Art@UMUC Newsletter, Spring 2012

GreetinGs from the President

Dear Friends,

As another season of exciting arts events begins, I would like to take thisopportunity to thank you for your continued support of the Arts Programat University of Maryland University College (UMUC) and highlight some of the arts initiatives you have helped make possible.

This fall, the university launched The Poetics of Water, a wonderfully unique exhibition that continued through mid-January. I hope you had the opportunity to view the exhibition, which included artistic expression from a variety of perspectives, including those of students, seniors, and professional artists and poets.

I am also pleased to announce that the book release and reception for His Own Path: The Spirit and Legacy of Herman Maril was a great success. After years of collaboration and hard work,we are delighted that this book is now in the hands of so many art lovers and available to you through the Arts Program’s office. Additionally, I would like to thank Christine McCarthy, executive director of the Provincetown Art Association and Museum, for delivering an educational lecture onHerman Maril and his art to students, faculty, and art patrons who gathered for the event.

This spring promises to be a busy one, as the university has three exhibitions scheduled to open between January and April: Infinite Mirror: Images of American Identity, Joseph Sheppard: AVoyage from Memory (1930–1960), and the Faculty Art Invitational Exhibition. I hope you willhave a chance to view each of these exciting and informative exhibitions. Without art patrons and supporters like you, they would not be possible. Thank you.

Sincerely,

Susan C. Aldridge, PhDPresident, University of Maryland University College

GreetinGs from the Chair

Dear Friends,

This year promises to be a time of continued growth and development for the Arts Program at UMUC. We have several exciting exhibitions planned—Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and more—and I hope you will have the opportunity to join us at them.

In addition, I am inspired by two recent gifts the Arts Program received.Beverly Corey kindly donated a Preston Sampson work, and Iver Nelsongenerously added 15 works to the university’s Asian Collection. Gracious gifts like these, as well as the ongoing support of everyone involved with the Arts Program, help ensure that we continuebringing art to the community.

I cannot stress the impact the Arts Program has on the education of our students, visitors, andcommunity. In 2011, the Arts Program hosted more group tours, and in 2012, will work hand in hand with academic departments to ensure that students benefit from the culturally diverseartistic expressions of the exhibitions. Indeed, the Arts Program is reaching beyond its regionalborders to share visual art from artists around the world. I have every reason to believe that in the new year, the Arts Program will further its mission of creating an environment in which theuniversity community and the general public can learn about art by directly experiencing it.

May we all take the time to explore our interests and passions in 2012. Thank you for your support.

Sincerely,

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

SPRING 2012 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 [email protected] mail to

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

Graphic Designer

Jordan Campbell

UMUC Art Advisory Board

Susan C. Aldridge, PhD

Michèle E. Jacobs, Chair

Anne V. Maher, Esq., Vice Chair

Eva J. Allen, PhD

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

www.umuc.edu/art• page 1

PRESORTED FIRST CLASS

U.S. POSTAGE PAID

On cover (clockwise from left): 1 Winston Harris,Military Time (detail) 2 Cesar Augusto Martinez, Hombreque le Gustan las Mujeres 3 Kakyoung Lee, Drifting 1 (14:30 at the airport) (detail) 4 Jennifer Greenburg, Donnie Hawleywood (detail)

Arts PrograsUpdates Get the

latest updates on

the UMUC Arts Program. Visit

www.umuc.edu/art/newsonline

Arts Program3501 University Boulevard EastAdelphi, MD 20783-8007 USAwww.umuc.edu/art

U N I V E R S I T Y O F M A R Y L A N D U N I V E R S I T Y C O L L E G E

SPRING 2012

News and perspectives for friends of the arts

IN THIS ISSUE

1 Greetings from the President & Greetings from the Chair

2 Remembering Larry Chappelear

3 UMUC Adds to Its Permanent Collections

3 Influence Over Time: The Art of Winston Harris

4 Infinite Mirror: A Fresh Look at American Identity

5 Did You Know?

6 Collectible Book Available His Own Path: The Spirit and Legacy of Herman Maril

6 University of Maryland University College Arts Program Mission Statement

6 Upcoming Events

7 Become a Friend of the Arts at UMUC

GreetinGs from the President

Dear Friends,

As another season of exciting arts events begins, I would like to take this opportunity to thank you for your continued support of the Arts Program at University of Maryland University College (UMUC) and highlight some of the arts initiatives you have helped make possible.

This fall, the university launched The Poetics of Water, a wonderfully unique exhibition that continued through mid-January. I hope you had the opportunity to view the exhibition, which included artistic expression from a variety of perspectives, including those of students, seniors, and professional artists and poets.

I am also pleased to announce that the book release and reception for His Own Path: The Spirit and Legacy of Herman Maril was a great success. After years of collaboration and hard work, we are delighted that this book is now in the hands of so many art lovers and available to you through the Arts Program’s office. Additionally, I would like to thank Christine McCarthy, executive director of the Provincetown Art Association and Museum, for delivering an educational lecture on Herman Maril and his art to students, faculty, and art patrons who gathered for the event.

This spring promises to be a busy one, as the university has three exhibitions scheduled to open between January and April: Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and the Faculty Art Invitational Exhibition. I hope you will have a chance to view each of these exciting and informative exhibitions. Without art patrons and supporters like you, they would not be possible. Thank you.

Sincerely,

Susan C. Aldridge, PhDPresident, University of Maryland University College

GreetinGs from the Chair

Dear Friends,

This year promises to be a time of continued growth and development for the Arts Program at UMUC. We have several exciting exhibitions planned—Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage from Memory (1930–1960), and more—and I hope you will have the opportunity to join us at them.

In addition, I am inspired by two recent gifts the Arts Program received. Beverly Corey kindly donated a Preston Sampson work, and Iver Nelson generously added 15 works to the university’s Asian Collection. Gracious gifts like these, as well as the ongoing support of everyone involved with the Arts Program, help ensure that we continue bringing art to the community.

I cannot stress the impact the Arts Program has on the education of our students, visitors, and community. In 2011, the Arts Program hosted more group tours, and in 2012, will work hand in hand with academic departments to ensure that students benefit from the culturally diverse artistic expressions of the exhibitions. Indeed, the Arts Program is reaching beyond its regional borders to share visual art from artists around the world. I have every reason to believe that in the new year, the Arts Program will further its mission of creating an environment in which the university community and the general public can learn about art by directly experiencing it.

May we all take the time to explore our interests and passions in 2012. Thank you for your support.

Sincerely,

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

SPRING 2012 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 [email protected]

or mail to

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

Graphic Designer

Jordan Campbell

UMUC Art Advisory Board

Susan C. Aldridge, PhD

Michèle E. Jacobs, Chair

Anne V. Maher, Esq., Vice Chair

Eva J. Allen, PhD

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

www.umuc.edu/art • page 1

PRESORTED FIRST CLASS

U.S. POSTAGE PAID

On cover (clockwise from left): 1 Winston Harris, Military Time (detail) 2 Cesar Augusto Martinez, Hombre que le Gustan las Mujeres 3 Kakyoung Lee, Drifting 1 (14:30 at the airport) (detail) 4 Jennifer Greenburg, Donnie Hawleywood (detail)

Arts Programs UpdatesGet the latest updates on

the UMUC Arts Program. Visit

www.umuc.edu/art/newsonline

Arts Program3501 University Boulevard EastAdelphi, MD 20783-8007 USAwww.umuc.edu/art

UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE

SPRING 2012

News and perspectives for friends of the arts

IN THIS ISSUE

1 Greetings from the President & Greetings from the Chair

2 Remembering Larry Chappelear

3 UMUC Adds to Its Permanent Collections

3 Influence Over Time: The Art of Winston Harris

4 Infinite Mirror: A Fresh Look at American Identity

5 Did You Know?

6 Collectible Book Available His Own Path: The Spirit and Legacy of Herman Maril

6 University of Maryland University College Arts Program Mission Statement

6 Upcoming Events

7 Become a Friend of the Arts at UMUC

www.umuc.edu/art • page 3page 2 • www.umuc.edu/art

The recent loss of my dear friend and colleague

of more than 20 years has prompted me to reflect

on his life and legacy. It is with both a sad heart

and a profound pride that I share my recollections

and memories of Larry Chappelear. He was, first,

my friend, but so much more: a colleague,

a teacher, and an artist.

As a colleague at the College of Southern Mary-

land (CSM), Larry was always engaged, fair, and

understanding. He was a champion for the issues

we faced together: advancing the arts program,

setting the highest standards of teaching, and

furthering a fundamental appreciation of the arts.

We worked in tandem to develop a quality reputa-

tion for the CSM gallery, recruiting top-level artists

for exhibitions. The goal for us was to bring in

artists of high caliber from across the country and

around the world. It wasn’t always easy to stick to

our goal, but Larry’s honest and straightforward

approach, along with a marvelous sense of hu-

mor, saw us through many awkward moments.

As a teacher, Larry conveyed his passion for and

love of the arts to his students. His extraordinary

talent and unyielding commitment to his personal

art became an inspiration, and he became a role

model to so many. Teaching provided him a

stimulating forum for his ideas and an opportu-

nity to share his enthusiasm for art. He taught

his students more than the mechanics of putting

ideas on a two-dimensional surface; he showed

them how to see objects with a discerning eye

and to reach for their individual creativity. Students

benefitted from his experience, his originality, and

his innovative vision while learning to respect the

process, technique, and subject matter of the

work they created.

It is, perhaps, the art of Larry Chappelear that

will be remembered and held in high regard by

most. Those who did not know him personally

will know the incredible sensitivity of this artist

from his paintings. As an outdoorsman, Larry had

a special relationship to the landscape. He had an

exceptional ability to keenly observe the seasonal

changes in nature, each with its own freshness

and spectacular painterly beauty. He most often

painted outdoors from direct observation, captur-

ing the artistic elements in nature. His landscape

paintings provide a visual diary of his experiences

and speak to his passion and creative responses

to the environment around him. His composi-

tions unify the complex elements in nature into

a panorama of harmony and balance. Each is a

testimony to his intrinsic understanding of solid

forms and empty spaces and his unique ability

to organize form, color, space, and light. Larry was

successful in his effort to, as he said, “capture the

viewer by transforming the openness of a field

into an intimate space.” He had a unique ability to

share, through his paintings, a feeling of serenity

and solitude with others.

Early in this century, Larry experienced a pivotal

change in his interpretation of the landscape. He

moved from the specificity of realism to experi-

menting with the mysterious and metaphorical

characteristics of abstraction. The landscape con-

tinued to be his inspiration, but now he saw more

provocative elements prevalent in nature. It was

the new, bold, abstract collage and assemblage

that came to the attention of Marilyn Hart, then

assistant vice president of the Arts Program at

UMUC, who subsequently arranged an exhibition

of his new work. The exhibition included both his

traditional landscapes and the new abstract work.

I had the extraordinary good fortune to be invited

Above, Left: Larry ChappelearAbove, Right: Larry Chappelear, Window Still Life III (detail), 2008, assemblage mixed media

to write the essay for the exhibition and the privi-

lege to work closely with Larry for nearly a year

in preparation. We spent many hours talking about

the fundamental principles of art making and the

specifics of his ideas for composition, color theory,

and conveyance of the basic elements of nature

in abstract forms. While we talked, he often would

continue painting, and I could see the excitement

build as he worked tirelessly on a composition,

studying and reworking the forms until he was

satisfied. I researched and studied the history

of American landscape painting and the evolu-

tion of abstract art so as to best explain Larry’s

ideas—the content of his paintings, iconography,

and style. His latest work combines the traditional

structure in landscape representation with the bold

colors and strong lines in abstract interpretations.

I will be forever grateful to Larry for all he taught

me about art, for his remarkable and intuitive

sense of aesthetic, and for his gentle kindness.

The legacy he leaves in his paintings will continue

to give pleasure to and captivate all those who

see them. I will think of him whenever I see a

spectacular red and yellow sunset, a cloud forma-

tion against a cobalt blue sky, or a lone tree in a

vast green meadow. He left us all with a new way

of seeing and appreciating the landscape.

But, most of all I am grateful for his endearing

friendship and steadfast loyalty.

Barbara Stephanic, PhD, is past vice chair and hon-

orary member of the UMUC Art Advisory Board.

She was a professor of art history at the College

of Southern Maryland until her retirement.

INFLUENCE OVER TIME:

ThE ART OF WINSTON hARRIS

Influence over Time: The Art of Winston Harris

is a reflection of Harris’s sustained interest in

the notion of the unending passage of time and

the roles that overt status symbol timepieces,

such as rolex watches, play in contemporary

culture. These screenprint and digital hybrids

will be on view Monday, February 20, 2012,

through the summer, on the second floor gallery

of the UMUC Inn and Conference Center.

Harris is a Washington, D.C., area artist who, sup-

ported by a Prince George’s Arts and Humanities

Council grant, collaborated with the printmaking

department at University of Maryland, College

Park in 2010. Harris worked with assistant profes-

sor Justin Strom and students to create a new

series of flat and sculptural prints.

Known primarily as a printmaker, Harris holds a

BFA in printmaking from Howard University and

an MFA in printmaking from Virginia Common-

wealth University.

UMUC ADDS TO ITS

PERMANENT COLLECTIONS

The Arts Program would like to thank Beverly

Corey and Iver Nelson, who recently donated

works of art to UMUC. Due to the generosity

of such patrons, the collections at the univer-

sity continue to grow and now include more

than 1,800 works.

Corey donated Generation by Preston Sampson.

This large painting is reflective of Sampson’s

colorful and fluid artistic style. Sampson’s work

might be best known from a commission by

Absolut Vodka for a series of paintings for its

1997 advertising campaign, which traveled to

various exhibition venues. Sampson was also

awarded a professional travel grant to Spain,

and the trip inspired him to incorporate the

human torso into his artwork, perhaps influ-

encing a work such as Generation. Works by

Sampson can be found in many public and

private collections throughout the country,

including the Jean and robert Steele Collec-

tion, the Darryl Walker Collection, the Tubman

African American Museum, and the David C.

Driskell Collection at University of Maryland,

College Park.

Iver Nelson, an esteemed Asian art collector,

donated 15 works of art to UMUC’s Asian

Collections. Nelson, who had amassed a large

collection of rare works over the years, has

donated exceptional pieces to the Art Institute

of Chicago, the Indianapolis Museum of Art,

and the Minneapolis Institute of Arts. The oldest

work Nelson donated to UMUC is from the Tang

Dynasty (618–907 AD). The piece is a kneeling

Bactrian camel, and is prized for its elegant move-

ment and naturalism.

Above: Larry Chappalear, Sycamore, 2004, mixed media on panel, 32 x 30 in.

Above, top: Preston Sampson, Generation (detail), 1999, mixed media / Above, bottom: Bactrian camel, Early Tang Dynasty, earthenware with pigments, 13½ x 1½ x 8½ in.

Above: Winston Harris, Military Time, 2009, oil stick and print, 36 x 29¾ in.

Remembering Larry Chap pelearBY BARBARA STEPhANIC, PhD

, TISAr

The recent loss of my dear friend and colleague

of more than 20 years has prompted me to reflect

on his life and legacy. It is with both a sad heart

and a profound pride that I share my recollections

and memories of Larry Chappelear. He was, first,

my friend, but so much more: a colleague,

a teacher, and an artist.

As a colleague at the College of Southern Mary-

land (CSM), Larry was always engaged, fair, and

understanding. He was a champion for the issues

we faced together: advancing the arts program,

setting the highest standards of teaching, and

furthering a fundamental appreciation of the arts.

We worked in tandem to develop a quality reputa-

tion for the CSM gallery, recruiting top-level artists

for exhibitions. The goal for us was to bring in

artists of high caliber from across the country and

around the world. It wasn’t always easy to stick to

our goal, but Larry’s honest and straightforward

approach, along with a marvelous sense of hu-

mor, saw us through many awkward moments.

As a teacher, Larry conveyed his passion for and

love of the arts to his students. His extraordinary

talent and unyielding commitment to his personal

art became an inspiration, and he became a role

model to so many. Teaching provided him a

stimulating forum for his ideas and an opportu-

nity to share his enthusiasm for art. He taught

his students more than the mechanics of putting

ideas on a two-dimensional surface; he showed

them how to see objects with a discerning eye

and to reach for their individual creativity. Students

benefitted from his experience, his originality, and

his innovative vision while learning to respect the

process, technique, and subject matter of the

work they created.

It is, perhaps, the art of Larry Chappelear that

will be remembered and held in high regard by

most. Those who did not know him personally

will know the incredible sensitivity of this artist

from his paintings. As an outdoorsman, Larry had

a special relationship to the landscape. He had an

exceptional ability to keenly observe the seasonal

changes in nature, each with its own freshness

and spectacular painterly beauty. He most often

painted outdoors from direct observation, captur-

ing the artistic elements in nature. His landscape

paintings provide a visual diary of his experiences

and speak to his passion and creative responses

to the environment around him. His composi-

tions unify the complex elements in nature into

a panorama of harmony and balance. Each is a

testimony to his intrinsic understanding of solid

forms and empty spaces and his unique ability

to organize form, color, space, and light. Larry was

successful in his effort to, as he said, “capture the

viewer by transforming the openness of a field

into an intimate space.” He had a unique ability to

share, through his paintings, a feeling of serenity

and solitude with others.

Early in this century, Larry experienced a pivotal

change in his interpretation of the landscape. He

moved from the specificity of realism to experi-

menting with the mysterious and metaphorical

characteristics of abstraction. The landscape con-

tinued to be his inspiration, but now he saw more

provocative elements prevalent in nature. It was

the new, bold, abstract collage and assemblage

that came to the attention of Marilyn Hart, then

assistant vice president of the Arts Program at

UMUC, who subsequently arranged an exhibition

of his new work. The exhibition included both his

traditional landscapes and the new abstract work.

I had the extraordinary good fortune to be invited

Above, Left: Larry ChappelearAbove, Right: Larry Chappelear, Window Still Life III (detail), 2008, assemblage mixed media

to write the essay for the exhibition and the privi-

lege to work closely with Larry for nearly a year

in preparation. We spent many hours talking about

the fundamental principles of art making and the

specifics of his ideas for composition, color theory,

and conveyance of the basic elements of nature

in abstract forms. While we talked, he often would

continue painting, and I could see the excitement

build as he worked tirelessly on a composition,

studying and reworking the forms until he was

satisfied. I researched and studied the history

of American landscape painting and the evolu-

tion of abstract art so as to best explain Larry’s

ideas—the content of his paintings, iconography,

and style. His latest work combines the traditional

structure in landscape representation with the bold

colors and strong lines in abstract interpretations.

I will be forever grateful to Larry for all he taught

me about art, for his remarkable and intuitive

sense of aesthetic, and for his gentle kindness.

The legacy he leaves in his paintings will continue

to give pleasure to and captivate all those who

see them. I will think of him whenever I see a

spectacular red and yellow sunset, a cloud forma-

tion against a cobalt blue sky, or a lone tree in a

vast green meadow. He left us all with a new way

of seeing and appreciating the landscape.

But, most of all I am grateful for his endearing

friendship and steadfast loyalty.

Barbara Stephanic, PhD, is past vice chair and hon-

orary member of the UMUC Art Advisory Board.

She was a professor of art history at the College

of Southern Maryland until her retirement.

INFLUENCE OVER TIME:

ThE ART OF WINSTON hARRIS

Influence over Time: The Art of Winston Harris

is a reflection of Harris’s sustained interest in

the notion of the unending passage of time and

the roles that overt status symbol timepieces,

such as rolex watches, play in contemporary

culture. These screenprint and digital hybrids

will be on view Monday, February 20, 2012,

through the summer, on the second floor gallery

of the UMUC Inn and Conference Center.

Harris is a Washington, D.C., area artist who, sup-

ported by a Prince George’s Arts and Humanities

Council grant, collaborated with the printmaking

department at University of Maryland, College

Park in 2010. Harris worked with assistant profes-

sor Justin Strom and students to create a new

series of flat and sculptural prints.

Known primarily as a printmaker, Harris holds a

BFA in printmaking from Howard University and

an MFA in printmaking from Virginia Common-

wealth University.

UMUC ADDS TO ITS

PERMANENT COLLECTIONS

The Arts Program would like to thank Beverly

Corey and Iver Nelson, who recently donated

works of art to UMUC. Due to the generosity

of such patrons, the collections at the univer-

sity continue to grow and now include more

than 1,800 works.

Corey donated Generation by Preston Sampson.

This large painting is reflective of Sampson’s

colorful and fluid artistic style. Sampson’s work

might be best known from a commission by

Absolut Vodka for a series of paintings for its

1997 advertising campaign, which traveled to

various exhibition venues. Sampson was also

awarded a professional travel grant to Spain,

and the trip inspired him to incorporate the

human torso into his artwork, perhaps influ-

encing a work such as Generation. Works by

Sampson can be found in many public and

private collections throughout the country,

including the Jean and robert Steele Collec-

tion, the Darryl Walker Collection, the Tubman

African American Museum, and the David C.

Driskell Collection at University of Maryland,

College Park.

Iver Nelson, an esteemed Asian art collector,

donated 15 works of art to UMUC’s Asian

Collections. Nelson, who had amassed a large

collection of rare works over the years, has

donated exceptional pieces to the Art Institute

of Chicago, the Indianapolis Museum of Art,

and the Minneapolis Institute of Arts. The oldest

work Nelson donated to UMUC is from the Tang

Dynasty (618–907 AD). The piece is a kneeling

Bactrian camel, and is prized for its elegant move-

ment and naturalism.

Above: Larry Chappalear, Sycamore, 2004, mixed media on panel, 32 x 30 in.

Above, top: Preston Sampson, Generation (detail), 1999, mixed media / Above, bottom: Bactrian camel, Early Tang Dynasty, earthenware with pigments, 13½ x 1½ x 8½ in.

Above: Winston Harris, Military Time, 2009, oil stick and print, 36 x 29¾ in.

Remembering Larry Chap pelearBY BARBARA STEPhANIC, PhD

, TISAr

By 2042, America’s “minority” populations will

be the majority. This new “minority majority”

will include Hispanic and Asian Americans,

combined as the largest minority group, rising

to more than 39 percent of the total U.S.

population. The Hispanic and Asian American

populations are expected to double by 2050;

this growth is attributed in part to immigration.i

Furthermore, as Baby Boomers advance to

their golden years and birth rates decline, the

size of America’s workforce is shrinking, sug-

gesting that the demand for immigrant labor

will continue, indeed increase.ii In the future,

the U.S. labor pool and others in Europe are

likely to be fed in part by immigrants flocking

from emerging economies in Africa, Asia,

and the Middle East (largely the Arab World).iii

It behooves us to understand these changing

dynamics and to appreciate the countries and

cultures they represent. So, while Infinite Mirror

is decidedly about American identity, it is also

about global identity.

It reflects our diverse population rooted in

countries and cultures around the globe.

This exhibition is compelling for a variety of

reasons: the dedicated team of nonprofit art

institutions involved; the impressive curatorial

team, which tells a compelling story about

America’s diversity through revered Ameri-

can artists such as Emma Amos, John yoyogi

Fortes, Edgar Heap of Birds, Leticia Huerta, Luis

Jimenez, Jacob Lawrence, and Joe Namy; and

the opportunity to enrich one’s understanding

of our global culture by inspecting and learning

from our own.

Juanita Hardy served on the board of directors

for Artrain, Inc. from 2004 to 2010 and chaired its

exhibition committee. She serves on the boards of

the Brandywine Workshop, the Asian American Art

Centre, and the UMUC Art Advisory Board. She is

cofounder of Millennium Arts Salon, a nonprofit

arts education program, and teaches intercultural

training as part of Tiger Management Consulting

Group, a business consulting firm she established

in 2006.i U.S. Census Bureau: Report, United States Population

Projections 2000–2050, by Jennifer M. Ortman and

Christine E. Guarneri

ii It is well documented that the workforce in many industrial-

ized countries (e.g., the United States, Europe, Japan) is

shrinking. Analysts suggest increased immigration will be

required to feed labor pool deficiencies. For example the

PriceWaterHouse Coopers report, Talent Mobility 2020

states, “Governments that anticipate the need to import

talented individuals to replace gaps in their ageing work-

forces may remove their immigration barriers in a bid to

stimulate their economy.”

iii U.N. population growth projections show rapid growth

in youthful and developing economies, in Africa, Asia,

and the Middle East. These countries have majority Muslim

or minority Muslim populations of 33 percent or more.

For example, the combined population of the most populous

Muslim dominated countries—Bangladesh, Egypt, Nigeria,

Indonesia, Pakistan, and Turkey—was 24.2 million in 1950

and 882 million in 2009 and is projected to be 1.3 billion in

2050. By comparison, while these six countries will grow

by 475 million by 2050, the six most populous developed

countries will grow by 44 million.

Left: Bennard Perlman, Swing Low, Sweet Chariot (detail), 1954, oil on board / Top, right: Trace Miller, Wall Tracings (detail), 1987, oil on canvas / Bottom, right: Jacob Glushakow, Untitled (Fells Point Market) (detail), 1965, oil on canvas

Did you know James Earl Reid won a landmark court battle to

strengthen creative and intellectual property rights in the “work for hire”

doctrine of copyright law? He received his Bachelor of Fine Arts from

the Maryland institute College of Art (MiCA) in 1966 and his Master of Arts

from University of Maryland, College Park, in 1970.

Did you know A-Young Henriksen was born in Busan, Korea,

and had an exhibition in Munich, West Germany?

Did you know Amalie Rothschild was primarily a painter but

turned to sculpture in her later years? she had her first solo exhibit

at the Baltimore Museum of Art in 1942.

Did you know that Trace Miller’s father was a World War ii veteran

who fought in the Battle of the Bulge? His father was wounded and later

captured and made a prisoner of war.

Did you know that Bennard Perlman is an art critic, author, lecturer,

and educator who explores design and composition in his works? He primarily

works in charcoal, oil, and pastels and creates works reflective of the

Maryland scene.

Did you know that realist painter Jacob Glushakow was born in

a steamship, the s.s. Brandenburg, as it crossed the Atlantic Ocean from

Bremen, Germany, to Baltimore, Maryland? He enjoyed painting dilapidated

scenes from his community and was not concerned about trends in modern art.

DID You Know? LITTLE-kNowN FAcTS ABoUT ARTISTS wITH woRkS AcqUIREd BY oR ExHIBITEd AT UMUc By Linda Derrick

What is American identity? Is it about shared

values and national unity, something our Founding

Fathers might have hoped for? or is its foundation

in America’s vast natural topography, as depicted in

early American landscape paintings, for example,

The Grand Canyon of the Yellowstone by Thomas

Moran, which hangs at the U.S. Department of

the Interior, or Frederic Church’s Niagara Falls,

from the Corcoran Gallery of Art? How would

artists who represent the ethnic diversity of the

so-called melting pot that is America respond?

This provocative question is the focus of the

exhibition Infinite Mirror: Images of American

Identity, which is on view at the UMUC Inn and

Conference Center through April 8, 2012.

Infinite Mirror reflects our increasingly diverse

society, and helps us understand the American

experience from the perspective of artists

who are U.S. citizens, albeit from vastly different

backgrounds. The exhibition showcases 63 works

by 39 American artists of Native American, African

American, Asian American, Hispanic American,

and European American cultural heritage.

Infinite Mirror is the brainchild of Allan Edmunds,

founder and president of Brandywine Workshop,

a nearly 40-year-old Philadelphia-based nonprofit

that enables artists to explore their creative

sensibilities through printmaking. When the

Michigan-based nonprofit art institution Artrain,

Inc. issued a request for exhibition proposals,

Edmunds enthusiastically answered the call.

The Brandywine proposal was chosen to be

Artrain’s 18th multiyear traveling exhibition

during its impressive 40-year history.

Artrain is known for mounting art exhibitions

on its five-car train museum and bringing them

via the U.S. railway system to communities

throughout the United States. As Artrain was

considering its next exhibition, it was also tran-

sitioning from the train to other vehicles that

offer more flexibility and a broader reach into

America’s rural communities, which it principally

serves. To keep the momentum of Infinite Mirror,

Artrain engaged International Arts & Artists

(IA&A) a Washington, D.C., based non-profit

committed to promoting cross-cultural under-

standing through art, to manage its travel using

more traditional exhibition approaches. UMUC

will be one of only five venues where the exhi-

bition will stop as it travels from January 2011

to March 2013.

Blake Bradford, director of education for the

Barnes Foundation in Philadelphia is curator

for Infinite Mirror. Benito Huerta, associate

professor and curator of the Gallery at the

University of Texas at Arlington, and robert

Lee, executive director of the Asian American

Art Centre in New york City, are co-curators.

The curatorial team has assembled an impres-

sive body of work organized along the following

four themes, which the team outlines:

• Self Selection—Reflects how we choose

to present and project ourselves to the world

• Pride—Connotes an appreciation of

one’s origins, character, values, and

personal accomplishments

• Assimilation, a subject of the American narrative

dating back to the first European settlers—

Is about aspiring to fit in

• Protest—Expresses a push against tyranny

and exploitation and toward humanity,

equality, and opportunity.

Infinite Mirror invites a conversation about what

it means to be American, about what American

identity is. The artists in this exhibition answer this

question through their own experience, which

is simultaneously American and multicultural.

Does American identity represent shared values

and also celebrate the cultural heritage of its

many ethnicities? Infinite Mirror offers the

opportunity to inspect American culture and

its subcultures, to understand, build bridges,

and evolve. It reminds us that America is a country

of immigrants, that our diversity is what has built

our country and made it strong.

Above, left: Leamon Green, Little Big Girl, 2005, acrylic and silkscreen on paper, 55 x 42 in.Above, right: Kaylynn Sullivan TwoTrees, Maka Wicasa (detail), 1992, lithograph, leather, straw, collage

BY JUANITA HARDY

By 2042, America’s “minority” populations will

be the majority. This new “minority majority”

will include Hispanic and Asian Americans,

combined as the largest minority group, rising

to more than 39 percent of the total U.S.

population. The Hispanic and Asian American

populations are expected to double by 2050;

this growth is attributed in part to immigration.i

Furthermore, as Baby Boomers advance to

their golden years and birth rates decline, the

size of America’s workforce is shrinking, sug-

gesting that the demand for immigrant labor

will continue, indeed increase.ii In the future,

the U.S. labor pool and others in Europe are

likely to be fed in part by immigrants flocking

from emerging economies in Africa, Asia,

and the Middle East (largely the Arab World).iii

It behooves us to understand these changing

dynamics and to appreciate the countries and

cultures they represent. So, while Infinite Mirror

is decidedly about American identity, it is also

about global identity.

It reflects our diverse population rooted in

countries and cultures around the globe.

This exhibition is compelling for a variety of

reasons: the dedicated team of nonprofit art

institutions involved; the impressive curatorial

team, which tells a compelling story about

America’s diversity through revered Ameri-

can artists such as Emma Amos, John yoyogi

Fortes, Edgar Heap of Birds, Leticia Huerta, Luis

Jimenez, Jacob Lawrence, and Joe Namy; and

the opportunity to enrich one’s understanding

of our global culture by inspecting and learning

from our own.

Juanita Hardy served on the board of directors

for Artrain, Inc. from 2004 to 2010 and chaired its

exhibition committee. She serves on the boards of

the Brandywine Workshop, the Asian American Art

Centre, and the UMUC Art Advisory Board. She is

cofounder of Millennium Arts Salon, a nonprofit

arts education program, and teaches intercultural

training as part of Tiger Management Consulting

Group, a business consulting firm she established

in 2006.i U.S. Census Bureau: Report, United States Population

Projections 2000–2050, by Jennifer M. Ortman and

Christine E. Guarneri

ii It is well documented that the workforce in many industrial-

ized countries (e.g., the United States, Europe, Japan) is

shrinking. Analysts suggest increased immigration will be

required to feed labor pool deficiencies. For example the

PriceWaterHouse Coopers report, Talent Mobility 2020

states, “Governments that anticipate the need to import

talented individuals to replace gaps in their ageing work-

forces may remove their immigration barriers in a bid to

stimulate their economy.”

iii U.N. population growth projections show rapid growth

in youthful and developing economies, in Africa, Asia,

and the Middle East. These countries have majority Muslim

or minority Muslim populations of 33 percent or more.

For example, the combined population of the most populous

Muslim dominated countries—Bangladesh, Egypt, Nigeria,

Indonesia, Pakistan, and Turkey—was 24.2 million in 1950

and 882 million in 2009 and is projected to be 1.3 billion in

2050. By comparison, while these six countries will grow

by 475 million by 2050, the six most populous developed

countries will grow by 44 million.

Left: Bennard Perlman, Swing Low, Sweet Chariot (detail), 1954, oil on board / Top, right: Trace Miller, Wall Tracings (detail), 1987, oil on canvas / Bottom, right: Jacob Glushakow, Untitled (Fells Point Market) (detail), 1965, oil on canvas

Did you know James Earl Reid won a landmark court battle to

strengthen creative and intellectual property rights in the “work for hire”

doctrine of copyright law? He received his Bachelor of Fine Arts from

the Maryland institute College of Art (MiCA) in 1966 and his Master of Arts

from University of Maryland, College Park, in 1970.

Did you know A-Young Henriksen was born in Busan, Korea,

and had an exhibition in Munich, West Germany?

Did you know Amalie Rothschild was primarily a painter but

turned to sculpture in her later years? she had her first solo exhibit

at the Baltimore Museum of Art in 1942.

Did you know that Trace Miller’s father was a World War ii veteran

who fought in the Battle of the Bulge? His father was wounded and later

captured and made a prisoner of war.

Did you know that Bennard Perlman is an art critic, author, lecturer,

and educator who explores design and composition in his works? He primarily

works in charcoal, oil, and pastels and creates works reflective of the

Maryland scene.

Did you know that realist painter Jacob Glushakow was born in

a steamship, the s.s. Brandenburg, as it crossed the Atlantic Ocean from

Bremen, Germany, to Baltimore, Maryland? He enjoyed painting dilapidated

scenes from his community and was not concerned about trends in modern art.

DID You Know? LITTLE-kNowN FAcTS ABoUT ARTISTS wITH woRkS AcqUIREd BY oR ExHIBITEd AT UMUc By Linda Derrick

What is American identity? Is it about shared

values and national unity, something our Founding

Fathers might have hoped for? or is its foundation

in America’s vast natural topography, as depicted in

early American landscape paintings, for example,

The Grand Canyon of the Yellowstone by Thomas

Moran, which hangs at the U.S. Department of

the Interior, or Frederic Church’s Niagara Falls,

from the Corcoran Gallery of Art? How would

artists who represent the ethnic diversity of the

so-called melting pot that is America respond?

This provocative question is the focus of the

exhibition Infinite Mirror: Images of American

Identity, which is on view at the UMUC Inn and

Conference Center through April 8, 2012.

Infinite Mirror reflects our increasingly diverse

society, and helps us understand the American

experience from the perspective of artists

who are U.S. citizens, albeit from vastly different

backgrounds. The exhibition showcases 63 works

by 39 American artists of Native American, African

American, Asian American, Hispanic American,

and European American cultural heritage.

Infinite Mirror is the brainchild of Allan Edmunds,

founder and president of Brandywine Workshop,

a nearly 40-year-old Philadelphia-based nonprofit

that enables artists to explore their creative

sensibilities through printmaking. When the

Michigan-based nonprofit art institution Artrain,

Inc. issued a request for exhibition proposals,

Edmunds enthusiastically answered the call.

The Brandywine proposal was chosen to be

Artrain’s 18th multiyear traveling exhibition

during its impressive 40-year history.

Artrain is known for mounting art exhibitions

on its five-car train museum and bringing them

via the U.S. railway system to communities

throughout the United States. As Artrain was

considering its next exhibition, it was also tran-

sitioning from the train to other vehicles that

offer more flexibility and a broader reach into

America’s rural communities, which it principally

serves. To keep the momentum of Infinite Mirror,

Artrain engaged International Arts & Artists

(IA&A) a Washington, D.C., based non-profit

committed to promoting cross-cultural under-

standing through art, to manage its travel using

more traditional exhibition approaches. UMUC

will be one of only five venues where the exhi-

bition will stop as it travels from January 2011

to March 2013.

Blake Bradford, director of education for the

Barnes Foundation in Philadelphia is curator

for Infinite Mirror. Benito Huerta, associate

professor and curator of the Gallery at the

University of Texas at Arlington, and robert

Lee, executive director of the Asian American

Art Centre in New york City, are co-curators.

The curatorial team has assembled an impres-

sive body of work organized along the following

four themes, which the team outlines:

• Self Selection—Reflects how we choose

to present and project ourselves to the world

• Pride—Connotes an appreciation of

one’s origins, character, values, and

personal accomplishments

• Assimilation, a subject of the American narrative

dating back to the first European settlers—

Is about aspiring to fit in

• Protest—Expresses a push against tyranny

and exploitation and toward humanity,

equality, and opportunity.

Infinite Mirror invites a conversation about what

it means to be American, about what American

identity is. The artists in this exhibition answer this

question through their own experience, which

is simultaneously American and multicultural.

Does American identity represent shared values

and also celebrate the cultural heritage of its

many ethnicities? Infinite Mirror offers the

opportunity to inspect American culture and

its subcultures, to understand, build bridges,

and evolve. It reminds us that America is a country

of immigrants, that our diversity is what has built

our country and made it strong.

Above, left: Leamon Green, Little Big Girl, 2005, acrylic and silkscreen on paper, 55 x 42 in.Above, right: Kaylynn Sullivan TwoTrees, Maka Wicasa (detail), 1992, lithograph, leather, straw, collage

BY JUANITA HARDY

COLLECTIBLE BOOk AVAILABLE

His Own PatH: tHe sPirit and Legacy Of Herman mariL

The long-awaited book His Own Path: The Spirit and Legacy of Herman

Maril is now available for your collection. His Own Path captures the life and

spirit of Maryland artist Herman Maril, who was active in the art scene for

more than 50 years. It is a reflection of Maril’s creative journey and includes

major essays by David W. Scott, PhD, and Howard E. Wooden with an intro-

duction by David Maril, the artist’s son. It also includes a DVD documentary

about the artist. To order your book, please contact Denise Melvin at 301-

985-7937 or at [email protected]. The hardback, cloth-cover publication is

available for $49 plus shipping.

Make an Annual Contribution to the Arts Program

Art enthusiasts in the UMUC community help make the university’s visual arts exhibitions, edu-cational 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.

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.

Interested in being added to our e-newsletter list? Send your e-mail address to [email protected] 6 • www.umuc.edu/art

UNIvERSITY oF MARYLANd UNIvERSITY coLLEGE ARTS PRoGRAM MISSIoN STATEMENT

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.

Upcoming Events

INFINITE MIRROR: IMAGES OF AMERICAN IDENTITY

Monday, January 30–Sunday, April 8, 2012

Opening Reception:

Sunday, February 19, 2012, 3–5 p.m., Arts Program Gallery

Infinite Mirror: Images of American Identity is a collection of 70 multi-

media works by a culturally diverse group of artists from across the

United States. The collection’s theme is the use of portraiture and

figuration as symbols for emotional and social ideas to depict the

current circumstances and experiences of multicultural populations

in the United States. Artrain, Inc. and a group of independent curators

selected works of art by established and emerging American artists

for inclusion in the exhibition. This exhibition was developed by

Artrain, Inc. and Brandywine Workshop (Philadelphia, Pennsylvania)

and is toured by International Arts & Artists (Washington, D.C.).

It is presented with support from the Institute of Museum and

Library Services and the National Endowment for the Arts.

JOSEPh ShEPPARD: A VOYAGE FROM MEMORY (1930–1960)

Sunday, April 8, 2012–Monday, March 25, 2013

Opening Reception:

Thursday, April 12, 2012, 5–8 p.m.,

The Leroy Merritt Center for the Art of Joseph Sheppard

This exhibition will showcase the works of Joseph Sheppard, an artist

who explored and taught realism painting for many years and whose

works are based on cultural moments and events in the history of the

United States.

FACULTY ART INVITATIONAL ExhIBITION

Sunday, April 22, 2012–Friday, June 22, 2012

Opening Reception:

Thursday, May 3, 2012, 6–8 p.m., Arts Program Gallery

The Faculty Art Invitational Exhibition is an annual event that features

the work of UMUC faculty members and teaching artists from the

University System of Maryland along with special guest artists. The

2012 show will have a new theme—drawing—introduced by the

program’s curator, Brian Young. For this exhibition, a drawing will

be defined as any unique work on paper that is not a print or photo-

graph. Works will include charcoal sketches, watercolors, pastels,

and oil on canvas.

Invited artists include but are not limited to Patrick Craig (University

of Maryland, College Park), Joan Bevelaqua (UMUC), Brooke Rogers

(Salisbury University), James Plumb (Chesapeake College), Mark

Karnes (Maryland Institute College of Art), Matt Klos (Anne Arundel

Community College), and others.

Sapphire-Level FriendsJohn M. Derrick and Linda Derrick

Platinum-Level FriendsDr. Susan C. AldridgeJoseph Vernon Bowen Jr. and Michele E. Jacobsrobert W. Jerome Eric KeyThomas M. LiAnne V. MaherFriends of Joan F. Stern

Gold-Level FriendsKenneth L. GreifJulia LindenmeierDr. robert Steele and Mrs. Jean Steele Kathy L.ThedenPatricia J. ToregasNancy Williamson

Silver-Level FriendsJohn and Doris BabcockCharles Eggleston and Pamela Stokes EgglestonLenita McCrayCathy Sweet-WindhamMr. Alfonso V. Valentino and Mrs. Sylvia L. Valentino

Bronze-Level FriendsG. David AndersenFranklin E. Angier Jr. Associated Jewish Community Federation of BaltimoreA. Brian AultHelen BaileyCol Kenneth D. BlackshawEvelyn K. Chou HaoPatricia A. Dubroof Elinor M. HalliganEric C. HelfersJohn E. HodgesPeter A. Jensenreverend Kenneth S. Jones and Mrs. Larocca T. JonesLTC Joseph T. KanuskyBarbara A. KmetzMartha F. LallisTheresa M. LeskoAmy Macht

Harriet S. McNameeJoseph C. MosierCharles and Barbara reiherLaurence Schifferhaas Maria SchwartzKathleen Sobieralski Jayme Erin StevensWinifred B. WallaceMarcia r. Watson

FriendsG. David Anderson Dr. Willaim r. Barger Jr.Diane BartooTracey BrownAngela Mary CooperElizabeth o. CurtisJoseph E. EdmundsMary Ann ElliottJames C. FitzErnest L. FlaxCathy L. GelattMr. Irvin Greif Jr. and Mrs. Nanette GreifEric C. HelfersHenri E. HillBradley P. HudsonBonnie LeonhardtJill A. LionDr. Graciela P. Nemesramona M. QuinnJoseph S. rogersSteven Scott GalleryJudith A. SeverAnn Stilwel-StrongLydia Christina WaddlerJoan Warner Tarbellrobert Weick and yoshiko oishi WeickJames D. WilliamsonMr. Brian young and Ms. Molly Deere

AssociatesLawrence BattleCheryl CleavesChristine Demaitre-WolfeDr. Frederick L. Dunn Jr.Dr. robert B. FinkelmanJohn H. GarotDenise MelvinNancy ParnellMichael richmondEdith W. Schultz

FRIENDS OF ThE ARTS (Janurary 1, 2011–present)

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

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

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

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.)

BEcoME A FRIENd oF THE ARTS AT UMUc

Personal Information

NAME (PLEASE PRINT)

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* 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.

JOIN FRIENDS OF ThE ARTS TODAY.

Complete and return this form to

University of Maryland University College, Arts Program3501 University Boulevard East, Adelphi, MD 20783-8007

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

PLEASE CUT oN DoTTED LINE.

Above: Herman Maril, Sunday at the Docks,1938, oil on canvas, 28 x 36 in.