC

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

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

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

Sharon R. Pinder President and Chief Executive Officer Capital Region Minority Supplier Development Council

Brig. Gen. Velma L. Richardson, U.S. Army, Ret. President, VLR Consulting

Gen. John (Jack) Vessey Jr., U.S. Army, Ret., Member Emeritus Former Chairman U.S. Joint Chiefs of Staff

William T. (Bill) Wood, JD Founder Wood Law Offices, LLC

Joyce M. Wright Senior Consultant Fitzgerald Consulting

Cover artwork:Theodore Johnson Anne Arundel Community College Receipt, 2015, oil on canvas 40 x 50 inches

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ABOUT UMUCSERVING BUSY PROFESSIONALS WORLDWIDE

University of Maryland University College (UMUC) specializes in high-quality academic programs that are convenient for busy professionals. Our programs are specifically tailored to fit into the demanding lives of those who wish to pursue a respected degree that can advance them personally and grow their careers. UMUC has earned a worldwide reputation for excellence as a comprehensive virtual university and, through a combination of class-room and distance-learning formats, provides educational opportunities to more than 80,000 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 20 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 PROGRAM AT UMUCSince 1978, UMUC has proudly shown works from a large collection of international and Maryland artists at its headquarters in Adelphi, Maryland, a few miles from the nation’s capital. Through its Arts Program, the university provides a prestigious and wide-ranging forum for emerging and established artists and brings art to the community through special exhibitions and its own collections, which have grown to include more than 2,800 pieces of art.

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 Maryland Artists, the Asian Collections, the Education Collection, and the International Collection. The university’s collection of Maryland art includes approximately 2,000 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 College Park Marriott Hotel & Conference Center at UMUC 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 75,000 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.


FACULTY ART INVITATIONAL 20

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ARTS PROGRAM | UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

ANNE McLAUGHLINUNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

Breaking Away, no date, mezzotint-style etching, 14 x 14 inches

umuc faculty art invitational exhibition, 2016

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