Art@UMUC Newsletter, Fall 2012

U N I V E RS I TY

O F

MA RY L AN D

U N IV E RS I TY

C O L L E G E

Greetings from the President Dear Friends,

Katherine Lambert photography

This summer proved to be a busy one for the Arts Program at University of Maryland University College (UMUC). The university brought several additional exhibitions to the community this season, including the Faculty Art Invitational Exhibition, Celebrating Paper and Color: The Art of Gladys Goldstein and Preston Sampson, and Noi Volkov: Reforming the Masters.

Unleashing the Humor in Art! These exhibitions brought unique artwork in a variety of media to our art patrons and helped enrich our perspectives on the world around us.

3 The Singular Vision of Sheep Jones 2 In Appreciation of Bylee Massey, Her innovative idea and spirit drove the creation of the Maryland Artist Collection

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

1 Greetings from the President & Greetings from the Chair

7 Become a Friend of the Arts at UMUC 6 Upcoming Events 6 University of Maryland University College Arts Program Mission Statement 5 Did You Know?

4 The Wonderful and Wacky World of Noi Volkov

IN THIS ISSUE News and perspectives for friends of the arts

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

Sincerely,

FALL 2012

GreetinGs from the Chair Dear Friends,

TRACEY BROWN photography

Thank you to everyone who has been able to join us at one or more of the very exciting receptions and exhibitions we held this spring and summer.

As chair of the Art Advisory Board at UMUC, I am so proud to be part of an organization that has brought such an extensive and impressive group of exhibitions to our students, faculty, staff, and community. I assure you, thoug, that the work of the Art Advisory Board continues; we are diligently working to ensure that our community has every opportunity for expo-sure to art. We are collaborating to bring you art by the best artists from the Maryland region and beyond.

If you have not been to one of UMUC’s art exhibitions recently, I strongly encourage you to do so.

The Arts Program has a great deal in store for this fall and winter, including Vista: Contemporary Works by Latin American Artists, Modernism: James Hilliary and Color, and Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Victor Ekpuk, and Skunder Boghossian. We are also planning a symposium in conjunction with the David C.Driskell enter for the Study of the Visual Arts and Culture of African Americans and the African Diaspora. The symposium, Jazz: A Dailogue in the Performance and Visual Arts, is scheduled for February 2013. More details will become available as the event approaches.

Arts Program 3501 University Boulevard East Adelphi, MD 20783-8007 USA www.umuc.edu/art

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

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

Sincerely

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

www.umuc.edu/art •

page 1

U N I V E RS I TY

O F

M A RY L A N D

U N I VE RS I TY

C O L L E G E

Greetings from the President Dear Friends,

3 The Singular Vision of Sheep Jones 2 In Appreciation of Bylee Massey, Her innovative idea and spirit drove the creation of the Maryland Artist Collection

University of Maryland University College is a constituent institution of the University System of Maryland. Art@umuc is published twice a year by UMUC’s Art Advisory Board.

Please send comments to arts@umuc.edu or mail to

1 Greetings from the President & Greetings from the Chair

Newsletter Editor Arts Program University of Maryland University College 3501 University Boulevard East Adelphi, MD 20783-8007 Phone 301-985-7937 • Fax 301-985-7865

7 Become a Friend of the Arts at UMUC 6 Upcoming Events 6 University of Maryland University College Arts Program Mission Statement 5 Did You Know?

4 The Wonderful and Wacky World of Noi Volkov

IN THIS ISSUE News and perspectives for friends of the arts

Managing Editor Eric Key Graphic Designer Jordan Campbell

FALL 2012

Arts Programs Updates Get the latest updates on the UMUC Arts Program. Visit www.umuc.edu/art/newsonline

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

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

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

Sincerely,

Javier Miyares Acting President, University of Maryland University College

Greetings from the Chair Dear Friends, Thank you to everyone who has been able to join us at one or more of the very exciting receptions and exhibitions we held this spring and summer.

As chair of the Art Advisory Board at UMUC, I am so proud to be part of an organization that has brought such an extensive and impressive group of exhibitions to our students, faculty, staff, and community. I assure you, though, that the work of the Art Advisory Board continues; we are diligently working to ensure that our community has every opportunity for exposure to art. We are collaborating to bring you art by the best artists from the Maryland region and beyond.

TRACEY BROWN photography

UMUC Art Advisory Board Javier Miyares Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Eva J. Allen, PhD Myrtis Bedolla I-Ling Chow, honorary member Paula Cleggett Linda Derrick Patricia Dubroof Karin Goldstein, honorary member Juanita Boyd Hardy Sharon Smith Holston, Past Chair Pamela Holt Eric Key Philip Koch Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member

Katherine Lambert photography

Fall 2012

This summer proved to be a busy one for the Arts Program at University of Maryland University College (UMUC). The university brought several additional exhibitions to the community this season, including the Faculty Art Invitational Exhibition, Celebrating Paper and Color: The Art of Gladys Goldstein and Preston Sampson, and Noi Volkov: Reforming the Masters.

Unleashing the Humor in Art! These exhibitions brought unique artwork in a variety of media to our art patrons and helped enrich our perspectives on the world around us.

If you have not been to one of UMUC’s art exhibitions recently, I strongly encourage you to do so.

The Arts Program has a great deal in store for this fall and winter, including Vista: Contemporary Works by Latin American Artists, Modernism: James Hilliary and Color, and Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Victor Ekpuk, and Skunder Boghossian. We are also planning a symposium in conjunction with the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora. The symposium, Jazz: A Dailogue in the Performance and Visual Arts, is scheduled for February 2013. More details will become available as the event approaches.

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

Sincerely,

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

www.umuc.edu/art •

page 1

Arts Program 3501 University Boulevard East Adelphi, MD 20783-8007 USA www.umuc.edu/art

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

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

The Singular Vision of Sheep Jones by

by Steven Steven Scott, Scott, Director Director Steven Steven Scott Scott Gallery, Gallery, Baltimore Baltimore

When Bylee Massey arrived at UMUC’s Inn

Maryland Artist Collection without funding or

“The art made a tremendous difference to the

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

Upon their return to the United States in 1980,

equally common subject in her recent work

and Conference Center in 1978, something

a paid staff.

university, and it was Bylee who convinced Ben

real name!?!” These exclamations are the first

they lived in Northampton, Massachusetts, while

is the solitary female figure, dressed in exotic

to begin and establish the Maryland art collec-

things I hear from gallery visitors on an almost

Charlie pursued his PhD. Sheep rarely painted

costume, standing tall on the horizon, and wel-

tion,” recalled Allan Hershfield, PhD. Hershfield

daily basis when people first encounter the work

during these five years, and instead devoted

coming the viewer into her enchanting vista.

was executive vice chancellor of UMUC from

of Sheep Jones.

herself to raising their two sons.

didn’t seem quite right.

“But the collection quickly developed when we

Her husband, T. Benjamin Massey, PhD, who

learned that there were collectors and support-

had been named president of the university,

ers of the Maryland artists who were very happy

recalled in a 1998 interview with the Baltimore

to donate works, and that’s when the focus

Born and raised in rural Waterville, Maine, the

In 1985, the family moved to Fairfax, Virginia,

Alexandria from 1994 to 2004, became a resi-

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

changed. There were people like Jules Horelick,

“What a difference her efforts meant,” said

former Elaine Cyr grew up in a strict Catholic,

as Charlie had received a tenured position at

dent artist at the Torpedo Factory in 2000, and

‘My, this looks like a hospital.’”

who had been buying works by Baltimore artists

Hershfield, who is now retired and lives in

French-Canadian-speaking household, the oldest

George Mason University. Restless from her

was named the Torpedo Factory Artist of the

for years and years, and he was most happy to

Amherst, Massachusetts. “The collection of

of five children. The artist’s unique perspective

hiatus from painting and with her sons now

Year in 2003, which resulted in an acclaimed

share,” she told the Baltimore Sun.

art brought so much to the university, trans-

in her work is partly the result of a childhood

in school, Sheep began taking classes in paint-

solo show at the Target Gallery. She has been

forming those bleak walls into something

accident at age three—she ran headfirst into

ing at the Art League School at the Torpedo

represented by Steven Scott Gallery, Baltimore,

that was beautiful for the UMUC community.

a tree branch while running with five playmates

Factory in Old Town Alexandria in 1987. She

since 2009, and UMUC acquired three of her

I watched her work very hard, determined to

around an apple tree and lost the vision in her left

found that she was drawn to growth below the

paintings in 2010. Visitors to my gallery marvel

establish the collection.”

eye. She now has very limited depth perception

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

at Sheep’s bravura brushwork, unexpected

and often wears jeweler’s glasses to create her

Focusing on the boundaries of earth and air,

color choices; evocative compositions; and

oil and encaustic paintings.

sea and shore, interiors and exteriors, Sheep

faux-naive, flattened perspective, the result of

began to utilize a cutaway composition in which

her monocular vision and the great challenge

the flower or vegetable is depicted above the

caused by her lack of depth perception.

That impersonal, antiseptic atmosphere was about to change very quickly.

“This is a rather splendid facility,” Bylee Massey told Baltimore Sun Art Critic John Dorsey. “It was crying out for something to make it whole.

I kept thinking of what we might do that would be beneficial for the community and for UMUC.” Bylee Massey, who died on December 17, 2011, in Durham, North Carolina, at age 84, discovered the answer was to enrich UMUC’s walls

Reprinted with permission of The Baltimore Sun Media Group. All Rights Reserved.

with artwork. She founded the university’s

The timing to begin a collection of work by Maryland artists was perfect—the Baltimore Museum had recently alienated the regional artist community by eliminating the annual juried ex-

1980 to 1989.

hibitionsand was in the process of closing down

The Masseys were committed to making the

the rental gallery. Both had been considered key

overall collection grow in a careful, non-commer-

avenues for local artists to gain exposure.

cial manner. They set high ethical and academic

Sheep met her high school sweetheart, Charlie

standards and most of the changing exhibitions

Jones, in the eleventh grade. His father used

were linked with lectures and forums.

to ask about Charlie’s new girlfriend, who had

In 1983, Bylee Massey approached my father, Herman Maril, about establishing a collection of his work at UMUC. I remember him being

Bylee Massey had a very gracious, elegant

very impressed with her concept and philoso-

southern charm and a warm sense of humor.

phy in developing a collection. My father, who

She always checked on the art when she

had been a professor in the art department at

walked through the building. I can recall many

the University of Maryland, College Park, (just

times talking with her while walking through

Sheep attended the University of Maine at

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

one of the UMUC hallways and then suddenly

Portland/Gorham and majored in art education,

ence Center) for three decades, liked the idea

seeing her veer off to push a potted indoor tree

satisfying her parents’ wishes and attaining the

of supporting a UMUC collection. Both Ben-

over a few inches because it was blocking the

skills she would need to survive as an artist.

jamin and Bylee Massey visited my father in

view of a painting.

During college, she developed a passion for the

Baltimore several times, and, in 1985, he was awarded an honorary Doctor of Fine Arts and spoke at a UMUC commencement ceremony.

When Benjamin Massey retired in 1999 and the Masseys left UMUC, the art collection had grown large enough to hire a director and

friend became her husband, and her nickname became a keeper also.

muted colors and patterns of Vuillard, Schiele, and Braque as well as the expressive, high-keyed tones and textures found in Klimt, Matisse, and the contemporary printmaker Hundertwasser.

curators, expand storage space, and establish

Esta C. Maril, and I worked very closely with

an art advisory board. Without Bylee Massey’s

During high school and college, Sheep and

the Masseys in expanding the Maril collection

vision to establish a Maryland art collection,

Charlie often traded handmade books and drawings

and encouraging other artists and collectors to

the rooms, walls, and halls would be barren

instead of letters, and both developed a love for

donate work. I can remember Bylee Massey

today instead of enriched by oils, works on

Japanese art and culture. They married in 1973

and my mother spending long hours in Reuben

paper, and sculptures. 

and moved first to Annapolis and then to Japan

of his sculptures and paintings by his wife, Perna Krick, to the collection.

• www.umuc.edu/art

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

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

for six months on an academic fellowship to

Kramer’s studio, convincing him to give pieces

page 2

long, unruly bangs surrounding her adorable

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

Above, left: Bylee Massey, founder of the UMUC Maryland Artist Collection

study Japanese at a Shinto shrine while working in a papermaking village.

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

horizon in equal measure to the mysterious subterranean life of roots and rocks, beetles and larvae, underground streams, and the water table. Hence, her favored subjects of beets, carrots, parsnips, radishes, and tubers as well as daffodils, dahlias, thistles, and assorted fanciful flowers are exposed in their entirety in her lush, verdant, expressively brushed oils.

Sheep shares a Maine vacation home with

Sheep taught at the Art League School in

This singular, surreal, and often-whimsical style has become so popular that Sheep has been nearly selling out shows for almost a decade now.

She no longer feels the pressure to paint for the marketplace; she can now experiment with many themes and realize her lifelong vision of being a much cherished, highly successful artist.  Copyright 2012 Steven Scott

her sister, Julie Cyr, who is also a painter, so Sheep frequently depicts the area’s houses and coastlines. The often-rundown structures— one- or two-story houses, sheds, barns, ice shacks, and numerous beehives—seem to be buzzing with activity. The artist tends to choose the solitary structures for their uniqueness and because they are so very different from the monotony of suburbia. Images are usually centered in the compositions, and the viewer is able to peer through the building’s doors and windows to encounter a magical realm inside, much like the surprises found beneath the earth in her botanical renderings. Another

www.umuc.edu/art •

page 3

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

The Singular Vision of Sheep Jones by

by Steven Steven Scott, Scott, Director Director Steven Steven Scott Scott Gallery, Gallery, Baltimore Baltimore

When Bylee Massey arrived at UMUC’s Inn

Maryland Artist Collection without funding or

“The art made a tremendous difference to the

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

Upon their return to the United States in 1980,

equally common subject in her recent work

and Conference Center in 1978, something

a paid staff.

university, and it was Bylee who convinced Ben

real name!?!” These exclamations are the first

they lived in Northampton, Massachusetts, while

is the solitary female figure, dressed in exotic

to begin and establish the Maryland art collec-

things I hear from gallery visitors on an almost

Charlie pursued his PhD. Sheep rarely painted

costume, standing tall on the horizon, and wel-

tion,” recalled Allan Hershfield, PhD. Hershfield

daily basis when people first encounter the work

during these five years, and instead devoted

coming the viewer into her enchanting vista.

was executive vice chancellor of UMUC from

of Sheep Jones.

herself to raising their two sons.

didn’t seem quite right.

“But the collection quickly developed when we

Her husband, T. Benjamin Massey, PhD, who

learned that there were collectors and support-

had been named president of the university,

ers of the Maryland artists who were very happy

recalled in a 1998 interview with the Baltimore

to donate works, and that’s when the focus

Born and raised in rural Waterville, Maine, the

In 1985, the family moved to Fairfax, Virginia,

Alexandria from 1994 to 2004, became a resi-

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

changed. There were people like Jules Horelick,

“What a difference her efforts meant,” said

former Elaine Cyr grew up in a strict Catholic,

as Charlie had received a tenured position at

dent artist at the Torpedo Factory in 2000, and

‘My, this looks like a hospital.’”

who had been buying works by Baltimore artists

Hershfield, who is now retired and lives in

French-Canadian-speaking household, the oldest

George Mason University. Restless from her

was named the Torpedo Factory Artist of the

for years and years, and he was most happy to

Amherst, Massachusetts. “The collection of

of five children. The artist’s unique perspective

hiatus from painting and with her sons now

Year in 2003, which resulted in an acclaimed

share,” she told the Baltimore Sun.

art brought so much to the university, trans-

in her work is partly the result of a childhood

in school, Sheep began taking classes in paint-

solo show at the Target Gallery. She has been

forming those bleak walls into something

accident at age three—she ran headfirst into

ing at the Art League School at the Torpedo

represented by Steven Scott Gallery, Baltimore,

that was beautiful for the UMUC community.

a tree branch while running with five playmates

Factory in Old Town Alexandria in 1987. She

since 2009, and UMUC acquired three of her

I watched her work very hard, determined to

around an apple tree and lost the vision in her left

found that she was drawn to growth below the

paintings in 2010. Visitors to my gallery marvel

establish the collection.”

eye. She now has very limited depth perception

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

at Sheep’s bravura brushwork, unexpected

and often wears jeweler’s glasses to create her

Focusing on the boundaries of earth and air,

color choices; evocative compositions; and

oil and encaustic paintings.

sea and shore, interiors and exteriors, Sheep

faux-naive, flattened perspective, the result of

began to utilize a cutaway composition in which

her monocular vision and the great challenge

the flower or vegetable is depicted above the

caused by her lack of depth perception.

That impersonal, antiseptic atmosphere was about to change very quickly.

“This is a rather splendid facility,” Bylee Massey told Baltimore Sun Art Critic John Dorsey. “It was crying out for something to make it whole.

I kept thinking of what we might do that would be beneficial for the community and for UMUC.” Bylee Massey, who died on December 17, 2011, in Durham, North Carolina, at age 84, discovered the answer was to enrich UMUC’s walls

Reprinted with permission of The Baltimore Sun Media Group. All Rights Reserved.

with artwork. She founded the university’s

The timing to begin a collection of work by Maryland artists was perfect—the Baltimore Museum had recently alienated the regional artist community by eliminating the annual juried ex-

1980 to 1989.

hibitionsand was in the process of closing down

The Masseys were committed to making the

the rental gallery. Both had been considered key

overall collection grow in a careful, non-commer-

avenues for local artists to gain exposure.

cial manner. They set high ethical and academic

Sheep met her high school sweetheart, Charlie

standards and most of the changing exhibitions

Jones, in the eleventh grade. His father used

were linked with lectures and forums.

to ask about Charlie’s new girlfriend, who had

In 1983, Bylee Massey approached my father, Herman Maril, about establishing a collection of his work at UMUC. I remember him being

Bylee Massey had a very gracious, elegant

very impressed with her concept and philoso-

southern charm and a warm sense of humor.

phy in developing a collection. My father, who

She always checked on the art when she

had been a professor in the art department at

walked through the building. I can recall many

the University of Maryland, College Park, (just

times talking with her while walking through

Sheep attended the University of Maine at

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

one of the UMUC hallways and then suddenly

Portland/Gorham and majored in art education,

ence Center) for three decades, liked the idea

seeing her veer off to push a potted indoor tree

satisfying her parents’ wishes and attaining the

of supporting a UMUC collection. Both Ben-

over a few inches because it was blocking the

skills she would need to survive as an artist.

jamin and Bylee Massey visited my father in

view of a painting.

During college, she developed a passion for the

Baltimore several times, and, in 1985, he was awarded an honorary Doctor of Fine Arts and spoke at a UMUC commencement ceremony.

When Benjamin Massey retired in 1999 and the Masseys left UMUC, the art collection had grown large enough to hire a director and

friend became her husband, and her nickname became a keeper also.

muted colors and patterns of Vuillard, Schiele, and Braque as well as the expressive, high-keyed tones and textures found in Klimt, Matisse, and the contemporary printmaker Hundertwasser.

curators, expand storage space, and establish

Esta C. Maril, and I worked very closely with

an art advisory board. Without Bylee Massey’s

During high school and college, Sheep and

the Masseys in expanding the Maril collection

vision to establish a Maryland art collection,

Charlie often traded handmade books and drawings

and encouraging other artists and collectors to

the rooms, walls, and halls would be barren

instead of letters, and both developed a love for

donate work. I can remember Bylee Massey

today instead of enriched by oils, works on

Japanese art and culture. They married in 1973

and my mother spending long hours in Reuben

paper, and sculptures. 

and moved first to Annapolis and then to Japan

of his sculptures and paintings by his wife, Perna Krick, to the collection.

• www.umuc.edu/art

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

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

for six months on an academic fellowship to

Kramer’s studio, convincing him to give pieces

page 2

long, unruly bangs surrounding her adorable

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

Above, left: Bylee Massey, founder of the UMUC Maryland Artist Collection

study Japanese at a Shinto shrine while working in a papermaking village.

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

horizon in equal measure to the mysterious subterranean life of roots and rocks, beetles and larvae, underground streams, and the water table. Hence, her favored subjects of beets, carrots, parsnips, radishes, and tubers as well as daffodils, dahlias, thistles, and assorted fanciful flowers are exposed in their entirety in her lush, verdant, expressively brushed oils.

Sheep shares a Maine vacation home with

Sheep taught at the Art League School in

This singular, surreal, and often-whimsical style has become so popular that Sheep has been nearly selling out shows for almost a decade now.

She no longer feels the pressure to paint for the marketplace; she can now experiment with many themes and realize her lifelong vision of being a much cherished, highly successful artist.  Copyright 2012 Steven Scott

her sister, Julie Cyr, who is also a painter, so Sheep frequently depicts the area’s houses and coastlines. The often-rundown structures— one- or two-story houses, sheds, barns, ice shacks, and numerous beehives—seem to be buzzing with activity. The artist tends to choose the solitary structures for their uniqueness and because they are so very different from the monotony of suburbia. Images are usually centered in the compositions, and the viewer is able to peer through the building’s doors and windows to encounter a magical realm inside, much like the surprises found beneath the earth in her botanical renderings. Another

www.umuc.edu/art •

page 3

The Wonderful and Wacky World of

By Mark Kelner, Private Dealer and Curator

work could be shown in secret. Within this polar-

leader; the latter for its depiction of peasants

ized climate, Volkov continued to make paintings

heeding nature’s call against the backdrop of So-

as he saw fit, some of which were increasingly

viet banners after a festive all-nighter. In short

political in nature. He worked out of a cellar

order, Volkov was arrested and jailed for two

studio (literally underground) and like most art-

months, subjected to interrogations, and threat-

ists felt pressured by the risk of being caught.

ened with time in psychiatric hospitals. Upon

Any wider dissemination of artworks proved too

his release, his kiln was confiscated and, in

difficult to sustain.

effect, so were his livelihood, career, and source

While other Jewish artists and friends had to the prestigious Vera Mukhina Higher School

would live out two creative lives—one for Them

colors, sweeping movement, a great sense of

of Art and Design in Leningrad, where he spent

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

humor, warmth, kitsch, and a relaxed simplicity

ample time visiting the Hermitage Museum,

sake). The two rarely crossed paths. One time

is no surprise to his friends, his collectors, and

studying the classics. Working as an independent

they did, however, was when Volkov refused

to those who have been lucky enough to know

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

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

him. The idea behind the Noi Volkov: Reform-

field full of risks and creative censorship. By the

which was considered a prestigious assignment.

ing the Masters. Unleashing the Humor in Art!

late sixties, two approaches to navigating away

Eyebrows were raised. It was in Odessa, after

exhibition, however, is anything but effortless.

from suppressive controls were prevalent. One

compulsory military service, during which he

The artist’s dedication to the craft of making

was to work within the confines and aesthetic

painted signs and slogans, that he found his niche.

his ceramics, be they sculptures or teapots, is

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

evident in both his creative process and the end

which an artist was given a means to make a

result. Volkov’s portrayal of artists and their most

living and a studio. The alternative was to be an

famous masterpieces pays homage to his early

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

and longtime influences; however, he pushes

with the understanding that one’s work would

that envelope further so as not to interpret them

never be exhibited and that self-expression was

for us but rather to discover and reimagine what

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

art history looks like in the mind of a contem-

United States, Volkov began the harsh bureaucratic petition to leave in late 1977. For whatever reason, repeated requests for an exit visa

By the mid-1970s, established artists in Odessa began showcasing each other’s work in so-called

proved intensely personal and offered deep social insights into anti-Semitism, the facade of Communism, and the skepticism of Perestroika.

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

from the government were routinely denied. It

Settling in Baltimore, Volkov was almost imme-

was during this 14-month process that the KGB

diately recognized for his unique imagination and

focused their attention on his painting. A knock

technical mastery. In 1990, a series of ceramic

at the door in early 1979 proved fateful and

samovars he made led to the exploration of

unfortunate—two paintings were seized, Christ

creating teapots. A year later, he was given his

Appears to Brezhnev and The Cranes Are Flying.

first solo exhibition at Baltimore Clayworks as

The former was deemed illegal for its use of

part of a broader welcoming of local artisans and

religious imagery and satire of the Soviet

craftsmen. The art he had kept inside for nearly

GENNA GURVICH PHOTOGRAPHY

That Noi Volkov’s recent work vibrates with bold

already resettled in Israel, Europe, and the

of income. Paintings produced in this dark period

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

“apartment” exhibitions. These exhibitions were part of a wider nonconformist movement throughout the Soviet Union, especially in Moscow and Leningrad, in which artists bucked the

DID You Know?

system and became their own critics, admirers,

Little-known Facts About Artists with Works acquired by or exhibited at UMUC

Artists were seen as servants of the state, and

collectors, competitors, and, above all, commu-

while he developed his craft in the monumental

nity, in the wake of authoritarian rules against

section of the Union of Soviet Artists by way of

them. There was no art market. There were no

decorative ceramic murals and government-au-

galleries. Soviet artists weren’t even allowed

Did you know David C. Driskell was born into a sharecropper family

Did you know Selma L. Oppenheimer traveled extensively with her

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

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

thorized commissions for public works, paintings

access to international magazines and journals

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

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

Born in 1947, Volkov began painting as a child and

done for himself—after hours and underground—

that featured images of work that was being

floor of the Inn and Conference Center.

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

swiftly emerged in secondary school as a stand-

were considered contraband. And thus, a duality

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

out student. Upon graduation, he was accepted

emerged: Volkov, along with his contemporaries,

where an art world of its own was created and

porary artist. Never derivative, Volkov’s work is wholly recognizable, above all, and rooted in a deep understanding of and respect for art and in his own personal émigré experience.

Did you know Howie Lee Weiss has enriched the lives of a countless

By Linda Derrick

floor of the Inn and Conference Center.

number students as a professor of art at the Maryland Institute College of Art for 33 years? At the request of Doris Patz, Weiss donated his 150th work, Monuments, to UMUC’s Maryland Artist Collection in 1989. Monuments can be seen in the Arts Program office at the Inn and Conference Center.

Did you know Reini Maters was born in the Netherlands and now lives in Cockeysville, Maryland? The inspiration for his impressionist style paintings comes from his extensive travels. His artwork is on display on the main floor of the Inn and Conference Center.

Did you know Marie M. Linnekin was an arts advocate in the Washington, D.C., and Maryland area and is a practicing artist and educator GENNA GURVICH PHOTOGRAPHY

GENNA GURVICH PHOTOGRAPHY

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

page 4

• www.umuc.edu/art

Above, left: Noi Volkov, Ed Hopper #4, Эд Хоппер #4 (teapot), 2011, ceramic, 8 x 15 x 5 in.

Above, right: Noi Volkov, Plumber, Водопроводчик, 2006, ceramic, 25 x 19 x 6 in., Collection of Paul and Ellen Saval (Maryland)

and Conference Center.

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

www.umuc.edu/art •

page 5

The Wonderful and Wacky World of

By Mark Kelner, Private Dealer and Curator

work could be shown in secret. Within this polar-

leader; the latter for its depiction of peasants

ized climate, Volkov continued to make paintings

heeding nature’s call against the backdrop of So-

as he saw fit, some of which were increasingly

viet banners after a festive all-nighter. In short

political in nature. He worked out of a cellar

order, Volkov was arrested and jailed for two

studio (literally underground) and like most art-

months, subjected to interrogations, and threat-

ists felt pressured by the risk of being caught.

ened with time in psychiatric hospitals. Upon

Any wider dissemination of artworks proved too

his release, his kiln was confiscated and, in

difficult to sustain.

effect, so were his livelihood, career, and source

While other Jewish artists and friends had to the prestigious Vera Mukhina Higher School

would live out two creative lives—one for Them

colors, sweeping movement, a great sense of

of Art and Design in Leningrad, where he spent

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

humor, warmth, kitsch, and a relaxed simplicity

ample time visiting the Hermitage Museum,

sake). The two rarely crossed paths. One time

is no surprise to his friends, his collectors, and

studying the classics. Working as an independent

they did, however, was when Volkov refused

to those who have been lucky enough to know

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

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

him. The idea behind the Noi Volkov: Reform-

field full of risks and creative censorship. By the

which was considered a prestigious assignment.

ing the Masters. Unleashing the Humor in Art!

late sixties, two approaches to navigating away

Eyebrows were raised. It was in Odessa, after

exhibition, however, is anything but effortless.

from suppressive controls were prevalent. One

compulsory military service, during which he

The artist’s dedication to the craft of making

was to work within the confines and aesthetic

painted signs and slogans, that he found his niche.

his ceramics, be they sculptures or teapots, is

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

evident in both his creative process and the end

which an artist was given a means to make a

result. Volkov’s portrayal of artists and their most

living and a studio. The alternative was to be an

famous masterpieces pays homage to his early

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

and longtime influences; however, he pushes

with the understanding that one’s work would

that envelope further so as not to interpret them

never be exhibited and that self-expression was

for us but rather to discover and reimagine what

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

art history looks like in the mind of a contem-

United States, Volkov began the harsh bureaucratic petition to leave in late 1977. For whatever reason, repeated requests for an exit visa

By the mid-1970s, established artists in Odessa began showcasing each other’s work in so-called

proved intensely personal and offered deep social insights into anti-Semitism, the facade of Communism, and the skepticism of Perestroika.

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

from the government were routinely denied. It

Settling in Baltimore, Volkov was almost imme-

was during this 14-month process that the KGB

diately recognized for his unique imagination and

focused their attention on his painting. A knock

technical mastery. In 1990, a series of ceramic

at the door in early 1979 proved fateful and

samovars he made led to the exploration of

unfortunate—two paintings were seized, Christ

creating teapots. A year later, he was given his

Appears to Brezhnev and The Cranes Are Flying.

first solo exhibition at Baltimore Clayworks as

The former was deemed illegal for its use of

part of a broader welcoming of local artisans and

religious imagery and satire of the Soviet

craftsmen. The art he had kept inside for nearly

GENNA GURVICH PHOTOGRAPHY

That Noi Volkov’s recent work vibrates with bold

already resettled in Israel, Europe, and the

of income. Paintings produced in this dark period

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

“apartment” exhibitions. These exhibitions were part of a wider nonconformist movement throughout the Soviet Union, especially in Moscow and Leningrad, in which artists bucked the

DID You Know?

system and became their own critics, admirers,

Little-known Facts About Artists with Works acquired by or exhibited at UMUC

Artists were seen as servants of the state, and

collectors, competitors, and, above all, commu-

while he developed his craft in the monumental

nity, in the wake of authoritarian rules against

section of the Union of Soviet Artists by way of

them. There was no art market. There were no

decorative ceramic murals and government-au-

galleries. Soviet artists weren’t even allowed

Did you know David C. Driskell was born into a sharecropper family

Did you know Selma L. Oppenheimer traveled extensively with her

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

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

thorized commissions for public works, paintings

access to international magazines and journals

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

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

Born in 1947, Volkov began painting as a child and

done for himself—after hours and underground—

that featured images of work that was being

floor of the Inn and Conference Center.

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

swiftly emerged in secondary school as a stand-

were considered contraband. And thus, a duality

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

out student. Upon graduation, he was accepted

emerged: Volkov, along with his contemporaries,

where an art world of its own was created and

porary artist. Never derivative, Volkov’s work is wholly recognizable, above all, and rooted in a deep understanding of and respect for art and in his own personal émigré experience.

Did you know Howie Lee Weiss has enriched the lives of a countless

By Linda Derrick

floor of the Inn and Conference Center.

number students as a professor of art at the Maryland Institute College of Art for 33 years? At the request of Doris Patz, Weiss donated his 150th work, Monuments, to UMUC’s Maryland Artist Collection in 1989. Monuments can be seen in the Arts Program office at the Inn and Conference Center.

Did you know Reini Maters was born in the Netherlands and now lives in Cockeysville, Maryland? The inspiration for his impressionist style paintings comes from his extensive travels. His artwork is on display on the main floor of the Inn and Conference Center.

Did you know Marie M. Linnekin was an arts advocate in the Washington, D.C., and Maryland area and is a practicing artist and educator GENNA GURVICH PHOTOGRAPHY

GENNA GURVICH PHOTOGRAPHY

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

page 4

• www.umuc.edu/art

Above, left: Noi Volkov, Ed Hopper #4, Эд Хоппер #4 (teapot), 2011, ceramic, 8 x 15 x 5 in.

Above, right: Noi Volkov, Plumber, Водопроводчик, 2006, ceramic, 25 x 19 x 6 in., Collection of Paul and Ellen Saval (Maryland)

and Conference Center.

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

www.umuc.edu/art •

page 5

20 years came pouring out. And like the works featured in this exhibition, they celebrate his visionary spirit and represent a new stage in his artistic life.

While creative freedom in America gave way to exploration, Volkov’s strong sense of Russian identity is key to understanding his appreciation for the

Sunday, September 16–Thursday, November 25, 2012

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

Opening Reception: Sunday, September 23, 2012, 3–5 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

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

At the same time, his arrival to the United States coincided with the media and Internet revolution (made possible by the personal computer), which allowed for hyper exposure to and immersion in popular and often unknown images of classical art history, pop culture, and international contemporary art. In his own words, “they invaded my mind like a flood.”  Read more about Noi Volkov in Kelner’s full essay, which has been

Friends of the Arts (Janurary 1, 2012–present) Platinum-Level Friends I-Ling Chow John M. Derrick and Linda Derrick

Vista: Contemporary Works by Latin American Artists

ironic and the absurd. Like the writer Mikhail Bulgakov before him, Volkov become a world of Pop, transitioning itself with an easygoing human appeal,

Become a Friend of the Arts at UMUC

Upcoming Events

Vista is Spanish for "view." The name of this exhibition draws upon the inspirations of the Latin American artists whose works are featured. These artists pull from the creative process of mapmaking and touch upon issues of identity, immigration, and memory at the same time they explore topography, urbanity, and space. The exhibition was organized by the UMUC Arts Program; two guest curators: Eva Mendoza Chandas and Jodie Dinapoli; and Brian Young, curator in the university's Arts Program.

Make an Annual Contribution to the Arts Program

Silver-Level Friends Julia Lindenmeier Patricia J. Toregas

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

Bronze-Level Friends Robert W. Jerome, PhD Eric Key Lila A. Snow Sylvia L. Valentino Winifred B. Wallace Nancy Williamson, JD

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

published in Noi Volkov: Reforming the Masters. Unleashing the Humor in Art! The catalog is available at the Inn and Conference Center in Adelphi, Maryland.

Modernism: James Hilleary and Color Monday, December 3, 2012–Sunday, February 3, 2013 Opening Reception and Talk: Thursday, December 6, 2012, 6–8 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

GENNA GURVICH PHOTOGRAPHY

Modernism: James Hilliary and Color will be an exploration of the artist’s paintings. James Hilliary was born in Washington, D.C., in 1924, now resides in Bethesda Maryland, and is one of Maryland’s best-kept secrets. Even though he is not commonly listed as a Washington Color School painter, he certainly was exploring color in his art just as many of the well-known Washington Color School painters did. James, who had very little formal training in art, has said, “I never planned a career in art; it just happened.”

Symposium: Jazz: A Dialogue in the Performance and Visual Arts Friday, February 15, 2013, 8 a.m.–5 p.m., Location to be announced Above: Noi Volkov, The Genius Should Not Die, Гений не должен умирать, 2009, ceramic and mixed media, 8 x 20 x 4 in.

Associate (less than $35) Name recognition in the arts newsletter, invitation to exhibit openings Friend – ($35–$99) Above benefits, plus 10 percent discount on specialty items produced by the Arts Program, 10 percent discount on tickets to nonfundraising events, Arts Program lapel pin Bronze-Level Friend ($100–$249) Above benefits, plus autographed poster from the collection Silver-Level Friend ($250–$499) Above benefits, plus name recognition on the donor’s wall in the Arts Program Gallery Gold-Level Friend ($500–$999) Above benefits, plus full-color art catalog from a major UMUC art exhibition

Friends

Platinum-Level Friend ($1,000–$2,499) Above benefits, plus VIP invitation to dinner with the guest artist and the university president, 10 percent discount on breakfast or lunch, and 15 percent discount on dinner at the Marriott Garden Restaurant at the UMUC Inn and Conference Center

Marie A. Cini, PhD Michael S. Frank, PhD Joyce Roberts L. Christina Waddler Robert Weick and Yoshiko Oishi Weick Brian Young Associates

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

Diane Bartoo Anna C. Finch Joan M. Flood Seymour Gresser Bradley P. Hudson Denise Melvin Joseph S. Rogers Marcia R. Watson

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

Diaspora Dialogue: Art of Kwabena Ampofo-Anti,



Victor Ekpuk, and Skunder Boghossian

University of Maryland University College Arts Program Mission Statement

Monday, February 18–Saturday, April 20, 2013

The Arts Program at University of Maryland University College (UMUC) creates an environment in which its diverse constituents, including members of the university community and the general public, can study and learn about art by directly experiencing it. The Arts Program seeks to promote the university’s core values and to provide educational opportunities for lifelong learning. From the research and study of works of art to the teaching applications of each of our exhibitions, the Arts Program will play an increasing role in academic life at the university. With a regional and national focus, the Arts Program is dedicated to the acquisition, preservation, study, exhibition, and interpretation of works of art of the highest quality in a variety of media that represent its constituents and to continuing its historic dedication to Maryland and Asian art.

Sunday, February 21, 2013, 3–5 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

page 6

• www.umuc.edu/art

Personal Information

Opening Reception:

This exhibition showcases works by artists from Africa who have been creating works of art all their lives. Kwabena Ampofo-Anti, who is from Ghana and lives in Washington, D.C., creates ceramic sculptures inspired by African architecture. Victor Ekpuk, a wellpublished artist from Nigeria, is inspired by the secretive writing language of his country and creates works with universal themes to communicate contemporary human experiences and conditions.

Alexander “Skunder” Boghossian, a celebrated renowned artist, was from Ethiopia but spent most of his adult life in the United States and taught at Howard University for 31 years.

Please cut on dotted line.

Join Friends of the Arts today.

Name (please print)

Complete and return this form to

Address

University of Maryland University College, Arts Program 3501 University Boulevard East, Adelphi, MD 20783-8007

City

State

Phone

E-mail

Or fax it to 301-985-7865.

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

Zip

Country

 I have enclosed a check in the amount of made payable to the UMUC Foundation*.  Please charge $ to my:  American Express  MasterCard  Visa Name that appears on card (please print) Account #

Exp. Date

Signature (required)

* Funds of the UMUC Foundation are administered by the University System of Maryland Foundation, Inc., a nonprofit 501(c)3 organization.

Information may be obtained by writing to the foundation or by contacting the Maryland Secretary of State.

Interested in being added to our e-newsletter list? Send your e-mail address to arts@umuc.edu.

20 years came pouring out. And like the works featured in this exhibition, they celebrate his visionary spirit and represent a new stage in his artistic life.

While creative freedom in America gave way to exploration, Volkov’s strong sense of Russian identity is key to understanding his appreciation for the

Sunday, September 16–Thursday, November 25, 2012

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

Opening Reception: Sunday, September 23, 2012, 3–5 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

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

At the same time, his arrival to the United States coincided with the media and Internet revolution (made possible by the personal computer), which allowed for hyper exposure to and immersion in popular and often unknown images of classical art history, pop culture, and international contemporary art. In his own words, “they invaded my mind like a flood.”  Read more about Noi Volkov in Kelner’s full essay, which has been

Friends of the Arts (Janurary 1, 2012–present) Platinum-Level Friends I-Ling Chow John M. Derrick and Linda Derrick

Vista: Contemporary Works by Latin American Artists

ironic and the absurd. Like the writer Mikhail Bulgakov before him, Volkov become a world of Pop, transitioning itself with an easygoing human appeal,

Become a Friend of the Arts at UMUC

Upcoming Events

Vista is Spanish for "view." The name of this exhibition draws upon the inspirations of the Latin American artists whose works are featured. These artists pull from the creative process of mapmaking and touch upon issues of identity, immigration, and memory at the same time they explore topography, urbanity, and space. The exhibition was organized by the UMUC Arts Program; two guest curators: Eva Mendoza Chandas and Jodie Dinapoli; and Brian Young, curator in the university's Arts Program.

Make an Annual Contribution to the Arts Program

Silver-Level Friends Julia Lindenmeier Patricia J. Toregas

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

Bronze-Level Friends Robert W. Jerome, PhD Eric Key Lila A. Snow Sylvia L. Valentino Winifred B. Wallace Nancy Williamson, JD

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

published in Noi Volkov: Reforming the Masters. Unleashing the Humor in Art! The catalog is available at the Inn and Conference Center in Adelphi, Maryland.

Modernism: James Hilleary and Color Monday, December 3, 2012–Sunday, February 3, 2013 Opening Reception and Talk: Thursday, December 6, 2012, 6–8 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

GENNA GURVICH PHOTOGRAPHY

Modernism: James Hilliary and Color will be an exploration of the artist’s paintings. James Hilliary was born in Washington, D.C., in 1924, now resides in Bethesda Maryland, and is one of Maryland’s best-kept secrets. Even though he is not commonly listed as a Washington Color School painter, he certainly was exploring color in his art just as many of the well-known Washington Color School painters did. James, who had very little formal training in art, has said, “I never planned a career in art; it just happened.”

Symposium: Jazz: A Dialogue in the Performance and Visual Arts Friday, February 15, 2013, 8 a.m.–5 p.m., Location to be announced Above: Noi Volkov, The Genius Should Not Die, Гений не должен умирать, 2009, ceramic and mixed media, 8 x 20 x 4 in.

Associate (less than $35) Name recognition in the arts newsletter, invitation to exhibit openings Friend – ($35–$99) Above benefits, plus 10 percent discount on specialty items produced by the Arts Program, 10 percent discount on tickets to nonfundraising events, Arts Program lapel pin Bronze-Level Friend ($100–$249) Above benefits, plus autographed poster from the collection Silver-Level Friend ($250–$499) Above benefits, plus name recognition on the donor’s wall in the Arts Program Gallery Gold-Level Friend ($500–$999) Above benefits, plus full-color art catalog from a major UMUC art exhibition

Friends

Platinum-Level Friend ($1,000–$2,499) Above benefits, plus VIP invitation to dinner with the guest artist and the university president, 10 percent discount on breakfast or lunch, and 15 percent discount on dinner at the Marriott Garden Restaurant at the UMUC Inn and Conference Center

Marie A. Cini, PhD Michael S. Frank, PhD Joyce Roberts L. Christina Waddler Robert Weick and Yoshiko Oishi Weick Brian Young Associates

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

Diane Bartoo Anna C. Finch Joan M. Flood Seymour Gresser Bradley P. Hudson Denise Melvin Joseph S. Rogers Marcia R. Watson

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

Diaspora Dialogue: Art of Kwabena Ampofo-Anti, Victor Ekpuk, and Skunder Boghossian Monday, February 18–Saturday, April 20, 2013

The Arts Program at University of Maryland University College (UMUC) creates an environment in which its diverse constituents, including members of the university community and the general public, can study and learn about art by directly experiencing it. The Arts Program seeks to promote the university’s core values and to provide educational opportunities for lifelong learning. From the research and study of works of art to the teaching applications of each of our exhibitions, the Arts Program will play an increasing role in academic life at the university. With a regional and national focus, the Arts Program is dedicated to the acquisition, preservation, study, exhibition, and interpretation of works of art of the highest quality in a variety of media that represent its constituents and to continuing its historic dedication to Maryland and Asian art.

Sunday, February 21, 2013, 3–5 p.m., Arts Program Gallery, Inn and Conference Center, Lower Level

page 6

• www.umuc.edu/art



University of Maryland University College Arts Program Mission Statement

Personal Information

Opening Reception:

This exhibition showcases works by artists from Africa who have been creating works of art all their lives. Kwabena Ampofo-Anti, who is from Ghana and lives in Washington, D.C., creates ceramic sculptures inspired by African architecture. Victor Ekpuk, a wellpublished artist from Nigeria, is inspired by the secretive writing language of his country and creates works with universal themes to communicate contemporary human experiences and conditions.

Alexander “Skunder” Boghossian, a celebrated renowned artist, was from Ethiopia but spent most of his adult life in the United States and taught at Howard University for 31 years.

Please cut on dotted line.

Join Friends of the Arts today.

Name (please print)

Complete and return this form to

Address

University of Maryland University College, Arts Program 3501 University Boulevard East, Adelphi, MD 20783-8007

City

Or fax it to 301-985-7865.

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

State

Zip

Country

Phone E-mail

 I have enclosed a check in the amount of made payable to the UMUC Foundation*.  Please charge $ to my:  American Express  MasterCard  Visa Name that appears on card (please print) Account # Exp. Date Signature (required)

* Funds of the UMUC Foundation are administered by the University System of Maryland Foundation, Inc., a nonprofit 501(c)3 organization.

Information may be obtained by writing to the foundation or by contacting the Maryland Secretary of State.

Interested in being added to our e-newsletter list? Send your e-mail address to arts@umuc.edu.