UMUC Paul Reed Exhibition, 2018

University of Maryland University College 3501 University Boulevard East Adelphi, Maryland 20782-8000 USA umuc.edu/art

Paul REED WASHINGTON COLOR SCHOOL PAINTER

Catalog published in conjunction with the exhibition Paul Reed: Washington Color School Painter UMUC Arts Program Gallery July 8–September 16, 2018 © 2018 University of Maryland University College.

All rights reserved. Copyright credits and attribution for certain illustrations are cited internally proximate to the illustrations.

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

Untitled #8, 1986 PAGE 1 ARTWORK:

Gilport IV B, Gilport series, 1971

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Steven Halperson

Katherine Lambert

WELCOME Javier Miyares President University of Maryland University College

since its inception in 1947—has focused on bringing

the work of this acclaimed and innovative artist, we

affordable, quality education within reach for women

are invited to explore and expand our understanding

and men everywhere. Our Arts Program supports that

of color and our experience of it. It is truly a privilege

mission, allowing us to introduce the work of emerging

to showcase the talent and unique perspective of this

On behalf of University of Maryland

and established artists to new and broader audiences,

remarkable visionary.

University College (UMUC) and

including our own local and regional communities.

the 80,000 students we serve each

I sincerely hope that you enjoy this wonderful exhibi-

year, let me say what an honor it is to host Paul Reed:

As I have so often said, art fires our imaginations,

tion, and I thank you for your continued support of the

Washington Color School Painter. As you know, UMUC—

drives innovation, and enriches our world. Through

arts and our Arts Program in 2018 and beyond.

Eric Key Director, Arts Program University of Maryland University College

painting in a style that was different from that defined

Collection (Washington, D.C.); Phoenix Art Museum

as color field painting or abstract expressionism.

and Scottsdale Museum of Contemporary Art (Arizona);

The Washington Color School movement was primarily

Oklahoma City Museum of Art; Westmoreland Museum

characterized by the use of geometric shapes of

of American Art (Greensburg, Pennsylvania); and

Paul Allen Reed (1919–2015) was

vibrant color stained into the canvas. The painters

Baltimore Museum of Art (Maryland). His works are

born in Washington, D.C., and

adopted a process of staining in which they would pour

in public collections such as the Weatherspoon Art

was one of the founding members

color onto the canvas and let it soak in for a while—

Museum (Greensboro, North Carolina), Nelson-Atkins

of the famed Washington Color School painters.

leaving no evidence of any other painting materials,

Museum of Art (Kansas City, Missouri), Smithsonian

Reed was dedicated to moving beyond the traditional

such as a paintbrush.

Hirshhorn Museum and Sculpture Garden (Washington,

four-sided canvas painting to geometrically shaped

D.C.), Brooklyn Museum (New York), and Birmingham

canvas paintings—a style he became known for.

Although not all the members of the Washington Color

When we met him in 2014, he and his wife were living

School knew each other, Reed and Gene Davis were

in Arlington, Virginia, and he was the last surviving

childhood friends who grew up together in north-

Thanks to Reed’s daughter, Jean Roberts, who is the

member of the Washington Color School artists.

east Washington, D.C. He and Davis started painting

trustee of the Paul A. and Esther K. Reed Trust,

together, went to museums and galleries together,

UMUC now has in its permanent collection a body of

The original members of the Washington Color School

and got jobs together. Reed’s painting process was

Reed’s works that details five decades of his artistic

movement—Gene Davis, Kenneth Noland, Howard

much like his personality; he was a quiet, methodical

creation. We are proud to present in this exhibition a

Mehring, Morris Louis, Thomas Downing, and Reed—

man who enjoyed both his family and his art.

sampling of that donation and a look into the artistry

participated in the landmark exhibition The Washington

Museum of Art (Alabama).

of one of America’s historic artists.

Color Painters at the Washington Gallery of Modern Art

After the landmark exhibition, Reed went on to exhibit

in 1965. The goal of the exhibition was to showcase

his works at such venues as the Corcoran Gallery of

the works of area artists who were working in abstract

Art, Smithsonian American Art Museum, and Phillips 3

Paul Reed:

Painter and sculptor Paul Allen Reed

the Washington Color School and Beyond

to the Washington, D.C., art community

JON WEST-BEY CURATOR, ARTS PROGRAM

was best known for his contributions

“Pollack

dripped,

by becoming one of the six founders of the

[Helen] Frankenthaler

Washington Color School. He was a prolific artist, producing hundreds of paintings and

poured.

sculptures over the course of his career, which

Morris Lewis

spanned more than 60 years. Reed was the last of

poured,

the original group of six painters of the Washington

and Howard Mehring

Color School, and his work is as diverse as it is inventive. Reed’s art is in dozens of museums across the country, including the Smithsonian American Art Museum

sprinkled.

And I

(Washington, D.C.), the Detroit Institute of Arts (Michigan), the Walker Art Center (Minneapolis, Minnesota), the Dallas Museum of Art (Texas), the High Museum of Art (Atlanta,

blotted.”

—PAUL REED, 2011

Georgia), the San Francisco Museum of Modern Art (California), and the Art Institute of Chicago (Illinois). The works in this exhibition are from a generous donation to the UMUC Arts Program in 2016 by Reed’s daughter, Jean Roberts. The donation consists of more than 200 works, including paintings on canvas and paper as well as sculptures, that illustrate how this legendary artist evolved and offer insight into his approach.

Born in Washington, D.C., on March 28, 1919, Reed graduated from McKinley High School and grew up in the same neighborhood as his longtime friend and fellow Washington Color School artist Gene Davis. In an NPR interview in 2014, Reed indicated that Washington, D.C., did not have much of an art scene before the 1950s. He did, however, state that much of his exposure to art came from visiting the Phillips Collection, the National Gallery of Art, and the Corcoran Gallery of Art, museums he would return to over and over again for inspiration Paul Reed, Self Portrait 38, 1999, signed lithograph, 91/4 x 67/8 inches

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throughout his life.

Reed studied art for a semester at San Diego State University and then moved to New York City to work in the advertising

University (Waltham, Massachusetts), and Walker Art Center (Minneapolis, Minnesota). The circulation of this exhibition

business as a graphic designer. The art scene in New York

pushed Reed and the developments in color painting going

City had a major influence on him; he often visited the

on in Washington, D.C., into the national spotlight.

Metropolitan Museum of Art, the Museum of Modern Art, and the Guggenheim Museum. In 1950, he returned to

Reed’s early work in the 1950s was mostly in the abstract

Washington, D.C., to work as a graphic artist at the

impressionist style with heavy brush strokes. He experi-

Washington Times-Herald, while also taking art classes

mented with collage and began introducing words and let-

at the Corcoran School of Art. He went on to open a free-

ters in 1960. He began using Magna paint in the early 1960s

lance graphic design business and eventually became an

because of its absorbing qualities. This was a new type of

art director for the Peace Corps. His work in commercial art and advertising influenced his early art: he incorporated collage elements of newspaper and magazine clippings into his work.

paint at the time, and it allowed him to bleed colors into the canvas, which eventually led him to create more hard-edged paintings. It is important to note that what made the Washington Color School painters unique was that they emphasized allowing paint

Reed’s first solo exhibition was at the Adams-Morgan Gallery in Washington, D.C.,

to absorb deep into the canvas in an effort to enhance the colors. The circles that

in January 1963. In 1964, he was part of a group exhibition at the Museum of

appeared in the center of Reed’s work would become important throughout his

Modern Art and had a solo show at the East Hampton Gallery in Manhattan as

career. His work Blue and

well as one in 1966 at the Corcoran Gallery of Art.

Green (1963–71) is a great example of the circular works

In the early stages of what would become the Washington Color School painting

that he produced throughout

style, some of the artists of the founding group—which would include Reed,

much of the early and mid-

Kenneth Noland, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis—

1960s and is similar to his

would meet and discuss their work and influences. According to Emily Lenz,

work in The Washington Color

president of the D. Wigmore Fine Art Gallery, “Reed got to know Howard Mehring

Painters exhibition. In 1964,

and Thomas Downing through their exhibitions at Jefferson Place Gallery in 1960

Reed produced 40 silkscreen

and 1961. Through Reed’s friendship with Mehring, Downing, and Davis, he gained

studies with his signature

information about their experiments with form and color while sharing his own

circle in the middle that he

ideas and discoveries.”¹

eventually transferred to canvas. Untitled #9c (1965)

Reed consistently played down his significance in the group and considered himself

is one of these works.

the “low man on the totem pole of that group of six.”² The Washington Color School launched with a defining major exhibition titled The Washington Color Painters in 1965 at the now defunct Washington Gallery of Modern Art. The exhibition, curated

by Gerald Nordland, traveled to the University of Texas at Austin Huntington Art Gallery, University of California at Santa Barbara, Rose Art Museum of Brandeis

ABOVE: Blue and Green, 1963–71, acrylic on paper, 20 x 20 inches RIGHT: Untitled #9c,

1965, acrylic on canvas, 27 x 21 inches

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In the mid-1960s, Reed branched out into sculpture, working with Bill Truitt, a welder in Baltimore. Truitt taught Reed how to weld, and the two would go on to design and produce about 50 pieces. One of those pieces, Mercury (1967), was part of a series about mythology and gods. Step (1966) was also a piece Reed would make multiple versions of. During this time, Reed began to experiment with action pieces, in which he placed the sculpture in a way that suggested movement, a style he would return to later in his career.

Reed began the Upstart series in 1966, including Upstart XXXIX. This series marked a departure from the curves he had previously used. He began taking advantage of the large studio space that he had at the time to produce ABOVE: Mercury,

1967, wood and metal, 18 x 14 x 7 inches

more ambitious work, in which he used larger canvases to explore lines. These bright, colorful pieces were very popular, and he began experimenting with shaped canvases, such as Emerging XV (1967). Reed was not

LEFT: Upstart XXXIX,

the only artist in the Washington Color School to experiment with shaped canvases;

Upstart series, 1966, acrylic on canvas, 43 x 23 inches

Davis, Downing, and Merhing also produced pieces in this fashion. Reed began the Gilport series in the early 1970s as a shaped canvas series. It is interesting to note that they were made to be nailed to the wall because of the challenges of finding appropriate framing. An example is H II (1972), which is a massive canvas piece with vibrant colors. Reed created dozens of these works as well as numerous prints using the same form and pattern.

In 1974, Reed left his large studio to move to his home studio; his work reflected the smaller space, and he began experimenting with charcoal drawings. He produced dozens of these pieces, mostly abstract works using oil pastels and charcoal paper.

The same year, he began teaching at the Corcoran School of Art, which may have encouraged his return to experimentation with limited medium. He began using thin oil to modify the shapes he explored. He also started his Don Quixote series, producing windmill shapes and incorporating photos of human-made and natural shapes on paper, such as in Untitled #60 (1975).

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“The most important thing about Washington color painting [is the] application of pigment into the canvas. . . . it’s married to the canvas.”

In the late 1980s and early 1990s, Reed began mixing photo negatives and prints to form geometric shapes; he produced about a hundred of these pieces. He also began experimenting with manipulating early forms of digital photography. In 2 (1989), he used a photograph of an eye as the focal point and a scraping pattern in the background. Around the same time, in order to match the color in the photographs, he began to wash the colors by diluting the paint and applying it to paper or canvas and then scraping directly onto the paper and canvas, as he did with Untitled #15 (1987).

During the 2000s, in what would become his late career work, Reed incorporated all the techniques he had experimented with throughout his professional life. He began to play with three-dimensional shapes using wood planks. A prime example is CM6-L2 (2005), which shows the floating object with its matching reflection. He did a series of these pieces using the same motif to create action and movement

—PAUL REED, 2011

within the piece. He also began using blank space again, not just in the center of the work but in different parts of his paintings, going back to some of the original shapes he had played with in the beginning of his career. He began a series exploring minimalist shapes with colorful backgrounds. He also started playing with light

the work could become. Although

and using muslin fabric. HH2 (2010)

he is primarily associated with the

was meant to capture light through

Washington Color School, he didn’t

a window. He had several pieces

confine his work to that style. He was

on muslin in the windows of his

an artist fascinated with color, shapes,

home studio. Even as he neared

textures, and light. He experimented with

the end of his career, Reed still

multiple mediums and was not afraid to take

had a desire to explore what was artistically possible.

Emerging XV, 1967 acrylic on canvas 54 x 30 inches

chances. Throughout his career, he pushed himself to create works that exposed new possibilities.

In 2015, he passed away at age 96, and his legacy has

Reed’s boundless curiosity and

not gone unnoticed. He has had major retrospectives

constant willingness to experi-

at the Workhouse Art Center in Lorton, Virginia, and Georgetown University Library

ment are reflected in his work. He

and American University in Washington, D.C. This exhibition is a celebration of a

approached his art with an excite-

true artist and master of his craft.

ment about the possibility of what NOTES 2, 1989, oil pastel on paper, mixed media 12 x 9 inches

¹ Emily Lenz, “Paul Reed: Washington Color School Painter” (New York: D. Wigmore Fine Art). Essay published in conjunction with an online exhibition of the same title. http://www.dwigmore.com/reed_essay.html. ² Paul Reed, “The Colorful, Blossoming D.C. Arts Scene in the 1950s, ’60s,” interview by Susan Stamberg, Morning Edition, NPR, October 31, 2014.

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“If you know what a painting is going to look like before you start it, there’s no use painting it.”

—PAUL REED, 2011 Paul Reed, 1968

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Untitled 3, 1987, oil pastel on paper, triptych, 111/2 x 231/2 inches

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AMAG 2001 acrylic on canvas 20 x 18 inches

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CHO 2003 acrylic on canvas 16¼ x 16¼ inches

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2 [11/12/87] 1987 oil pastel on paper diptych 24 x 9 inches

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3 1989 oil pastel on paper diptych 11 x 15 inches

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14

Untitled 1 [4/27/90], 1990, oil pastel on paper, diptych, 7½ x 22 inches

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CM6-L2 2005 acrylic on muslin 40 x 27 inches

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Untitled 1976 oil pastel on paper 18 x 12 inches

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Gilport One Gilport series 1971 acrylic on paper 22 x 24 inches

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Gilport Two Gilport series 1971 acrylic on paper 22 x 24 inches

19

HH2 2010 acrylic on muslin 24 x 30 inches

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Lamut 1975 acrylic on canvas 80 x 26 inches

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22

Untitled #98 1978 oil pastel on paper triptych 12 x 27 inches

23

Untitled 2001 acrylic on metal 16½ x 4½ x 4½ inches

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Untitled #15 1987 oil pastel on paper diptych 12 x 18 inches

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Untitled #8 1986 oil pastel on paper diptych 9 x 24 inches

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2 [10/17/87] 1987 oil pastel on paper 11 x 8 inches

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#14G 1964 acrylic on canvas 28 x 28 inches

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ALTAIR II 1996 acrylic on canvas 27 x 26 inches

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Untitled 1 [10/10/88] 1988 oil pastel on paper triptych 11 x 22½ inches

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13 1987 oil pastel on paper 12 x 9 inches

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Untitled #9c 1965 acrylic on canvas 27 x 21 inches

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Emerging XV 1967 acrylic on canvas 54 x 30 inches

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Untitled [12/2/90] 1990 acrylic on paper 22½ x 30 inches

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Untitled 2 1988 oil pastel on paper diptych 12 x 18 inches

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Untitled #96 1982 oil pastel on paper 12 x 9 inches

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Gilport IV B Gilport series 1971 acrylic on canvas diptych 27 x 22 inches

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Gilport D LXVII Gilport series 1972 acrylic on canvas diptych 58 x 46 inches

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1, 2, 3 1979 oil pastel on paper triptych 12 x 27 inches

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HOB 2011 acrylic on muslin 21½ x 28½ inches

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Two Reds 1963–71 acrylic on paper 20 x 20 inches

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Untitled 2 and 6 1987 oil pastel on paper diptych 24 x 9 inches

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Untitled #14 1986 oil pastel on paper diptych 9 x 24 inches

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DBL 2003 acrylic on canvas 16 x 16 inches

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AHAA 2001 acrylic on canvas 14 x 20 inches

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Untitled 4 [11/3/86] 1986 oil pastel on paper triptych 12 x 27 inches

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Untitled #80 1989 oil pastel on paper 12 x 9 inches

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Step 1966 metal 23ž x 13 x 6 inches

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Upstart XXXIX Upstart series 1966 acrylic on canvas 43 x 23 inches

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Untitled #2 1987 oil pastel on paper diptych 12 x 18 inches

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54

Untitled not dated photo on glossy paper 6½ x 31½ inches

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Untitled [8/22/90] 1990 acrylic on paper 22½ x 30 inches

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Untitled #10 [5/5/87] 1987 oil pastel on paper diptych 18 x 12 inches

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Oriya 1987 acrylic on canvas 12 x 12 inches

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Untitled #29 1977 oil pastel on paper diptych 9 x 24 inches

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Untitled #10 [10/16/86], 1986, oil pastel on paper, diptych, 9 x 24 inches

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Mercury 1967 wood and metal 18 x 14 x 7 inches

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H II Gilport series 1972 acrylic on canvas diptych 142 x 141 inches

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Blue and Green 1963–71 acrylic on paper 20 x 20 inches

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Untitled #4 [10/5/88] 1988 oil pastel on paper diptych 11 x 15 inches

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Zigfield 1970 acrylic on paper 20 x 35 inches

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6 1979 oil pastel on paper 12 x 9 inches

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EXHIBITION LIST 1, 2, 3 1979 oil pastel on paper triptych, 12 x 27 inches 2 [10/17/87] 1987 oil pastel on paper 11 x 8 inches 2 [11/12/87] 1987 oil pastel on paper diptych, 24 x 9 inches 3 1989 oil pastel on paper diptych, 11 x 15 inches 6 1979 oil pastel on paper 12 x 9 inches 13 1987 oil pastel on paper 12 x 9 inches #14G 1964 acrylic on canvas 28 x 28 inches AHAA 2001 acrylic on canvas 14 x 20 inches

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ALTAIR II 1996 acrylic on canvas 27 x 26 inches AMAG 2001 acrylic on canvas 20 x 18 inches Blue and Green 1963–71 acrylic on paper 20 x 20 inches CHO 2003 acrylic on canvas 16¼ x 16¼ inches CM6-L2 2005 acrylic on muslin 40 x 27 inches DBL 2003 acrylic on canvas 16 x 16 inches Emerging XV 1967 acrylic on canvas 54 x 30 inches Gilport D LXVII Gilport series 1972 acrylic on canvas diptych, 58 x 46 inches Gilport IV B Gilport series 1971 acrylic on canvas diptych, 27 x 22 inches

Gilport One Gilport series 1971 acrylic on paper 22 x 24 inches Gilport Two Gilport series 1971 acrylic on paper 22 x 24 inches H II Gilport series 1972 acrylic on canvas diptych, 142 x 141 inches HH2 2010 acrylic on muslin 24 x 30 inches HOB 2011 acrylic on muslin 21½ x 28½ inches Lamut 1975 acrylic on canvas 80 x 26 inches Mercury 1967 wood and metal 18 x 14 x 7 inches Oriya 1987 acrylic on canvas 12 x 12 inches

Step 1966 metal 23¾ x 13 x 6 inches

Untitled #2 1987 oil pastel on paper diptych, 12 x 18 inches

Untitled #14 1986 oil pastel on paper diptych, 9 x 24 inches

Two Reds 1963–71 acrylic on paper 20 x 20 inches

Untitled 2 and 6 1987 oil pastel on paper diptych, 24 x 9 inches

Untitled #15 1987 oil pastel on paper diptych, 12 x 18 inches

Untitled 1976 oil pastel on paper 18 x 12 inches

Untitled 3 1987 oil pastel on paper triptych, 111/2 x 231/2 inches

Untitled #29 1977 oil pastel on paper diptych, 9 x 24 inches

Untitled [8/22/90] 1990 acrylic on paper 22½ x 30 inches

Untitled 4 [11/3/86] 1986 oil pastel on paper triptych, 12 x 27 inches

Untitled #80 1989 oil pastel on paper 12 x 9 inches

Untitled [12/2/90] 1990 acrylic on paper 22½ x 30 inches

Untitled #4 [10/5/88] 1988 oil pastel on paper diptych, 11 x 15 inches

Untitled #96 1982 oil pastel on paper 12 x 9 inches

Untitled 2001 acrylic on metal 16½ x 4½ x 4½ inches

Untitled #8 1986 oil pastel on paper diptych, 9 x 24 inches

Untitled #98 1978 oil pastel on paper triptych, 12 x 27 inches

Untitled 1 [10/10/88] 1988 oil pastel on paper triptych, 11 x 22½ inches

Untitled #9c 1965 acrylic on canvas 27 x 21 inches

Untitled not dated photo on glossy paper 6½ x 31½ inches

Untitled 1 [4/27/90] 1990 oil pastel on paper diptych, 7½ x 22 inches

Untitled #10 [10/16/86] 1986 oil pastel on paper diptych, 9 x 24 inches

Upstart XXXIX Upstart series 1966 acrylic on canvas 43 x 23 inches

Untitled 2 1988 oil pastel on paper diptych, 12 x 18 inches

Untitled #10 [5/5/87] 1987 oil pastel on paper diptych, 18 x 12 inches

Zigfield 1970 acrylic on paper 20 x 35 inches 69

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

Pamela G. Holt Consultant Public Affairs and Cultural Policy Administration

UMUC BOARD OF VISTORS Mark J. Gerencser, Chair Chairman of the Board CyberSpa, LLC Evelyn J. Bata, PhD Professor Emerita University of Maryland University College

Eva J. Allen, PhD, Honorary Member Art Historian

Eric Key Director, Arts Program University of Maryland University College

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

Myrtis Bedolla, Vice Chair Owner and Founding Director Galerie Myrtis

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

Joan Bevelaqua Artist, Collegiate Professor University of Maryland University College

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

David Maril, Honorary Member Journalist President, Herman Maril Foundation

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

Christopher Shields Director, Business Operations NASDAQ.com

I-Ling Chow, Honorary Member Regional President and Managing Director, Ret. Asia Bank, N.A. Nina C. Dwyer Artist, Adjunct Professor of Art Montgomery College

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

David W. Bower Chief Executive Officer Data Computer Corporation of America Karl R. Gumtow Co-Founder and Chief Executive Officer CyberPoint International, LLC

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

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

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

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

Karin Goldstein, Honorary Member Collector and Patron of the Arts

Sharon Wolpoff Artist and Owner Wolpoff Studios

Juanita Boyd Hardy, Honorary Member Executive Director, CulturalDC

Elizabeth Zoltan, PhD Collector and Patron of the Arts

Brig. Gen. Velma L. Richardson, U.S. Army, Ret. President, VLR Consulting William T. (Bill) Wood, JD Founder, Wood Law Offices, LLC Joyce M. Wright Senior Consultant Fitzgerald Consulting

ABOUT UMUC

ARTS PROGRAM MISSION STATEMENT

University of Maryland University College was founded

The Arts Program at UMUC creates an environment in

more than 70 years ago specifically to serve the higher

which its diverse constituents, including members of

education needs of working adults and servicemembers.

the university community and the general public, can

Today, UMUC continues that tradition online and offers

study and learn about art by directly experiencing it.

more than 90 degrees, certificates, and specializations backed by the reputation of a state university and the University System of Maryland. For more information, visit umuc.edu.

ABOUT THE ARTS PROGRAM AT UMUC Since 1978, UMUC has proudly shown works from a large collection of international and Maryland artists at its headquarters in Adelphi, Maryland, a few miles from the nation’s capital. Through its Arts Program, the university provides a prestigious and wide-ranging forum for emerging and established artists and brings art to the community through special exhibitions and its own collections, which have grown to include more than 2,900 pieces of art.

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.

CONTRIBUTORS Director, Arts Program: Eric Key

Artworks are on display throughout the College Park

Curators: Eric Key, Jon West-Bey

Marriott Hotel & Conference Center at UMUC and the

Editors: Sandy Bernstein, Nancy Kochuk, Barbara Reed

Administration Building in Adelphi as well as at the

Director, Institutional Projects: Cynthia Friedman

UMUC Academic Center at Largo. The main, lower-

Designer: Jennifer Norris

level gallery in Adelphi is open to the public from

Project Manager: Laurie Bushkoff

9 a.m. to 9 p.m. seven days a week, and the Leroy

Production Manager: Scott Eury

Merritt Center for the Art of Joseph Sheppard is open

Fine Arts Technician: René A. Sanjines

to the public from 9 a.m. to 7 p.m. seven days a week.

Administrative Assistant: Tawanna Manago

More than 75,000 students, scholars, and visitors

Artwork photography: John Woo

come to the Adelphi facilities each year. Exhibitions at the UMUC Academic Center at Largo are open to visitors from 9 a.m. to 5 p.m., Monday through Friday.

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18-ARTS-011 (07/18)

University of Maryland University College 3501 University Boulevard East Adelphi, Maryland 20782-8000 USA umuc.edu/art