UMUC 3rd Biennial Maryland Regional Juried Art Exhibition, 2016

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3rd Biennial Maryland Regional Juried Art Exhibition Presented by University of Maryland University College September 18–December 31, 2016 | University of Maryland University College | Arts Program Gallery

Sarah Abel-DeLuca Jessica Damen

Allan Akman

Steven Dobbin

Michael Fleischhacker Daniel Heifetz David Knopp

Cheryl Hurd

David Marion

Dominie Nash

Gail Nickells

Mike Shaffer

George Smyth

Sheldon Wallerstein

Bradley Gay

Francine Brady

Mike McConnell Ruth Pettus

Stuart Stein

Jun Lee

Iris Posner

Violette Liu

Norma Schwartz

Ako Yamro

Karen Klinedinst •

Duane Lutsko Lynda Mitic

Shahin Talishkhan

Ju Yun

Lesa Cook

Nicole Gunning

Gregory McLemore

Linda Syverson-Guild

Amare Selfu Worku

Sean FitzPatrick

Gloria Kirk

Lois Levitan

Davide Prete

Sally Canzoneri

John Grunwell

Sanzi Kermes

Kate Fitzpatrick

Lindsay McCulloch

Anthony Stellaccio

Joan Oppenheimer Weiss

Bernard Brooks

Mary Ellen Geissenhainer

Zofie Lang

Stephen Estrada

Teresa Jarzynski

Alice Kresse •

Brinille Ellis

Marty Ittner

Nipun Manda

Susan Bagshaw

Annette Fortt

Judith Kornett

Jereme Scott •

Tinam Valk

Fabiola Alvarez Yurcisin

Katherine Lambert

Message from the President

Dear Patrons of the Arts,


As part of our continued effort to support area artists and advance our educational mission, University of Maryland University College (UMUC) presents the Third Biennial Maryland Regional Juried Art Exhibition (BMRE). The goals of the BMRE are to attract emerging and established artists and to showcase a wide array of art forms and skill in art. Over the years, this exhibition has brought approximately 125 artists from Maryland, Northern Virginia, and the District of Columbia to the attention of the UMUC Arts Program. The jurors for this exhibition, who had the task of reviewing more than 350 works in various mediums, were Vanessa Thaxton-Ward, PhD, director and curator, Hampton University Museum; Nina C. Dwyer, adjunct professor of art, Montgomery College; and Gretchen Schermerhorn, artistic director, Pyramid Atlantic Art Center. These jurors used their combined artistic talents to select 60 of the submitted works to fashion an exciting exhibition that is reflective of current trends in art. The jurors also selected winners for the BMRE awards: President’s Best of Show Award, Jurors’ Choice Award, Award of Merit, Arts Program Honorable Mention, and Juror Recognition. The winner of the President’s Best of Show Award is invited to return for a solo exhibition next year. This exhibition will include a full-color exhibition catalog, invitations, posters, exhibition banners, press releases, and an opening reception. On behalf of the entire UMUC family, I would like to thank all the artists who submitted their work for this exhibition. If you were not selected for this BMRE, I encourage you to participate again. Additionally, I would like to thank the jurors for shaping an exhibition that is as wonderfully diverse as our community. Sincerely,

Javier Miyares President University of Maryland University College 2

One of the most important components of the BMRE is the jurors. Vanessa Thaxton-Ward, PhD, director and curator, Hampton University Museum; Nina C. Dwyer, adjunct professor of art, Montgomery College; and Gretchen Schermerhorn, artistic director, Pyramid Atlantic Art Center, selected the works for and designed this BMRE.

Eric Key Director, Arts Program University of Maryland University College

On behalf of the Arts Program at UMUC, I’d like to thank the jurors and all the artists who participated. We look forward to your continued support and involvement with the Arts Program.

Building on the success of the past two Biennial Maryland Regional Juried Art Exhibitions, this BMRE presents a wide variety of art by artists from Maryland, the District of Columbia, and Northern Virginia. The exhibition serves as a survey of art from the region—encompassing historical themes and events, iconic references, conceptual installations, and traditional and contemporary elements. This project is not a chronological assessment of art in our region but rather a broad look into the world of art by artists in our communities. The inspiration for and artistic approach to each work of art is personal and individual, yet all the works serve as powerful tools of communication. The Arts Program is glad to present a forum in which these artworks can speak to a new audience. As a regional exhibit, the project was carefully designed to provide local artists another professional environment to showcase their works. The selected works are not for sale in our gallery; rather, they are available through the participating artists. This enables the university to introduce these artists to a wider audience—and our community to their works—while supporting their effort to make a living from their art.

Curator's Statement

Jon West-Bey Curator, Arts Program University of Maryland University College

John Woo

Steven Halperson

Director's Statement

This year's BMRE is an exciting snapshot of the region’s artistic landscape. Since 2011, the Arts Program at UMUC has presented hundreds of submitted works through this exhibition and built valuable relationships with emerging and established artists in Maryland and beyond. The purpose of the BMRE is to give local artists a chance to have their work reviewed by a distinguished panel of jurors; the selected works result in a dynamic and thought-provoking exhibition. The jurors for this year’s exhibition had the difficult job of choosing works from among many quality submissions,

and I thank them for their service. This show will continue UMUC’s tradition of artistic excellence in Maryland and the region. UMUC has been a fixture within the Maryland art community since the Arts Program was founded in 1978. Since then, the program has been dedicated to featuring a diverse array of artwork. Through four unique collections—the Maryland Artist Collection, the Doris Patz Collection of Maryland Artists, the International Collection, and the Asian Collections— the program has developed into one of Maryland’s top resources for art and artists, and the overall collection has grown to include more than 2,800 works of art by artists from around the world. Our exhibitions show a diverse range, from the bold conceptual art of Akemi Maegawa to the classical sculptures of Joseph Sheppard. Our commitment to Maryland artists is demonstrated through the Herman Maril Gallery, the Gladys Goldstein Gallery, and the Selma Oppenheimer Gallery. We also expanded our reach with a recent exhibition at the federal courthouse in Greenbelt called Convergence: Narratives and Symbols, featuring the work of Bill Harris, Maria-Lana Queen, and Sargent-Thamm. We continue to work with artists and partners from across the country to fulfill our mission to make art accessible to everyone. This year’s BMRE includes work of incredible skill and powerful messages that will engage our students, staff, faculty, and arts community; advance the careers of local artists; and help forge larger conversations about art and the world around us. With your support, we will continue UMUC’s tradition of artistic excellence.


BMRE Jurors Gretchen Schermerhorn

It is an honor and a privilege to be a member of the jurors committee for the Third Biennial Maryland Regional Juried Art Exhibition. It has provided me with a unique opportunity to work with a collegial group of dedicated artists and educators.

I am honored to be one of the jurors for the Third Biennial Maryland Regional Juried Art Exhibition. Selecting 60 pieces from almost 325 entries was certainly not a simple task. However, I enjoyed the opportunity to sharpen my critical opinions and to collaborate with the other jurors.

It has been said that what makes good art is often subjective, which is true to some extent. Still, a juror’s decisions when selecting works for an exhibition are based on objective knowledge and critical thinking, as well as personal taste. This knowledge is rooted in many years of experience of looking at, sensing, and reacting to art. By bringing together a group of jurors with divergent artistic experiences, the resulting selection will be stimulating and eclectic—the product of a consensus built among curators who seek to combine balance and excellence.


Tracey Brown

Nina Chung Dwyer

Nina Chung Dwyer is an artist whose works have been shown in galleries stateside in Maryland; Virginia; Washington, D.C.; and New York; and overseas in Ireland. She has also taught drawing, watercolor,

In this show, there are works that may not seem to be immediately accessible, but after careful observation, they will reward viewers with a subtlety of message and beauty that is intriguing. Other works will provide an instant experience, engaging viewers right from the start, and so they are refreshing and invigorating. Of course, any successful work of art needs to resonate with the viewer, and in the works I reviewed I sought above all this ability to resonate. The goal is an ongoing visual communication that works on many levels.

and oil painting at Montgomery College,

I am delighted by the many diverse and quality entries we received. Some works not only are trying to adhere to traditional aesthetic values but also are willing to engage in unscripted innovation, with results that are both visually arresting and thoughtprovoking—a defining moment, for me at least, in the process of growth. Congratulations to those who are in the exhibition, and I encourage all those who participated to continue their creative work.

Invitational at UMUC; a group show at the

George Washington University, Prince George’s Community College, and the Smithsonian Institution. She received her MFA in painting from George Washington University and is a member of the Art Advisory Board of UMUC. Her exhibits in 2016 have included the Faculty Art

Ballinglen Arts Foundation, Ballycastle, Ireland; and the 25th anniversary show at the Artists Gallery, Frederick, Maryland.

I’ll start by stating that curiosity is one of my favorite traits. I often find that artists tend to be inquisitive and ardent researchers. That strong desire to learn or know something also pushes artists to take risks. That includes trying a new technique they read about or staying up all night because they want to see if the idea they were envisioning would come to fruition. With that in mind, my first act as juror was to select all the works that evoked my own sense of curiosity. I’m usually drawn to work that makes me wonder how it was made or what the artist was trying to say. The next thing I looked for was evidence of the human hand. We live in an age where we can design, print, and hang a work on the wall all in the same day. We can easily press the undo button when we make a mistake within a software application. The works that impressed me the most had slight imperfections or quirks of some sort. And last, as a classically trained artist, I couldn’t leave out works that showed an impressive use of perspective, proportion, and/or composition. I was stunned by the beauty of a quiet still life painting and of a delicate chiaroscuro portrait, simply because they were carried off with such technical bravado. I’d like to thank everyone at UMUC, especially Eric Key, for this opportunity. Most importantly, I would like to thank all the artists who submitted work for this exhibition.

Gretchen Schermerhorn

It is always an honor to be selected to serve as a juror for an art exhibition. The privilege of selecting a strong and cohesive exhibition is a daunting task when you are viewing the work of dynamic and innovative artists.

Gretchen Schermerhorn is currently the artistic director at Pyramid Atlantic, an art center dedicated to the creation and preservation of hand printmaking, papermaking, and the art of the book, in Hyattsville, Maryland. She received her MFA in printmaking from Arizona State University in 2004 and since then has completed artist residencies at Women’s Studio Workshop in Rosendale, New York; Columbia College Chicago Center for Book and Paper in Illinois; and Seacourt Print Workshop in Northern Ireland. Her prints, installations, and works on paper have been exhibited in New York, Boston, and Washington, D.C., and are in national and international collections.

As artists, you bare your soul to the viewer, often sharing your joys, sorrows, political views, and sense of humor. You take a chance with the audience, and some of you may be concerned about whether the audience “gets” it, while others may feel that you are doing a piece for yourself because that’s what you like. My advice to you is to continue to develop your ideas and explore various mediums, techniques, and new technologies, remembering to pay attention to craftsmanship. More than once, I have viewed a piece of art and loved it from afar. Upon really looking at it, however, the value of the artwork can be reduced because of poor craftsmanship, framing, and presentation. Of course, many artists are not wealthy. It may be difficult to afford to have someone properly mat and frame or professionally photograph your work. But when you do sell a piece of art, use some of the funds for professional photographs or to frame your work when you are selected to participate in a museum exhibition. Many museums are also struggling for funds and may be unable to frame your work for you. When I look at works for an exhibition, I look at the things that I have mentioned. What is the artist saying? What is the level of craftsmanship? How is the work presented, and how will it work with the whole?

Vanessa D. Thaxton-Ward

Vanessa D. Thaxton-Ward, PhD

Vanessa D. Thaxton-Ward has worked at the Hampton University Museum for 25 years and is currently the director and curator of collections. She is most proud of her work with a student membership organization, the Biggers’ Circle. She recently curated The Dianne WhitfieldLocke and Carnell Locke Collection: Building on Tradition; Michael B. Platt: A Digital Journey; Elizabeth Catlett: A Celebration of 100 Years; and Elizabeth Catlett and the Hampton Art Tradition. Thaxton-Ward received a BA in English from Virginia Wesleyan College, an MA in museum and archival studies from Hampton University, and a PhD in American studies from the College of William and Mary.

Thank you for this opportunity to view your work, and I hope that we have done you and all of the other outstanding artists justice in our selections. 5


Exhibition Awardees

Arts Program Honorable Mentions

1ST PLACE | President’s Best of Show Award

Lindsay McCulloch Summer

Mike McConnell Bear Carver (diptych, right panel)

Anthony Stellaccio Drifter (Home)

2ND PLACE | Jurors‘ Choice Award

Ako Yamro Ballerina

Fabiola Alvarez Yurcisin Homeland Security Advisory System

3RD PLACE | Award of Merit Jun Lee Got My Back

Juror Recognitions Bernard Brooks The Mango Lady Steven Dobbin I Repeat Myself David Marion Last Drop




Mike McConnell Bear Carver (diptych, right panel) 2015 acrylic on panel 48 x 60 inches

President's Best of Show Award Mike McConnell Bear Carver (diptych, right panel) I delight in making things. I build wood panels to paint on. The hard surface allows me to aggressively work back into the paint. My process uses single-edge razor blades to draw with and scrape into the painting. I use paint in a collagelike way, cutting out shapes. The shapes convert the history I’ve put in the painting into a new conversation. I observe constantly with the eyes of a kitten. Nature is the main course of my visual diet. I paint intuitively, but my former career as an illustrator unavoidably finds its way into my compositions. My memories and influences become my harvest. Bear Carver stems from a recent bicycle trip to northern California. Bears carved from local redwood are seemingly everywhere. I was alone on a morning ride on Highway 101 just outside the Redwood National Park when I stopped at a roadside market jammed with freshly carved bears. I met a man who was just starting his carving shift. Our conversation was brief. He was more interested in the first pull on his cigarette and the first pull on his saw-starter rope than a guy with a bike. As I meandered back to the road, I glanced back and he had already roughly carved a bear. Procreation by chain saw.



Jurors’ Choice Award Fabiola Alvarez Yurcisin Homeland Security Advisory System 2013 aluminum, acrylic paint, colored ribbons, and string size variable I create objects in response to systems that want to keep us under control or within certain limits. I am aware of these limits, and my work lives between my intuitive home of Mexico and my rational home of the United States. After 9/11 we went through a period of high uncertainty. We questioned how we would ever feel safe again. We have tried to find different systems that allow us to understand the likelihood of another attack. My piece Homeland Security Advisory System addresses the complex relationship that exists between living our lives freely, while at the same time being aware of the possibility of a terrorist attack.

John Woo

This color system was created by the Department of Homeland Security. By taking the colors of this system and weaving them onto five cages, I am observing how we created a psychological boundary around us. I wonder if we are trapped inside a system that can restrict how freely we live.


Art is my way of translating and observing how we humanize or desensitize our lives.


Award of Merit Jun Lee Got My Back 2016 woodcut 40 x 30 inches My concept is to evoke the different moments of our competitive lives, pieces that express the spectrum of competition from hiding away to preparing for a fight. We create barriers in our minds that allow us to think we have a space we can step into where the competition stops for a moment.


Honorable Mention

Arts Program Honorable Mention Lindsay McCulloch Summer 2016 oil on panel 24 x 42½ inches


My paintings and prints are created through a complex interweaving of images of specific places and events. Layers of digitized interference patterns are then superimposed over the images to simulate the gradual distortion of memory through the passage of time.

Honorable Mention

Arts Program Honorable Mention Anthony Stellaccio Drifter (Home)

I collect earth and objects from these spaces [cemeteries], sometimes leaving what I can in their place and sometimes incorporating the sacrifice of irreplaceable objects into my work. Theses rituals constitute my creative process: they are confrontational and cathartic.

2014 clay and cemetery dirt 9 x 7 x 16 inches (each)


Honorable Mention

Arts Program Honorable Mention Ako Yamro Ballerina 2013 bronze 27 x 13 x 13 inches My earliest memory of a desire to draw was when as a young boy of about eight or nine years old, I entered one of those contests where one is asked to draw a cartoon character from a matchbook cover. You then sent your drawing in to be evaluated for talent. Well, I won! I scored very high on their scale. All I had to do was send in some money (because I had such great potential artistic talent) for a course in drawing. I was so disappointed and hurt because my father refused to give me the money for the course. I begged, cried, and pouted for days. My father tried to explain it was just a sales gimmick; I just thought he was being mean. It wasn’t until later in life that I understood why he refused to give me the money. Even still, that experience exposed a passion for creating art that continues to this day.

Casimir Campos


Juror Recognition

Juror Recognition Bernard Brooks The Mango Lady 2013 oil on canvas 36 x 24 inches My creations are imaginary statements of body, soul, and spirit!


Juror Recognition

Juror Recognition Steven Dobbin I Repeat Myself 2016 timed, flashing neon sign 38 x 6½ x 4 inches

Patricia Stockman

An inventory of one's daily life would yield a collection of thousands of images, signs, and pieces of information in a multitude of formats. As individuals and as a culture, we repeat ouselves daily. As a special education teacher, I use repetition and symbols as a way of survival for my students.


Juror Recognition

Juror Recognition David Marion Last Drop 2015 clay, wood, and steel 127 x 53 x 53 inches I strive to create objects that illustrate a symbiotic relationship between man-made forms and the natural world through the juxtaposition of organic and mechanical imagery. The images gain their power through turbulent, dynamic juxtapositions created with contrasting media, texture, and form. I lived in industrial cities during my formative years as an artist, and my training is rooted in rendering organic forms through an urban prism. I focus on highlighting the human impact on the environment and technology’s impact on humans and investigating the mutation of organic and machine-like forms. My work combines large ceramic pieces, metal, rope, and found and organic objects. My endeavor is to develop a sculptural dialogue exploring the mutual benefit and challenges to a prolonged association of forces at the opposite ends of a spectrum.


Sarah Abel-DeLuca At Bethany Beach 2 2016 oil on masonite 15 x 14 inches I find the external world, just as it is, to be far more interesting than anything I could invent, perhaps because I see harmonies and repetitions of color, shape, and proportion wherever I look. My artistic goal is to understand and capture the outward appearance of my subjects (the process of which inevitably reveals their inner essence as well) within the structure of abstractly satisfying twodimensional compositions. In At Bethany Beach 2, the central figure’s simultaneous strength and tenderness, his oneness with his child, and their stillness and balance amid the chaos and randomness around them help to create the peculiar mix of ephemeral and eternal, personal and universal that is central to my work.


Allan Akman Pyramid Reflected 2013 screenprint on Arches 88 paper (19 colors) 10ž x 15 inches

I specialize in creating hand-pulled screenprints. About seven years ago, I decided I wanted to make a screenprint based on a photo of my in-laws. Not knowing how, I made my way to Pyramid Atlantic Art Center in Silver Spring, Maryland, where I met two screenprint associates who helped me with that first project. I’ve been screenprinting ever since. I have learned to adjust my dreams to the reality of the squeegee.


Susan Bagshaw Nude Self Portrait with Birds 2 2016 India ink wash and watercolor 42 x 32 inches I am inspired by the process and beauty of life, growth and decline, the human figure, animals, and plants. Creating my art incorporates sight, touch, smell, taste, sound, thoughts and dreams, life experience, and the media itself, like how charcoal feels in my hand and falls into dust on the page.


Francine Brady Looking After the Young II 2015 acrylic on canvas 13 x 13 inches

Joan Brady Photography

I'm a figurative painter working in acrylics. My imagery is narrative and symbolic. Nature is a great influence in my work and can be seen in the new worlds I create on canvas or paper. I like to keep the mystery in my painting by not revealing too much but instead allowing you, the viewers, to come to your own conclusions about the stories being told.


Sally Canzoneri Tenley Water Tower 2015 limited edition inkjet print with archival inks on fine art paper 14 x 21 inches


I use a digital camera, computer, and printer to make pictures on paper. I also use my images in paper art, like lenticular pictures and sculptural artist books. My work is about making a record of what interests me, but I hope it has meaning for others too.

Lesa Cook Bacchus as Uninvited Houseguest 2015 terra cotta 14 x 14 x 10 inches

Recently I have been reading about some of the characters in Greek and Roman mythology and was struck by the human qualities of the gods, their jealousies and passions, their strengths and shortcomings. I was interested in the stories and characters, but I started to wonder what would happen if they were put in a modern context. And so in creating Bacchus as Uninvited Houseguest, I am exploring the character of Bacchus as that party guest who just won’t leave, as the guy who comes in and makes himself a little too much at home. I was thinking of alcoholism, or any other kind of addiction, when something starts as a party and ends up as a compulsion. 23

Jessica Damen Raised With Walls 2014 oil on linen 76¼ x 47½ inches Raised With Walls is part of my Bad Education series, a look at contemporary events through the reflective prism of old photographs. I am always drawn to the past for an understanding of the present because, as William Faulkner once wrote (in Requiem for a Nun), “The past is never dead. It’s not even past.” When I find an old photograph that speaks to me, I research the story surrounding it. Although static, the image becomes alive with associations. I imagine the feelings of people from that bygone time and start the painting process with simple direct drawings. Tension builds between planning and allowing the process to unfold. I use both brushes and palette knives as if I were sculpting forms and carving planes, constantly erasing and reapplying images and lines. Thus, the application and removal of paint is vital to my discovery.

Norman Watkins

Raised With Walls is meant to convey a compendium of emotions. When not explored, emotions and their actions live on in the present. The boys are forced to fill enormous soldier’s boots. They are children caught in an endless chain of bad education.


Brinille Ellis Havana Red Smile 2015 photographic print 12 x 12 inches I am a "photo griot" who captures images that independently communicate the subjects' stories. My primary purpose is to visually create an emotional and artistic connection with each viewer. My images tell timeless stories of the celebration of culture and the range of our human emotions.


Stephen Estrada Dune Day Triptych 2015 oil on canvas 18 x 72 inches

I am intrigued by the American landscape and the intersections where the land meets sea and sky. My work explores nature’s forces, shifting light, and the ever-changing movements that shape and bend the terrain. Place and time are important to me. Certain spots draw me to them: Half Moon Bay in California, the eastern shore of Maryland and Virginia, the deserts of the Southwest. My ongoing Latitude Series explores specific points along North America’s latitude 37N from California’s Pacific coast to the marshes of eastern Virginia. Photographing and sketching the sources of many of my paintings happens at early dawn in the moments before the sun breaks the horizon. In the words of Don Juan, the Tarahumara shaman of Carlos Castaneda’s anthropological writings, it is the time when the spirit can slip more easily between different worlds and realities. To me, that is what a work of art is about, discovering a way to suspend the moment and slip into a different subjectivity, one that connects us to memory, nature, and spirit. My paintings are not meant to be idyllic postcards of the places I’ve traveled, rather they are reminders of the slender place we occupy at the edge of the elements.


Kate Fitzpatrick Meander 2013 acrylic paint, embroidery thread, and maps 40 x 30 inches

John Woo

By repurposing maps to create abstracted images of current and historical geographies that emerge along waterways, I create mixed-media paintings that address themes of place and identity. I directly draw upon rivers and waterways as they relate to the environment and the people who inhabit the land.


Sean FitzPatrick Don't truth me, and I won't truth you #1 2015 wood, steel, glue, nails, spray paint, and enamel 35 x 24 x 2 inches

Tommy Bruce

They are thus, thus and so, precisely thus.


Michael Fleischhacker Washington Street 1 2015 silver gelatin photo print 12 x 14 inches framed (approx.)

I am an amateur photographer who has been at it for about 30 years. Nowadays, I work exclusively in black and white and use film. My subjects include cityscapes and figure studies. I am particularly interested in the use of shadow and its relationship to light.


Annette Fortt Celestial City 2016 acrylic paint on canvas with mixed media 34 x 28 inches I draw inspiration from the natural environment, the people I encounter day to day, and the intrigue of what is current and trending. The old, the new, and the numinous are all a part of my belief system and find their place in my expression.


Bradley Gay PORT 2016 mixed media and acrylic on canvas 48 x 38 inches Insight is drawn from natural mechanics: wind, light, space. Form is drawn from organized unfamiliarity. Precision is followed by destruction, a corollary of my internal conflict with credence and the subjugation of regularity, each decision significant, and each movement of consequence.


Mary Ellen Geissenhainer First Field Trip 2015 colored pencil on Stonehenge paper 18 x 21 inches


I have been exploring the flexibility of colored pencil for several years now. I am fascinated with the ability to layer color on color, to release the medium to paint with the pigment and the details that it allows me to render. I enjoy the reaction of viewers when they say, "That's colored pencil?"

John Grunwell Entelechy 22 2014 acrylic on panel 48 x 48 x 2½ inches These pieces are part of an ongoing series called Entelechies. An entelechy can be thought of as the "condition in which a potentiality has become an actuality." The Entelechies, in hard-edge geometric abstraction, are analogous to the material/ immaterial forces that shape existence.


Nicole Gunning The Nickie 2015 ceramic stoneware with sealed polychrome finish 54 x 22½ x 15½ inches The Nickie is a life-sized ceramic figure modeled after the artist. She portrays a plus-size female form in a natural nude state. She is made from ceramic stoneware with a surface treatment to withstand the outdoors. The head and arms are absent. However, the sculpture still maintains a human form. The lack of identity within the work allows viewers to relate on a more personal level. The raw treatment of the ceramic body also acts to emphasize the natural beauty in the gesture of the nonidealized female form.

Maxwell Mackenzie

The Nickie is meant to replace the normally idealized female form, to find beauty in oneself, and to start a dialogue about body positivity. The Nickie confronts its viewers with the issues surrounding body image.


Daniel Heifetz Abstract Landscape 1 2016 oil, pastel, and charcoal on wood panel 48 x 36 inches The image starts as a physical drawing or painting. Almost all my drawings are in charcoal or pastel on paper, the paintings oil on canvas. I then scan or photograph them, creating an initial digital description. Some of these I put up on Flickr at that point, so as an image there is no difference (in an informational sense) from the original object. Most often however, I work the image using Photoshop using a variety of techniques, creating a new binary work, which I then post as a "digital print." Sometimes the change from the original is simply to give the charcoal image a monochrome cast, one that makes it look better (to my eye) on a computer monitor.


Cheryl Hurd Clay Treasures 2016 batik and dyed cotton fabrics, cotton thread, and cotton batting 60 x 24 inches In ancient times pottery was used to store and hide treasures and valuables. The contents were more valuable than the vase itself. As with humankind, our outer shell is temporary, it is fragile, it is earthbound. Our treasures lie within us. Our character, values, virtues, talents, passions are the things that will live on long after our flesh, the outer shell, is gone. Envisioning the vessel motif, I could see the virtues and qualities of women: grace, nurturing, fragility, sensuality, femininity, and the virtues required of restoration, repair, and refinement.


Marty Ittner Tangled Up in Blue 2014 cyanotype scroll 10 feet 4 inches x 38 inches The ocean accepts and conceals all that is thrown into it. Tangled Up in Blue dives beneath the surface to expose the final resting place of our plastic waste that comingles with marine life. The cyanotype scroll was exposed using plastic sheeting and drink lids, assembled to resemble a jellyfish.


Teresa Jarzynski Damian 2016 oil on canvas 36 x 24 inches

Pete Duvall

Damian was created during a four-month period in which I worked both in the studio of and under the guidance of Alyssa Monks, as well as privately in my studio. Through the study of proportion, color, and edges, I learned how to create a striking portrait at once realistic and painterly.


Sanzi Kermes IIITU (detail) 2016 screen print on paper, typewritten text, wood block, mat board, and book cloth 14 x 14 x 6 inches

I document games of Scrabble that I have played and compile the results into "book" form, sometimes making a traditional codex but more often stretching the boundary. I generate haiku based on the words played in each game and incorporate the haiku with the screen prints.


Gloria Kirk Egungun Masquerade Ensemble 2011 assorted African cloth, felt, leather, copper sheeting, owl pellets, and paper beads 38 x 46 x 3 inches


My mixed-media art is influenced by my life experiences and takes on themes of spiritual and personal identity as well as local and international significance. The Egungun Masquerade Ensemble brings together the traditions of two cultures: that of the Yoruba people of Nigeria and that of the Kota people of Gabon.

Karen Klinedinst Morning Moon 2015 iPhoneography, archival pigment print on bamboo-fiber paper 12 x 26 inches

All of us have a deep connection to places and landscapes from our past. Through our memories, we see these places not as they are but through the filter of emotion. My recent work explores the emotional qualities of landscapes with which I feel a deep connection.


David Knopp Tides 2015 Baltic birch plywood stack, laminated and carved 18 x 56 x 36 inches


I prefer an intuitive process, viewing the collaboration between ideas and materials as central. Every finished piece is one of a kind. The constant changes keep the work alive as it morphs into my interpretation. The process is paramount.

Judith Kornett Do Guns Have a Heart 2016 stoneware, underglaze, paint, and wood 40 x 30 x 22 inches

Gregory Staley

My sculptures represent my journey as a woman, aging with other women, in an increasingly difficult and violent world. These speak to the strength necessary to survive successfully in our society, as I struggle against physical and psychological challenges.


Alice Kresse Oh Pink Grotesk 2014 monoprint, oil-based inks on paper 20 x 28 inches (framed)


I love letters and alphabets. They do the work of human communication but are beautiful forms in their own right. My prints free letterforms from the regimented rows of words and sentences. In a new context, letters make no words but form a language of color, composition, and space.

Zofie Lang Nocebo 2016 drawer, acrylic, photo transfers, placebo pills, and found objects 16½ x 32 inches

My current work reflects my fascination with psychology, particularly how perceptions and beliefs influence human behavior and create reality. I examine these psychological phenomena by crafting narrative vignettes using photography and assemblage.


Lois Levitan Variation on a Theme 2007 plaster with milk finish 19 x 14 x 13 inches

John Woo

My emphasis while creating sculptures is on the rhythm of the human form. While I am engaged in the creative process, the concepts "simplicity of form" and "integrity of line" are always resounding in my mind. The expression "less is more" is so true and yet so hard to accomplish. When I feel I have extracted the superfluous and reduced the form to its most elemental state, I know it is time to stop.


Violette Liu Passing 2015 oil and graphite on canvas 40 x 65 inches

As with many people who come from third-culture backgrounds, I had to overcome drifting between identities in a constant state of impermanence. I feel the bird embodies that struggle for me, in how its wings make it a free being but at the same time allow it to move from one temporary perch to another.


Duane Lutsko Baltimore 395 North 2015 oil on linen 40 x 66 inches


Creating and experiencing art is fundamental to developing cognitive and emotional understanding. Art triggers the meaning-making capacity of the brain with narratives that resonate throughout the history of our humanity. As a studio painter, I am dedicated to the inner voice and in pursuit of the elusive zone: that perfect, elemental moment when everything flows. As an art educator, my objective remains the human core, but the goal is now extrinsic: to teach and train individuals with diverse backgrounds and abilities to tap into their strengths, challenge their fears, and to learn to see for themselves.

John Woo

Nipun Manda Illumination 2015 acrylic and pen on canvas 30 x 40 inches

My work is a contemporary statement through the perception of time and space. I incorporate visual, emotional, and psychological impressions of urban tension, raw emotions, and harsh realities tempered with gentle optimism and beauty, seeking the combination of objective and nonobjective.


Gregory McLemore Mysteries of Baltimore IV, Unexpected Windfall 2015 oil on Arches oil paper 22 x 30 inches


Magical realism, that is, creating scenarios that appear very naturalistic yet provide an opening to experience something slightly unreal or magical, is the foundation of my work. I want to open the possibility that extraordinary events can occur within energized, albeit natural environments.

Lynda Mitic Curls 2015 oil on canvas 24 x 36 inches

My love of the plant world is reflected in the images I record in my own gardens as well as in those that I encounter during my travels. My goal is to capture, magnify, and celebrate the beauty, power, detail, and sometimes, the whimsy of our natural world. I find joy in the interplay of contrasting light, intense colors, and interesting shapes of my subjects. It gives me pleasure to know that my plants, painted at the height of their beauty, live on timelessly in the “secret garden� of my paintings.


Dominie Nash Recombination 1 2015 cotton and silk organza 20 x 20 inches The Recombination series began as experiments in monoprinting on fabric. The original pieces seemed incomplete, and I set them aside. Recently, I discovered them again and decided to combine several to make new pieces. Each completed work is a combination of two or more of the original prints: layered, cut through, collaged, stitched. The originals are retained but transformed into something new.


Gail Nickells Watermelon 2014 oil on panel 41 x 28 inches

Scott Nickells

My art reflects my admiration of the 17th-century Dutch still-life painters. Inspired by my own garden, I love to observe nature's delicate features, whether the veins in a leaf or the tiny hairs on a bumblebee, and I include these intricate details in my paintings.


Ruth Pettus SILENCE 2009 shoe soles, wood, white paint, glue, dried tangerine, and dried lemon 20 x 16 x 4 inches I started working with shoes just out of the blue. I was reading A Tale of Two Cities, and there's a particular passage where everyone gets stuck in the mud . . . and then I made a shoe. I didn't really think anything of it—I was just working in my basement with the shoes. Then I saw the work of Willie Cole, an African American artist who had used women's stilettos to make these rings or ovals. They looked like tribal shields, and I thought, maybe there is something in doing the shoes.


Iris Posner Gestation 2016 digital print 14 x 11 inches I use art to bring awareness to, encourage dialogue about, and promote action on significant social issues and to promote the importance of protecting the natural world. My “tool bag� includes traditional and nontraditional art forms and materials, their merger and simultaneous use. I also use nontoxic and recycled materials to the extent possible.


John Woo

Davide Prete Compass 2014 bronze from 3D printed ABS 6 x 16 x 6 inches


My interest with creative processes has gone through various phases over the years. My focus has changed a lot from the initial interest in geometric and figurative sculpture and materials to new technologies, digital sculpting, and computational design.

Norma Schwartz Untitled 2016 wood 55 x 26 x 21 inches Wood has become my primary sculpture medium. Through all the processes involved in shaping the wood—from the first impulse of making the sketches, making clay models, and going to the mill to select the wood, to the final step of applying the oil that will protect it—I found myself thinking about how to express the idea that will become its name.

John Woo

Untitled carries in its name one question: what is the meaning that all images evoke when perceived. For each of us, it represents something different; what we see becomes shaped by our own history. In this sense, this work will be titled in our own words.


Jereme Scott Dirty Water. Cotton Candy. 2016 oil on canvas 60 x 48 inches I strive to create artworks that are thoughtful, contemporary, well crafted, and dramatic. Much of my work focuses on the use of everyday symbols arranged to create dynamic, underlying narratives. I also use bits of humor, strong social commentary, and dramatic lighting to create artworks that will challenge a viewer's sensibilities as well as hold their attention.


Mike Shaffer Monument to the Setting Sun 2016 painted wood 8 x 2 x 2 feet One of the regrets I have as a working artist is that I am not able to significantly affect ways to reduce the violence we see in the world today. This monument is intended to call attention to one of the most beautiful wonders able to be seen around the world.


George Smyth Discovery 2016 bromoil print 8 x 12 inches


My art is primarily offered through the bromoil process. This early 20th-century photographic process involves the creation of a traditional darkroom print, the removal of the print's silver image, and replacement with lithographic ink through the striking of the print by an ink-charged brush.

Stuart Stein Fred likes Trump 2016 pencil on digital print 27 x 21 inches My current work is preoccupied with intermixing hand-drawn graphite facets, hand-drawn digital facets, and digital printing, in order to make intangible the division between traditional hand-drawn drawing process and a digital process.


Linda Syverson-Guild Urban Deco 2015 “urban textures” fabrics, Kona cotton, and plastic curtain ring buttons 48¼ x 28¼ inches

Mark Gulezian

Art Deco frequently displays motion frozen in time. In Urban Deco, a moment has been captured using hard lines and angles to showcase the dynamic movements of the urban textures fabrics. Providing peace among the chaos is a semicircular disc suspended above the plane.


Shahin Talishkhan Constellation 2016 oil on canvas 42 x 44 inches My recent work explores early stages of visual perception. I am primarily concerned with intuitive and emotional aspects of sight. I think of my paintings as charged with their own energy, alive and engaged with the people and environments around them.

John Woo

This interest in visual perception also informs my teaching practice. Through lecture, demonstration, and direct instruction, I expand on formal theory and the popular practice of "drawing on the right side of the brain" to help students see and paint with more depth and precision.


Tinam Valk Tide Coming In 2015 mixed media on canvas 48 x 36 inches Ambiguity seems to be the main subject in my art—either ambiguity of shelter, as in my architecture-related paintings, or ambiguity of nature (landscape), as in some of my other work. I am interested in subjects with layers, either emotional or actual layers through age or history, as seen in old structures, buildings, statues, etc. I try to convey this feeling through my application of materials on the canvas, i.e., modeling paste (to create texture), acrylic underpainting, mixed media like oils, charcoal, pencil, and pastel, or erasing and building up again. I am not interested in telling viewers what to see and prefer their own emotional response to each image.

John Woo

The work is primarily executed in the studio after sketches from life. Sources for these sketches include parks, estate gardens, old cities (Europe and U.S.) or from memory. Significant influences are artists connected to tonalism or intimism painting, such as Albert Pinkham Ryder, George Inness, and Caspar David Friedrich.


Sheldon Wallerstein Kid Next Door 2012 acrylic on canvas 36 x 36 inches Since retiring from the advertising business in 1995, I have pursued several avenues of artistic expression, including painting, sculpting, acting, and poetry. I am continually searching to find my true calling. I take great pleasure in expressing my creativity, with the hope it is appreciated.


Joan Oppenheimer Weiss Seascape 2016 watercolor 14 x 11 inches

Betsy Weiss

As an artist, I draw inspiration from the spirit of natural forces surrounding me, often experimenting with diverse colors and media.


John Woo

Amare Selfu Worku I Belong Here 2015 acrylic on canvas 67 x 112 inches

I am interested in the physicality and nonphysicality of borders and mental mapping—the liminal zone between here and there, the differentiation that takes place simultaneously between us and them, ours and theirs, toward the creation of feelings of inclusion, exclusion, and otherness.


Ju Yun Hidden Beauty Secrets 2015 oil on canvas 36 x 48 inches


I place an emphasis on the natural and eloquent simplicity that dominates traditional Korean art forms. At the same time, my idiosyncratic approach and nod toward Western formalism is also entirely modern in tone.

Exhibition Checklist Sarah Abel-DeLuca At Bethany Beach 2, 2016, oil on masonite, 15 x 14 inches Allan Akman Pyramid Reflected, 2013, screenprint on Arches 88 paper (19 colors), 10¾ x 15 inches Susan Bagshaw Nude Self Portrait with Birds 2, 2016, India ink wash and watercolor, 42 x 32 inches Francine Brady Looking After the Young II, 2015, acrylic on canvas, 13 x 13 inches Bernard Brooks The Mango Lady, 2013, oil on canvas, 36 x 24 inches Sally Canzoneri Tenley Water Tower, 2015, limited edition inkjet print with archival inks on fine art paper, 14 x 21 inches Lesa Cook Bacchus as Uninvited Houseguest, 2015, terra cotta, 14 x 14 x 10 inches Jessica Damen Raised With Walls, 2014, oil on linen, 76¼ x 47½ inches Steven Dobbin I Repeat Myself, 2016, timed, flashing neon sign, 38 x 6½ x 4 inches Brinille Ellis Havana Red Smile, 2015, photographic print, 12 x 12 inches

Stephen Estrada Dune Day Triptych, 2015, oil on canvas, 18 x 72 inches

Cheryl Hurd Clay Treasures, 2016, batik and dyed cotton fabrics, cotton thread, and cotton batting, 60 x 24 inches

Kate Fitzpatrick Meander, 2013, acrylic paint, embroidery thread, and maps, 40 x 30 inches

Marty Ittner Tangled Up in Blue, 2014, cyanotype scroll, 10 feet 4 inches x 38 inches

Sean FitzPatrick Don’t truth me, and I won’t truth you #1, 2015 wood, steel, glue, nails, spray paint, and enamel, 35 x 24 x 2 inches

Teresa Jarzynski Damian, 2016, oil on canvas, 36 x 24 inches

Michael Fleischhacker Washington Street 1, 2015, silver gelatin photo print, 12 x 14 inches framed (approx.)

Sanzi Kermes IIITU (detail), 2016, screen print on paper, typewritten text, wood block, mat board, and book cloth, 14 x 14 x 6 inches

Annette Fortt Celestial City, 2016, acrylic paint on canvas with mixed media, 34 x 28 inches

Gloria Kirk Egungun Masquerade Ensemble, 2011, assorted African cloth, felt, leather, copper sheeting, owl pellets, and paper beads, 38 x 46 x 3 inches

Bradley Gay PORT, 2016, mixed media and acrylic on canvas, 48 x 38 inches

Karen Klinedinst Morning Moon, 2015, iPhoneography, archival pigment print on bamboo-fiber paper, 12 x 26 inches

Mary Ellen Geissenhainer First Field Trip, 2015, colored pencil on Stonehenge paper, 18 x 21 inches

David Knopp Tides, 2015, Baltic birch plywood stack, laminated and carved, 18 x 56 x 36 inches

John Grunwell Entelechy 22, 2014, acrylic on panel, 48 x 48 x 2 inches

Judith Kornett Do Guns Have a Heart, 2016, stoneware, underglaze, paint, and wood, 40 x 30 x 22 inches

Nicole Gunning The Nickie, 2015, ceramic stoneware with sealed polychrome finish, 54 x 22½ x 15½ inches

Alice Kresse Oh Pink Grotesk, 2014, monoprint, oil-based inks on paper, 20 x 28 (framed)

Daniel Heifetz Abstract Landscape 1, 2016, oil, pastel, and charcoal on wood panel, 48 x 36 inches

Zofie Lang Nocebo, 2016, drawer, acrylic, photo transfers, placebo pills, and found objects, 16½ x 32 inches Jun Lee Got My Back, 2016, woodcut, 40 x 30 inches


Lois Levitan Variation on a Theme, 2007, plaster with milk finish, 19 x 14 x 13 inches Violette Liu Passing, 2015, oil and graphite on canvas, 40 x 65 inches

Iris Posner Gestation, 2016, digital print, 14 x 11 inches

Duane Lutsko Baltimore 395 North, 2015, oil on linen, 40 x 66 inches

Davide Prete Compass, 2014, bronze from 3D printed ABS, 6 x 16 x 6 inches

Nipun Manda Illumination, 2015, acrylic and pen on canvas, 30 x 40 inches

Norma Schwartz Untitled, 2016, wood, 55 x 26 x 21 inches

David Marion Last Drop, 2015, clay, wood, and steel, 127 x 53 x 53 inches Mike McConnell Bear Carver (diptych, right panel), 2015, acrylic on panel, 48 x 60 inches Lindsay McCulloch Summer, 2016, oil on panel, 24 x 42½ inches Gregory McLemore Mysteries of Baltimore IV, Unexpected Windfall, 2015, oil on Arches oil paper, 22 x 30 inches Lynda Mitic Curls, 2015, oil on canvas, 24 x 36 inches Dominie Nash Recombination 1, 2015, cotton and silk organza, 20 x 20 inches Gail Nickells Watermelon, 2014, oil on panel, 41 x 28 inches


Ruth Pettus SILENCE, 2009, shoe soles, wood, white paint, glue, dried tangerine, and dried lemon, 20 x 16 x 4 inches

Jereme Scott Dirty Water. Cotton Candy., 2016, oil on canvas, 60 x 48 inches Mike Shaffer Monument to the Setting Sun, 2016, painted wood, 8 x 2 x 2 feet George Smyth Discovery, 2016, bromoil print, 8 x 12 inches Stuart Stein Fred likes Trump, 2016, pencil on digital print, 27 x 21 inches Anthony Stellaccio Drifter (Home), 2014, clay and cemetery dirt, 9 x 7 x 16 inches (each) Linda Syverson-Guild Urban Deco, 2015, “urban textures” fabrics, Kona cotton, and plastic curtain ring buttons, 48¼ x 28¼ inches Shahin Talishkhan Constellation, 2016, oil on canvas, 42 x 44 inches

Tinam Valk Tide Coming In, 2015, mixed media on canvas, 48 x 36 inches Sheldon Wallerstein Kid Next Door, 2012, acrylic on canvas, 36 x 36 inches Joan Oppenheimer Weiss Seascape, 2016, watercolor, 14 x 11 inches Amare Selfu Worku I Belong Here, 2015, acrylic on canvas, 67 x 112 inches Ako Yamro Ballerina, 2013, bronze, 27 x 13 x 13 inches Ju Yun Hidden Beauty Secrets, 2015, oil on canvas, 36 x 48 inches Fabiola Alvarez Yurcisin Homeland Security Advisory System, 2013, aluminum, acrylic paint, colored ribbons, and string, size variable

UMUC ART ADVISORY BOARD Javier Miyares President University of Maryland University College Anne V. Maher, Esq., Chair Attorney at Law Kleinfeld, Kaplan & Becker, LLP Eva J. Allen, PhD, 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

David Maril, Honorary Member Journalist President, Herman Maril Foundation

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

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

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

Christopher Shields Director, 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 VISITORS Mark J. Gerencser, Chair Chairman of the Board CyberSpa, LLC Evelyn J. Bata, PhD Professor Emerita University of Maryland University College Richard F. Blewitt, Member Emeritus Managing Partner, R&B Associates, and President, The Blewitt Foundation

Pamela G. Holt Consultant Public Affairs and Cultural Policy Administration

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

Eric Key Director, Arts Program University of Maryland University College

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

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

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

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 William T. (Bill) Wood, JD Founder Wood Law Offices, LLC Joyce M. Wright Senior Consultant Fitzgerald Consulting

CONTRIBUTORS Director, Arts Program: Eric Key Curators: Eric Key, Jon West-Bey Editors: Sandy Bernstein, Beth Butler, Nancy Kochuk, Barbara Reed Director, Institutional Projects: Cynthia Friedman Designer: Jennifer Norris Project Manager: Laurie Bushkoff Production Manager: Scott Eury Fine Arts Technician: RenĂŠ A. Sanjines Artwork photography courtesty of the artist unless noted otherwise




The 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.

Serving Busy Professionals Worldwide

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.

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 classroom and distance-learning formats, provides educational opportunities to more than 80,000 students. The university is proud to offer a distinguished faculty of scholar-practitioners and worldclass 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 career counseling. For more information regarding UMUC and its programs, visit

ABOUT THE ARTS PROGRAM AT UMUC Since 1978, UMUC has proudly shown works from a large collection of international and Maryland artists at its headquarters in Adelphi, Maryland, a few miles from the nation’s capital. Through its Arts Program, the university provides a prestigious and wide-ranging forum for emerging and established artists and brings art to the community through special exhibitions and its own collections, which have grown to include more than 2,800 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.

© 2016 University of Maryland University College. All rights reserved. Copyright credits and attribution for certain illustrations are cited internally proximate to the illustrations. ISBN: 13:978-0-9842265-0-4 ISBN: 10:0-98442265-0-8


Cover artwork details, left to right: Alice Kresse, Oh Pink Grotesk Jun Lee, Got My Back Ju Yun, Hidden Beauty Secrets Allan Akman, Pyramid Reflected Susan Bagshaw, Nude Self Portrait with Birds 2 John Grunwell, Entelechy 22

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