Art@UMUC Newsletter, Spring 2014

PRESORTED FIRST CLASS U.S. POSTAGE PAID UMUC

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

SPRING 2014

News and perspectives for friends of the arts

IN THIS ISSUE 1 Greetings from the President & Greetings from the Chair 2 Shaffer's Works Attract Attention and Spark Conversation 4 Baltimore Artist Used Art as Social Commentary

6 BMRE Awardees 6 Thanks to Art Donors 6 Upcoming Events 6 UMUC Arts Program Mission Statement 7 Become a Friend of the Arts at UMUC

Did You Know?

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GREETINGS from the President Dear Friends,

SPRING 2014

Newsletter Editor Arts Program University of Maryland University College 3501 University Boulevard East Adelphi, MD 20783-8007 Phone 301-985-7937 • Fax 301-985-7865 Managing Editor Eric Key Newsletter Committee Chair Dianne A. Whitfield-Locke, DDS Graphic Designer Jennifer Norris

Arts Programs Updates Get the latest updates on

If you were not able to visit the exhibition in person, you can see these stellar works by visiting the BMRE exhibition online. I invite you to take a few moments to view our beautiful online catalog at www.umuc.edu/bmre.

Looking ahead, this spring promises to be busy for all of us art lovers as well. I want to draw your attention to three exhibitions: Unveiled: Works from the UMUC Art Collections; Printmaking: Faculty Art Invitational 2014; and Joseph Sheppard: On a Grand Scale, which is our fifth exhibition in a series by this talented realist artist.

Your enthusiastic support of the Arts Program at UMUC is what allows us to bring such a rich and diverse group of exhibitions to our students, faculty, staff, and community. Thank you for your commitment to this inspiring work.

Sincerely,

Javier Miyares President, University of Maryland University College

GREETINGS from the Chair Dear Friends, The Arts Program continues to flourish and grow. I am delighted to report that the permanent collection at UMUC now contains approximately 2,600 works that represent various cultural groups from all across the globe. Our Maryland Artists Collection and the Asian Collection are particularly robust; these collections attract visitors from around the world.

I invite you to come by the Arts Program Gallery before the end of March to see Unveiled: Works from the UMUC Art Collections, an exhibition featuring acquisitions that are being shown for the first time. Be sure to look for works from Aubrey Bodine, Elizabeth Catlett, Patrick Craig, Patricia Tobacco Forrester, Grace Hartigan, Jacob Lawrence, Faith Ringgold, Joyce Scott, Caroll Sockwell, Alma Thomas, Andy Warhol, and others, plus don’t miss the newest additions to the Chinese collection. For many, this will be their first chance to see the remarkable additions that have propelled the art at UMUC into the national conversation.

The arts inspire creativity in each of us, and they breathe life into our university community. Thank you for your continued interest in the Arts Program at UMUC. Please support our program with your financial contributions. Get involved and become a friend of the arts at UMUC. Sincerely,

the UMUC Arts Program. Visit www.umuc.edu/art/newsonline On cover (clockwise from left): 1 Mike Shaffer, WW-17 Loop Box 1: Word Works (detail) 2 Tom P. Miller, 1339 E. North Avenue, Baltimore (detail), photo courtesy of Baltimore Office of Promotion & the Arts (BOPA) 3 BMRE artist Sara Dittrich shares her Electric Bow artwork with young art enthusiast Elizabeth Williamson 4 Alma W. Thomas, Untitled (detail)

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

www.umuc.edu/art •

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TRACEY BROWN

UMUC Art Advisory Board Javier Miyares Michèle E. Jacobs, Chair Anne V. Maher, Esq., Vice Chair Myrtis Bedolla Joan Bevelaqua I-Ling Chow, honorary member Patricia Dubroof Nina C. Dwyer Jeannette Glover Karin Goldstein, honorary member Pamela Holt Eric Key Thomas Li, honorary member David Maril, honorary member Barbara Stephanic, PhD, Past Vice Chair, honorary member Dianne A. Whitfield-Locke, DDS

KATHERINE LAMBERT

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

The University of Maryland University College (UMUC) Arts Program continues to burnish its reputation as a growing artistic force in this region.

We just completed our second Biennial Maryland Regional Juried Art Exhibition (BMRE), which featured outstanding work by new and emerging contemporary artists from Maryland, Washington, D.C., and Northern Virginia. I want to extend my sincere thanks to the jurors, the artists who participated, and all who made the BMRE possible. I am especially proud that the BMRE served as the opening exhibition for our newly renovated galleries at UMUC.

SHAFFER'S WORKS ATTRACT ATTENTION AND SPARK CONVERSATION

BY ERIC KEY

Day in and day out, employees and visitors

Skvarla. That exhibition also included works by

Virginia, and Edward White Shaffer (1906–97),

who drive to UMUC’s headquarters in Adelphi

M.C. Carolyn, Rodney Carroll, Leonard Cave,

who was from Cumberland. Cumberland in

by way of MD 193/University Boulevard are

Jerome Collins, John Ferguson, Nancy Frankel,

the 1950s was the hub for the railroad and a

greeted by a large structure sporting various

David Hubbard, Gary Irby, Jane Larson, Heidi

coal-mining town.

shades of pink. What resembles a house on

Lippman, Gene Michieli, and Amalie Rothschild.

the mound next to the parking garage (north-

When the exhibition drew to a close, several

west of the Administration Building) seems to

of the works were donated to UMUC’s Mary-

demand answers: What is this? Who created

land Artists Collection, including Shaffer’s

it and why is it there? What does it represent?

Lucy in the Sky.

Where did it come from? Is it part of UMUC’s art collection?

Since it was created in 1994—specifically for that exhibition and that space—Lucy in the Sky

EK: So we can better understand what has inspired you to create art, tell me a little more about your parents.

MS: My father lived most of his life in Potomac Park, about four miles from Cumberland. He worked at Celanese Corporation, which was a major producer of cellulose acetate, which

While many stop and stare as they pass by

has sparked many conversations among UMUC

the structure, others seem almost to take it in

staff members who pass it daily on their way

stride, perhaps simply absorbing its essence.

to the parking garage. I thought it was time to

This work of art, which most people simply call

learn more about this intriguing piece of art, so

"the pink house” actually has an official title:

I interviewed the artist himself, Mike Shaffer, to

Lucy in the Sky.

see what I could find out about him and his art.

Lucy in the Sky is one of several works of art

EK: Let’s get the basics out the way. Where

brothers and sisters, to be exact! Needless to

by Maryland artist Michael Shaffer that are part

were you born and who are your parents?

say, I have more aunts and uncles and cousins

of UMUC’s growing art collection. This piece was featured in an outdoor sculpture exhibition titled Twelve Plus One: Sculpture in the Garden that was curated in 1994 by Diane K.

MS: I was born in Cumberland, Maryland, in 1939, to parents Eloise Wagnoner Shaffer (1907–94), who was from Keyser, West

was used to make a fiber similar to rayon. He retired from Celanese when the plant closed.

Afterward, he ran a refrigeration and appliance repair business. My mother was a school teacher when they got married. She was also a waitress and came from a large family—12

than anyone can imagine. I often spent my summer months on my uncle and aunt’s farm in Fort Ashby, West Virginia, where I helped with the chores. My father taught me how to use tools, have a reverence for them, and a respect for methods and mechanics.

EK: How did your rural life affect your decision to make art and the type of art that you create?

MS: Cumberland was a small town with not that much to do for children. As a child, I played with blocks a lot. I loved all the various kinds of building logs, erector sets, and crafts kits that I had as toys. As a result, I loved making things. Today, I still enjoy making things.

I think this would account for why many of my works resemble child-like qualities such as the

STEPHENSON-SHOWFELD

simplicity of the design and the use of bright colors. I think working with my father planted the seed for me to become an artist. I got an understanding about structures and an underMike Shaffer, Lucy in the Sky, 1994, urethane and modified enamel on wood, 12 x 12 x 25 feet, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

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• www.umuc.edu/art

standing about the principles of design from

EK: How did you come up with the name

working with my father.

Lucy in the Sky?

EK: Did you know you were going to be

MS: The name came from a rock and roll song.

an artist?

Most of the works in this series came from

MS: Not really. I studied mathematics and

rock and roll songs.

science at University of Maryland, College

We can get more insight into Shaffer’s work by

Park, where I received a Bachelor of Science

reading his essay, “Directions: Extracting Order

degree in 1961, and received my Master of

Out of Chaos; Adopting a Large Focus in Spite

Science degree from Southern Illinois Univer-

of the Drawbacks.” He wrote,

sity in 1964. I was going to be a chemist.

EK: When did you start making art?

MS: I begin making art seriously around 1965.

But as I said, I think I was really making it when I was a child. I just did not know it.

work, both of which are abstract and both of which result from orderly combinations of their parts. The Grids and Lattices are built up from somewhat uniform nonobject components arranged into a fairly regular horizontal-vertical format. The Born

log cabins?

Again Objects are built up from diverse

MS: I am not sure how I got interested in log

the character or orientation of the objects

cabin–like structures. I was making art works

themselves. My ultimate goal is abstract

that looked like log cabins for several years

wholeness, which I approach from object

before it occurred to me that they looked like

and non-object directions.

log cabins. The resemblance is most evident when the crisscrossing members are stacked up to form rectangular shapes. Many of my earlier works in this series were made with large pieces of wood forming towers of various configurations. Lucy in the Sky is one of the

recognizable objects ordered according to

equate amount of order to my life. . . . I have a healthy respect for neatness and order and recognize it as one of life’s necessities. Nevertheless, I have found over the years that, in my studio, both order and neatness interfere

EK: What did your earlier works look like?

surrounded by the materials and equipment I

cabins. They were tall stacks of wood in various colors. Some could be seen as geometrical shapes—while others were identifiable struc-

with my ability to be productive. I like to be use and some of the work I’ve completed.

I find it convenient to be able to look around and refresh my memory about the concepts that were successful and those that were not.

tures. These works became my Tower Series.

No matter your reaction to the monumental

Lucy in the Sky was in one of the sculptures in

works of Mike Shaffer, it’s clear that his works

my Tower Series, and its creation made the log

attract attention and spark conversation. While

cabin concept clearly evident.

the shape of Lucy in the Sky obviously resembles a house, its construction is similar to that of a

JOHN WOO

EK: Why the open space?

Mike Shaffer, Homage to Duchamp, 2009–10, metal, wood, rubber tire, and acrylic, 40 x 22 x18 inches, Collection of the artist

I have always struggled to bring an ad-

first works designed with an actual roof.

MS: My earlier works were suggestive of log

JOHN WOO

EK: When did you get interested in creating

In general, I try to make two kinds of art-

quilt—the artist has pieced stripe by stripe, color

MS: The openness of the work makes it easy

over color, stitch by stitch, and texture by texture.

to see through its sides and recognize the

The result is a work of art void of conflict yet

wholeness of its shape from any viewpoint.

tangible and powerful. Shaffer, one of Maryland’s

Mike Shaffer, WW-14 Morning Story: Word Works, 1978, pencil on paper, 8½ x 6 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of the artist

true creative jewels, has used horizontal/vertical EK: Why the bright color?

MS: The bright colors are intended to heighten

lines and grids and lattice configurations in most of his works since the early 1970s.

its visibility, to emphasize its simplistic quali-

UMUC is proud to have many works of art

ties, and to convey a sense of childlike playful-

by Mike Shaffer from his various series in our

ness to the large blocks of wood.

permanent collection.  www.umuc.edu/art •

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By Myrtis Bedolla, Founding Director, Gallerie Myrtis, and Brian Young, Curator, UMUC Arts Program

Artist Tom Miller (1945–2000) made an

The wardrobe, with its interior open, reveals

fine and folk art and between mass-produced

indelible mark on the city of Baltimore through

a pond, white birds, a sun, and clouds. The

and individual work sometimes became blurred.

his murals, painted furniture, and printmaking.

interior of the doors frame a landscape around

Thomas Patton Miller (born October 13, 1945) grew up in the Sandtown neighborhood of Baltimore with his father Clarence, a tailor; his mother Frances, a housewife; and five

the pond. With its arrangement of bold colors and playful shapes, the wardrobe characterizes Miller’s signature aesthetic sense, one he called Afro Deco.

In a 1991 essay, Lowery Sims, then curator of the Metropolitan Museum of Art, put Miller’s painted furniture into context, drawing parallels between the artist’s work and Dahomey textiles, 18th-century French furniture makers,

siblings. He honed his artistic talents at Carver

Jack Rasmussen, director at American Uni-

and 19th-century African Americans “. . . who

Vocational High School (1963) and earned a

versity Museum at the Katzen Arts Center in

successfully created a synthesis of African

scholarship to the Maryland Institute College of

Washington, D.C., once described Miller’s art

decoration and European cabinetry.”

Art, where he received both his BFA (1967) and

as a narrative reflecting the people and places

MFA (1987) degrees. Following his education,

around him. “It’s not correct to call him a deco-

he subsequently became a full-time artist.

rative artist. [Miller’s work was] always tied to

Creatively, Miller was influenced by other

the life around him.”

BALTIMORE OFFICE OF PROMOTION & THE ARTS (BOPA)

Baltimore Artist Used Art as Social Commentary

Miller also was known for his murals. Between 1991 and 1998, he was commissioned by his native city to create six murals, five of which still grace the walls of inner city buildings. As

black artists such as Jacob Lawrence and

Indeed, Miller’s works have long, historical

testament to his creative genius, the murals

Aaron Douglas—evident by his use of flat color

roots. The artist was keenly aware of the tradi-

express themes of racial pride and highlight the

shapes—as well as the writings of Langston

tion of painted furniture on southern planta-

concerns of the black community; brightly col-

Hughes. He also drew inspiration from patterns

tions, including pieces repurposed by slaves

ored and sometimes whimsical figures convey

analogous to those found in traditional Ameri-

and freedmen in the mid-19th century. In

messages of hope and self-determination.

can quilt making.

Miller’s talented hands, distinctions between

Miller gained a reputation as a renowned contemporary Baltimore artist. He was known for using color and pattern, as well as satire and whimsy, on his found objects—old tables, chairs, cabinets, and bookcases—to create his own African American vernacular. Miller painted bright and bold images of animal motifs, birds (especially pink flamingos), fruit (often watermelons), and palm trees and juxtaposed them with black faces, such as Aunt Jemimas. With cleverness and humor, he used his artistic skills to fight racial stereotyping and in doing so, he created an iconographic system of his own.

His art, which addresses social injustice, typically revolved around a theme, such as Swan Lake, as seen in the Swan Lake wardrobe acquired by UMUC. This wardrobe, plus his descriptively titled Philodendron, are significant JOHN WOO

additions to UMUC’s holdings; they represent the first pieces of contemporary furniture in the Arts Program collection.

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• www.umuc.edu/art

Tom P. Miller, Summer in Baltimore, 94⁄195, 1994, color screen print, 24 x 32 inches, UMUC Permanent Collection, Maryland Artist Collection, Gift of Dr. and Mrs. Steven Hammeroff, Courtesy of Steven Scott Gallery, Baltimore, in honor of Dr. David C. Driskell

In one of his most powerful murals, Miller depicts the silhouette of a muscular black man in a white T-shirt sitting on a yellow sandy beach holding a book in his hands. Above him is a bright blue sky and puffy white cloud. A flower towers over him, and a curious bird is perched by his side. On the pages of the book

print. In The National Aquarium in Baltimore,

“I use objects as my canvas.

I only record what I see and feel based on my experiences as an African American living in Baltimore. . . . ”

is an African proverb: “However far the stream

the artist depicts school groups and families of all ethnicities enthusiastically visiting the aquarium, one of his favorite places in the city.

Miller was one of the first African American artists from Baltimore to have a one-man

OWN E UNKN

show at the Baltimore Museum of Art; that

R, DAT

MILLE TOM P.

happened in 1995. His work has been featured

—

flows, it never forgets its source.” Here the art-

in exhibitions at the Smithsonian Renwick

ist sought to inspire young men: “I wanted to

Gallery, Washington, D.C.; American Craft

say a person could travel and expand his mind

window, awaiting a bite of the delicious fruit.

through reading," along with the more subtle

In a companion piece, Maryland Crab Fest,

message, "that you can't be a strong African

Miller portrays a family gathering. Seated

American male—or any male, for that matter—

around a table covered with crabs is a young

without being literate."

man wearing a kufi cap, another in a Malcolm X

Miller’s screen prints highlighted traditions of Baltimore’s African American community.

In Summer in Baltimore, for example, a black man with a horse-drawn cart sells watermelon.

in Harlem, New York.

T-shirt alongside a girl with “big Baltimore hair” inspired by traditional African braiding. Other family members and animals join the feast as music blares from a boom box.

In the shadow sits the Washington Monu-

In 1996, the National Aquarium commissioned

ment and a patron peering hungrily from a

Miller to create what would be his final screen

DID You Know?

Museum, New York; and the Studio Museum

LITTLE-KNOWN FACTS ABOUT ARTISTS WITH WORKS ACQUIRED BY OR EXHIBITED AT UMUC

His works are in the permanent collections of the Academy Art Museum, Easton, Maryland; Baltimore Museum of Art, Maryland Historical Society, and Reginald F. Lewis Museum of African American Art and Culture, Baltimore, Maryland; and, of course, UMUC. On June 23, 2000, Miller died at the age of 54 after an 11-year battle with AIDS. 

By Linda Derrick

Did you know Alma W. Thomas (1891-1978) lived all her life in Washington, D.C., and taught art at Shaw Junior High School?

Did you know Jacob Lawrence (1917-2000) served in the U.S. Coast Guard and completed basic training at Curtis Bay, Maryland?

Best known for his narrative paintings on African American life and culture, he created a series of paintings about Harriet Tubman and Frederick Douglass, both of whom are from Maryland.

Did you know Joyce J. Scott is an accomplished visual and performance artist, a writer, educator, and lecturer? Her works are on display in some of the world’s most prestigious museum collections, including the Baltimore Museum of Art. She frequently collaborates with five other female artists—they call themselves “the Girls of Baltimore.”

PHOTOGRAPHY BY JOHN WOO

Did you know Richard Dana served as a Soviet affairs expert while working at the Pentagon before becoming a full-time visual artist? He has a master’s degree in international relations, and he speaks some Russian.

Above, clockwise from top left: Alma W. Thomas, Untitled (detail), 1969, watercolor on paper, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists / Jacob Lawrence, Dondon (detail), 1992, silkscreen, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists / Richard Dana, Girl Is Father to Humankind (diptych, detail), 2006, oil on panel, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists, Gift of the artist / Joyce J. Scott, Have You Seen This Child?, 2010, glass, beads, wire, and wood, 19 x 12 x 16½ inches, UMUC Permanent Collection, Doris Patz Collection of Maryland Artists

www.umuc.edu/art •

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BMRE AWARDEES

Upcoming Events UNVEILED: WORKS FROM THE UMUC ART COLLECTIONS Sunday, February 9–Sunday, March 30, 2014 Arts Program Gallery, Inn and Conference Center, Lower Level

This past fall UMUC held its 2nd Biennial Maryland Regional Juried Art Exhibition which featured the work of new and emerging contemporary artists from Maryland, Washington, D.C., and Northern Virginia. The exhibition showcased selected works by 42 artists from more than 400 submissions by 200 artists. View the artwork featured in this exhibition at www.umuc.edu/bmre.

1st Place: President’s Best of Show Award Helen Zughaib, Veiled Secrets

4th Place: Arts Program Honorable Mention Greg Minah, The Sum Total

2nd Place: Jurors‘ Choice Award Sebastian Martorana, New Construction

5th Place: Arts Program Honorable Mention George Smyth, Braddock Project #7

3rd Place: Award of Merit Sy Wengrovitz, Soundgirl Pants

6th Place: Arts Program Honorable Mention Sean FitzPatrick, Reata 1996

Artwork details above, left to right: Helen Zughaib, Veiled Secrets / Sebastian Martorana, New Construction / Sy Wengrovitz, Soundgirl Pants / Greg Minah, The Sum Total / George Smyth, Braddock Project #7 / Sean FitzPatrick, Reata 1996

THANKS TO ART DONORS The Arts Program is ever so grateful to the many collectors, artists, and patrons who have donated works to the University of Maryland University College (UMUC) collection. We are proud to be developing an art collection of such high caliber and one that is representative of the diverse community served by UMUC. This past year we were delighted to have acquired some 450 works by more than 400 Maryland printmakers. This exceedingly generous donation from the Maryland Printmakers Society will enhance the Arts Program’s works on paper collection tremendously.

Additionally, in 2013, Washington, D.C. art collector James Lardner chose to donate an untitled portrait of a clown painting created in the early 1960s by Joseph Sheppard to our growing body of works by this artist.

The unique piece demonstrates the artist’s early talent as a realist painter.

The Arts Program has acquired many pieces of art that are being exhibited for the first time. Names to look for include Aubrey Bodine, Elizabeth Catlett, Patrick Craig, Patricia Tobacco Forrester, Grace Hartigan, Jacob Lawrence, Faith Ringgold, Joyce Scott, Caroll Sockwell, Alma Thomas, and Andy Warhol. There are also new additions to the Chinese collection.

PRINTMAKING: FACULTY ART INVITATIONAL 2014 Sunday, April 6–Sunday, June 1, 2014 Opening Reception: Sunday, April 6, 2014, 3-5 p.m., Arts Program Gallery This annual exhibit includes art by professors of art within the University System of Maryland and their invited guests.

JOSEPH SHEPPARD: ON A GRAND SCALE Sunday, April 20, 2014–Sunday, March 29, 2015 Opening Reception: Sunday, April 27, 2014, 3-5 p.m.

The Leroy Merritt Center for the Art of Joseph Sheppard The Arts Program is presenting the fifth in a series of exhibitions

by Joseph Sheppard. These solo exhibitions commemorate the center’s opening and its dedication to the life and legacy of Sheppard, a realist artist whose art can be viewed in both public and private collections around the world.

A VISUAL LANGUAGE: SHEILA CRIDER, SUSAN GOLDMAN, AND ANDREA BARNES Sunday, May 11–Sunday, July 20, 2014 Opening Reception: Thursday, June 5, 2014, 5-6:30 p.m.

U.S. District Courthouse, 6500 Cherrywood Lane, Greenbelt, Maryland These artists examine and explore cultural heritage as well as life experiences through their art, and they experiment with materials to find their voice. Sheila Crider is based in Washington, D.C. Susan Goldman lives and has a print studio in Maryland. Andrea Barnes considers herself a Washington artist even though she works out of her studio in Maryland.

MID-ATLANTIC REGIONAL WATERCOLOR EXHIBITION Sunday, June 15–Sunday, August 24, 2014 Opening Reception: Sunday, June 29, 2014, 3-5 p.m., Arts Program Gallery The Baltimore Watercolor Society, which hosts an exhibition in Maryland every year, asked UMUC to provide the space for this year’s event. The Exhibition Committee of the Arts Program is delighted to support this work.

We sincerely thank Karin Goldstein for donating 23 works to expand the Gladys Goldstein Collection this year. And we are proud that in 2013, we acquired works by artists such as Ellen Hill, Nelson Stevens, Grace Hartigan, Jacob Lawrence, Peter Gordon, and Andy Warhol.

As the Arts Program continues to expand and showcase the work of even more Maryland artists, we want to thank all of our donors. We appreciate your interest and support. 

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UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE ARTS PROGRAM MISSION STATEMENT 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.

• www.umuc.edu/art 14-ARTS-016 (3/14)

Become a Friend of the Arts at UMUC

FRIENDS OF THE ARTS (January 1, 2013–present) Citrine-Level Friends John Babcock and Doris Babcock John M. Derrick Jr. and Linda D. Derrick Sharon Holston and Joseph Holston Thomas Li

Make an Annual Contribution to the Arts Program 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 Arts Program become one of the most recognized in Maryland.

Platinum-Level Friends Nina Dwyer Michele E. Jacobs and Joseph V. Bowen Jr. Robert W. Jerome Eric Key Anne V. Maher

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.

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 donors' wall in the Arts Program Gallery Gold-Level Friend ($500–$999) Above benefits, plus full-color art catalog from a major UMUC art exhibition

Platinum-Level Friend ($1,000–$2,499) Benefits at left, plus VIP invitation to dinner with the guest artist and the university president, 10 percent discount at the Common (the restaurant at the UMUC Inn and Conference Center)

Gold-Level Friends Joan Burke Bevelaqua Martin J. Oppenheimer and Helene G. Oppenheimer Dianne Whitfield-Locke

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

Silver-Level Friends

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.)

Tracey Brown Doreatha Bush Jennifer M. Eubanks Lisa Anne Jackson Denise Melvin and Donald Melvin Maxwell Miller

Diane Bartoo Jeannette R. Glover Elena Gortcheva Julia Lindenmeier Rene Sanjines

Elinor Seidel Lydia Christina Waddler Marcia R. Watson Starlene Williams Brian Young and Molly Deere Friends Lisa I. Anthony Tara Balfe Clifford Barbara L. Bullock Paula Cleggett Mary Ann Elliott Beverly A. Gray Irvin Greif Jr. and Nanette Greif Henri E. Hill Christine C. Neill Robert Pagelsen Sonya R. Pryor Bettye J. Robertson Priscilla A. Scott Steven Scott Gallery Gail P. Smith Kathleen Sobieralski Robert S. Warren Associates Annquinette D. Coles Sarah Conboy Eric C. Helfers Jill A. Lion Nelly Montes Lukas Joseph S. Rogers Ann Marie Russo Herron Edith W. Schultz Suzzanne C. Slaughter William C. Swann Marilyn B. Wassmann

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