DRAWINGSFACULTY ART INVITATIONAL 2012

University of Maryland University College

FEATURED ARTISTS JOAN BEVELAQUA EDWARD BROWN AMANDA BURNHAM EMILY CONOVER PATRICK CRAIG CHRISTINA P. DAY BRADLEY P. HUDSON MARK KARNES MATT KLOS TRACE MILLER JAMES PLUMB NARE RATNAPALA BROOKE ROGERS JAMES VON MINOR

Amanda Burnham

Sold, 2010, watercolor and gouache on paper,

17 x 17 in.

April 22June 22, 2012

Arts Program University of Maryland University College

3Welcome

Dear Patrons of the Arts,

Thank you for joining us for the Faculty Art Invitational 2012 at University of Maryland University College (UMUC). For the first time, the exhibition will have a unifying theme: drawings.

This year, we welcome 14 esteemed art instructors who are part of the University System of Maryland or are guest artists. Some of the artists, such as James von Minor, whose works

were in our recent Biennial Maryland Regional Juried Art Exhibition, and Edward Brown, whose works have been seen in past faculty art exhibitions, may be familiarto you. Others, such as Mark Karnes and Christina P. Day, have not exhibited at UMUC before, and we look forward to presenting their artwork to our students, faculty, staff, and visitors.

Each of these artists was selected by our Arts Program curator for his or her ability to create art and inspire students. Whether in charcoal, graphite, or watercolor, drawing is a fundamental part of the creative process and is integral to the instruc-tion of developing inspiring artists. UMUC is proud to extend its gallery space to those who refine this craft and share their knowledge with others.

We are thrilled to celebrate the creativity of these artists and hope that our visitors will appreciate the vibrancy and range of expression that they offer.

Sincerely,

Javier MiyaresActing PresidentUniversity of Maryland University College

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4ArtA Means to an End

Eric KeyDirector, Arts Program University of Maryland University College

Most artists create works of art to express themselves and their experiences, to document events, and/or to reflect their heritage. They incorporate a moment of time onto a tangible surface of canvas, paper, metal, film, sculpture, etc. The end is a work of art that tells a story, fascinates the viewer, or heals the body. In any case, art will cause a response from the viewer.

I once had a conversation about collecting art with a young couple. They agreed that they needed more artsome color on their wallsand began a quest to add quality works to their home. In installing the works, they saw a distinct change in the overall atmosphere of their home. With just a few works, they said, their home became more inviting, reflective of their lifestyle, and representative of the America in which they live. Prior to hanging some art, they were content with living in a space with walls that were void of art and color. The husband said that he was not an art person but has noticed how art has changed the environment of his home. Now he is working with his staff to get works of art throughout the blank, white walls of his officea space that has been void of art for the past several yearsand will continue to visit museums and galleries to learn more about art and artists.

Our conversation reminded me that art is a powerful toolart is a means to an end. In one sense art is created for a specific purpose, and, on the other hand, it often has a meaning that is far beyond the intent of the creator. Today, we are learning more about the healing power of art as it is used in hospitals as therapy for patients. Tomorrow, the power of art is unlimited. Just a few pieces of art changed the aesthetics of that couples home and changed the mind of the husband about the power of art to transform spaces. On a wider plane, art is a means to an end.

Art instructors play a key role in the preservation, promotion, and development of art forms for and among the next generation. They work to articulate concerns to peers to ensure the continuation of their art programs. They battle the challenge of budget cuts that can affect art supplies and staff. Art teachers are an important resource for students majoring in art or exploring their creative talents. They encour-age, nurture, and evaluate students in all mediums and various styles and tech-niques. They mold students to become art practitioners. They challenge students to think, evolve, stretch their imaginations, and incorporate new techniques and

5methods into their work. They help students reach their maximum potential and synthesize new modes of thought and methods in the art field. They are instructors, and, yet, at the same time, they are artists. Thanks to them, new mediums emerge for the next generation to view, digest, discuss, and evaluate. For example, with the evolution of technology in recent years, video art has had an increasing impact on the art world.

Faculty Art Invitational 2012 is the latest in a series of annual exhibitions to show-case works of art by artists who are a part of the University System of Maryland, to provide a professional environment for these artists to showcase their works, and to provide the public with a better understanding of the challenges working pro-fessional artists face. This exhibition also includes works by guest artists who have worked in or mastered the medium of drawing.

This year, Brian Young, UMUCs curator, decided to focus the exhibition on the theme of drawing. This theme allows us to explore the use of paper in the creation of works of art. When an artist uses paper as the backdrop on which to affix a chosen medium (watercolor, pastel, charcoal, graphite, oil stick, etc.), the end resultranging from simple line drawings to realistic depictionsis fascinating, sophisticated, and creative. It is a powerful interpretation of American life and experience. UMUC is delighted to present the Faculty Art Invitational 2012.

6DRAWINGS:Faculty Art Invitational 2012

Brian YoungCurator, Arts Program University of Maryland University College

My tenure as the curator of the UMUC Arts Program began in May 2011 while last years Faculty Art Invitational was taking place, and I am so pleased to continue this tradition.

The Faculty Art Invitational 2012 showcases the work of artists who are also instruc-tors or professors within the University System of Maryland and works by select art-ists from other universities. This year those select artists include Christina Day and Mark Karnes, instructors at the Maryland Institute College of Art in Baltimore, and James Plumb, an instructor at Chesapeake College in Wye Mills.

The theme of this years invitational is Drawings. For me, the term drawing is broad and fluid; it encompasses many forms. During the Renaissance in Italy, drawings might be considered primi pensieri or first thoughts while in the 18th century in France, pastellists were in high demand. In the 20th century, Georges Braque and Pablo Picasso introduced collage into the lexicon of artistic terms. My definition of drawing, which has shifted over the years, largely includes the above terms and more. Essentially, drawings are unique works on paper that are not prints or pho-tographs. Drawing can refer to works executed in ink, charcoal, silverpoint, crayon, pastel, watercolor, wash, collage, etc. It can include studies, sketches, finished works, works mounted on canvas, and so on. I have also broadened my definition to allow for rubbings, three-dimensional works, works executed with tape, and pieces where the pigment was blown rather than drawn on to the paper. In this invitational, James von Minor, for example, has expanded drawings range to allow for the inclusion of found objects such as pencils and small planks of wood. Matt Klos has lent a water-color created with the monotype process. Amanda Burnham was responsible for the prominent installation piece. Yet, I did not set out with broadening the definition as a goal. Rather, I wanted to explore the rich variety of drawing executed by full-time artists who use it as part of the fundamental creative process.

The works by Day best embody the concept of pensieri from earlier centuries. Her work reflects an immediate interpretation of her ideas into tangible form. In other words, these drawings serve a functional role to aid the artist in planning the spatial complexities of her larger, three-dimensional works. Observed without that context,

7they could be seen as economical or lacking the richness of other works in this show. This would be a misreading; they are rich because of their purpose. Even with their functionality, they reveal underlying aesthetic traits such as balance and harmony.

In the drawings of von Minor, Nare Ratnapala, and Patrick Craig, viewers get the chance to see the creative process stripped of the complexities celebrated in their better-known works. In von Minors works on paper, we see the genesis of his ideas, as if he is gathering the building blocks of line, texture, and color. The physical ten-sions of his larger, finished works have their origins here in the tautness of string or in the choice of understated colors. Ratnapalas numeric studies are reminiscent of the previous centurys exercises in automatism. At the same time, this series shows a remarkable control and consistency. Ratnapalas drawings are simultaneously infused with energy and structural stability. Despite their beauty, the artist admits they are starting points for paintings, rendering the drawings expendable. Through the years, one of Craigs principal pursuits is the arrangement of color within immeasurable spatial complexity. In the two pastels, that search is evident and stands in opposition to the more finished drawings such as Gum Brain. His contrasting approaches to drawing seen here serve as a reminder that individual artists often have a range of expression all within one artistic category. To emphasize this point across media and time, I have included his collage Trawler from 1984.

Karnes, Plumb, and Klos demonstrate that draftsmanship can be an indispensable part of preparing to create two-dimensional works. Collectively, their drawings are exquisite, but they represent just part of the artists output. Karnes works in a mod-est scale, but the detail, both present and implied, gives rich insight into his direct surroundings. While his subjects are frozen capsules of the ordinary, his command of watercolor is extraordinary. Klos evokes the spirit of the French Barbizon painters of the 19th century. His work originates from direct observation and is made timeless through the atmospheric qualities prized among early tonalists such as James A.M. Whistler and John Twachtman. Plumbs lineage is traceable to the old masters of the 17th century, who looked to still lifes, animals, and the mirror for their subjects. Like Plumb, they captured the essence of those things observed in nature. Plumbs line is precise and confident and effortlessly gives volume to pieces such as Ostrich Egg and Reilly.

Bradley Hudsons drawings are preparatory as well, but for a different medium: illustration. He publishes comics through Coldstream Studios, and his drawings reveal the linear qualities so valued in that genre. Drawings are also crucial to mapping out the different vignettes arranged on each page. The end result can be compacted action, exaggerated drama, and interwoven narrative. Adding the color will come in a later stage.

8Emily Conover has submitted a modest group in size and number, but together they remind us that small-scale drawings can possess untold tension and energy normally displayed in much larger installations. Even their titles, such as Roll and Remnants, underscore a restless quality matched by the rawness of the charcoal and pastel. These works have the drama of a Baroque painting without the fussiness of a recog-nizable subject.

Works by Joan Bevelaqua, Brooke Rogers, and Trace Miller share enigmatic yet narrative qualities. Bevelaquas pieces, individually, appear as a small tableau. The implied presence of the human figure (even in Hornet Nest 1) mixes with the seeds of an unfolding story. The works evoke memory, absence, and tension. In Rogerss work, the silhouettes are based on drawings of his wife set among corn plants. As the two elements are compared, the corn becomes a metaphor for the universality or oneness of forms in nature. While the scale is considerable and the colors are vibrant, the execution on paper lends a sense of fragility. Millers Boneyard and Cast No Shadows also allude to the fragility of life. The fragmented quality of the former collage is especially poignant for an image that freezes the moment of death. Millers earlier artwork, Mobius Strip II, has an organic quality with its rich, warm pig-ment over rag paper.

Like Rogers, Edward Brown works in series based on the outdoor environment. For Brown, the emphasis is on the brooding quality of nature, with its dark shadows, anthropomorphic trees, and enormous scale. The visible strokes of charcoal heighten the sense of mystery and drama. This body of work reminds us why suspenseful tales are set in the forest.

Burnham takes the exhibition in a relatively new direction for drawing as evidenced by her site-specific work (in addition to the traditional pieces). As she toured the UMUC space, Burnham deliberately carved out a transitional or secondary space. As such, she reminds audiences that drawing can be large-scale, three-dimensional, evolving, assembled, and irregular. In short, the possibilities are nearly endless.

I hope that this exhibition offers the opportunity to explore the rich variety that can be found within the slice of contemporary draftsmanship these teaching artists provide.

Mark Karnes, Chair with Easel, 2009, black watercolor on paper, 6 x 9 in.

featured artists JOAN BEVELAQUA

EDWARD BROWN

AMANDA BURNHAM

EMILY CONOVER

PATRICK CRAIG

CHRISTINA P. DAY

BRADLEY P. HUDSON

MARK KARNES

MATT KLOS

TRACE MILLER

JAMES PLUMB

NARE RATNAPALA

BROOKE ROGERS

JAMES VON MINOR

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JOAN BEVELAQUA

UNIVERSITY OF MARYLAND

UNIVERSITY COLLEGE

Study for Lament2004 graphite on paper29 x 22 in.

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EDWARD BROWN

SALISBURY UNIVERSITY

Centennial I2000charcoal on paper27 x 38 in.

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AMANDA BURNHAM

TOWSON UNIVERSITY

Quik2010watercolor, gouache, and acrylic on paper33 x 30 in.

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EMILY CONOVER

UNIVERSITY OF MARYLAND,

COLLEGE PARK

Barb2012 mixed media on paper, mounted on panel9 x 13 in.

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PATRICK CRAIG

UNIVERSITY OF MARYLAND,

COLLEGE PARK

Hive2012pastel and ink on paper30 x 22 in.

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CHRISTINA P. DAY

MARYLAND INSTITUTE COLLEGE OF ART

Jig Drawings F and B2011graphite, sketchbook paper, tracing paper, and tape10 x 6 in. each

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BRADLEY P. HUDSON

UNIVERSITY OF MARYLAND

EASTERN SHORE

Draxx 2, pages 14 & 152011graphite, pen, and ink on paper17 x 21 in.

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MARK KARNES

MARYLAND INSTITUTE COLLEGE OF ART

Self Portrait2009black watercolor on paper6 x 4 in.

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MATT KLOS

ANNE ARUNDEL COMMUNITY COLLEGE

Pantry2007graphite and white charcoal on paper18 x 12 in.

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TRACE MILLER

TOWSON UNIVERSITY

Cast No Shadows2012mixed media collage on paper36 x 60 in.

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JAMES PLUMBCHESAPEAKE COLLEGE

Mangoc. 2000graphite on paper15 x 13 in.

Reillyc. 2004graphite on paper20 x 31 in.

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NARE RATNAPALA UNIVERSITY OF MARYLAND,

COLLEGE PARK

Study 24-162011watercolor, pencil, ink, wash, and graphite on paper15 x 30 in.

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BROOKE ROGERS

SALISBURY UNIVERSITY

Day Is Dying in the West 2011acrylic on paper mounted on canvas, mounted on wood36 x 48 in.

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JAMES VON MINOR

TOWSON UNIVERSITY

A Fixed Point, A Short Distance2011wood, graphite, shellac, paper, and objects20 x 4 x 1 in.

Only a Part2011wood, graphite, shellac, paper, and paint stick with objects64 x 6 x 5 in.

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Exhibition List

Joan BevelaquaUniversity of Maryland University College

Dress Form, 2001, graphite on paper, 17 x 7 in.

Hornet Nest 1, c. 2006, watercolor on paper, 40 x 32 in.,UMUC Maryland Artists Collections

Study for Christening Dress, 2011, graphite on paper, 20 x 15 in.

Study for Lament, 2004, graphite on paper, 29 x 22 in.

Edward BrownSalisbury University

Centennial I, 2000, charcoal on paper, 27 x 38 in.

Clouds, 2005, charcoal on paper, 35 x 38 in.

Return, 2012, charcoal on paper, 25 x 37 in.

Amanda BurnhamTowson University

Crawl Space, 2012, mixed-media installation, approx. 140 x 68 x 90 in.

Quik, 2010, watercolor, gouache, and acrylic on paper, 33 x 30 in.

Sold, 2010, watercolor and gouache on paper, 17 x 17 in.

Emily ConoverUniversity of Maryland, College Park

Barb, 2012, mixed media on paper, mounted on panel, 9 x 13 in.

Remnants, 2003, charcoal, pastel, and paint on paper, mounted on panel, 50 x 48 in.

Remnants #3, 2012, mixed media on paper, mounted on panel, 15 x 9 in.

Roll, 2012, mixed media on paper, mounted on panel, 9 x 15 in.

Patrick CraigUniversity of Maryland, College Park

Gum Brain, 2012, acrylic on paper, 22 x 15 in.

Hive, 2012, pastel and ink on paper, 30 x 22 in.

Maze, 2011, acrylic on paper, 22 x 15 in.

Swing, 2012, pastel and ink on paper, 30 x 22 in.

Trawler, 1984, mixed media on paper, 37 x 57 in.,UMUC Maryland Artists Collections

Christina P. DayMaryland Institute College of Art

Jig Drawings A and C, 2011, graphite, sketchbook paper, tracing paper, and tape, 10 x 6 in. each

Jig Drawings F and B, 2011, graphite, sketchbook paper, tracing paper, and tape, 10 x 6 in. each

Polaroid (latitude view), 2012, graphite transfer drawing on paper, 11 x 11 in.

Polaroid (longitude view), 2012, graphite transfer drawing onpaper, 11 x 11 in.

Bradley P. HudsonUniversity of Maryland Eastern Shore

Dinos, Mercurys and Private Dicks, 2011, graphite, pen, and ink on paper, 19 x 24 in.

Draxx 2, pages 14 & 15, 2011, graphite, pen, and ink on paper, 17 x 21 in.

Tales from the OEP, 2011, graphite, pen, and ink on paper, 11 x 17 in.

Mark KarnesMaryland Institute College of Art

Buildings, 2010, watercolor on paper, 8 x 10 in.

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Chair with Easel, 2009, black watercolor on paper, 6 x 9 in.

Gate, St. Marys Seminary, 2008, watercolor on paper, 6 x 6 in.

Living Room with Sunlight, 2010, black watercolor on paper, 8 x 8 in.

Self Portrait, 2009, black watercolor on paper, 6 x 4 in.

Sheppard Pratt, 2009, black watercolor on paper, 4 x 6 in.

Matt Klos Anne Arundel Community College

Colander, 2007, graphite on paper, 14 x 14 in.

Daisies, 2007, watercolor on paper, 9 x 10 in.

Lone Birch, 2009, watercolor monotype, 10 x 10 in.

Pantry, 2007, graphite and white charcoal on paper, 18 x 12 in.

Wharf Maine, 2009, watercolor monotype, 10 x 10 in.

Trace MillerTowson University

Bone Yard, 2011, mixed media collage on panel, 48 x 48 in.

Cast No Shadows, 2012, mixed media collage on paper, 36 x 60 in.

Mobius Strip II, 1995, oil on rag paper, 39 x 22 in.,UMUC Maryland Artists Collections

James PlumbChesapeake College

Garlic and Pear with Pottery, 2011, graphite and white charcoal on colored paper, 8 x 14 in.

Mango, c. 2000, graphite on paper, 15 x 13 in.

Ostrich Egg, 2012, graphite on paper, 8 x 14 in.

Reilly, c. 2004, graphite on paper, 20 x 31 in.

Self Portrait, c. 1975, graphite on paper,21 x 17 in.

Nare RatnapalaUniversity of Maryland, College Park

Study 24-16, 2011, watercolor, pencil, ink, wash, and graphite on paper, 15 x 30 in.

Study 24-18, 2012, watercolor, pencil, ink, wash, and graphite on paper, 15 x 30 in.

Study 31-11, 2012, watercolor, pencil, ink, wash, and graphite on paper, 15 x 30 in.

Study 31-12, 2011, watercolor, pencil, ink, wash, and graphite on paper, 15 x 30 in.

Brooke RogersSalisbury University

Day Is Dying in the West, 2011, acrylic on paper mounted on canvas, mounted on wood,36 x 48 in.

Hail to the Brightness, 2011, acrylic on papermounted on canvas, mounted on wood,48 x 36 in.

Her Hymn, 2011, acrylic on papermounted on canvas, mounted on wood,48 x 36 in.

James von MinorTowson University

A Fixed Point, A Short Distance, 2011, wood, graphite, shellac, paper, and objects, 20 x 4 x 1 in.

Only a Part, 2011, wood, graphite, shellac, paper, and paint stick with objects, 64 x 6 x 5 in.

Stripe/Dot #1, 2007, charcoal on paper, 30 x 22 in.

Stripe/Dot #3, 2008, charcoal and gouache on paper, 30 x 22 in.

Unless otherwise noted, all

works have been provided

courtesy of the artist.

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ABOUT UMUCUMUC is the largest public university in the United States. As one of the 11 degree-granting institutions of the University System of Maryland, this global university specializes in high-quality academic programs tailored to working adults.

UMUC has earned a worldwide reputation for excellence as a comprehensive virtual university and, through a combination of classroom and distance-learning formats, provides educational opportunities to more than 92,000 students. The university is proud to offer highly acclaimed faculty and world-class student services to educate students online, throughout Maryland, across the United States, and in 28 countries and territories around the world. UMUC serves its students through undergraduate and graduate programs, noncredit leadership development, and customized pro-grams. For more information regarding UMUC and its programs, visit www.umuc.edu.

ABOUT THE ARTS AT UMUCSince 1978, University of Maryland University College (UMUC) has proudly shown works from a large collection of international and Maryland artists at the UMUC Inn and Conference Center in Adelphi, Maryland, a few miles from the nations 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 its own collections, which have grown to include more than 1,900 pieces of art, and special exhibitions.

UMUCs collections focus on both art by Maryland artists and art from around the world. They include the Maryland Artist Collection, the Doris Patz Collection of Maryland Artists, the Asian Collections, the Education Collection, and the Interna-tional Collection. The universitys collection of Maryland art includes approximately 1,400 works and provides a comprehensive survey of 20th- and 21st-century Maryland art. The universitys Asian Collections consist of nearly 420 pieces of Chinese art, Japanese prints, and Balinese folk art, dating from the Tang Dynasty (618907 a.d.) through the 19th centurya historical reach of 13 centuries. The UMUC collection of Japanese prints includes more than 120 prints by 35 artists.

Artworks are on display throughout the UMUC Inn and Conference Center and the Administration Building in Adelphi as well as at the UMUC Academic Center at Largo. The Adelphi facilities are open to the public seven days a week and are visited by more than 100,000 students, scholars, and visitors each year. Exhibitions at the UMUC Academic Center at Largo are open to visitors 9 a.m. to 5 p.m. Monday through Friday.

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UMUC ARTS PROGRAM MISSION STATEMENTThe Arts Program at UMUC creates an environment in which its diverse constituents, including members of the university community and the general public, can study and learn about art by directly experiencing it.

The Arts Program seeks to promote the universitys 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, exhibi-tion, 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.

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UMUC ART ADVISORY BOARD

Javier MiyaresActing President University of Maryland University College

Michle E. Jacobs, Chair Managing Director Special Events at Union Station

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

Eva J. Allen, PhD Art Historian

I-Ling Chow, honorary member Regional President and Managing Director, Ret. Asia Bank, N.A.

Paula Cleggett Associate Director for Policy, The Curb Center Vanderbilt University

Linda Derrick Collector and Patron of the Arts

Patricia Dubroof Artist/Consultant IONA Senior Services

Karin Goldstein, honorary member Art Collector

Juanita Boyd Hardy Director, Millennium Arts Salon Managing Principal Tiger Management Consulting Group, LLC

Sharon Smith Holston, Past Chair Artists Representative and Co-owner Holston Originals

Pamela Holt Consultant Public Affairs Administration

Eric Key Director, Arts Program University of Maryland University College

Philip Koch Maryland Artist Professor, Maryland Institute College of Art

Thomas Li, honorary member Chairman and CEO, Ret. Biotech Research Labs, Inc.

David Maril, honorary member JournalistPresident, Herman Maril Foundation

Barbara Stephanic, PhD, Past Vice Chair, honorary member Professor of Art History College of Southern Maryland

Brian Young, staff Curator, Arts Program University of Maryland University College

UMUC BOARD OF VISITORS

Mark J. Gerencser, Chair Executive Vice PresidentBooz Allen Hamilton, Inc.

Evelyn J. Bata, PhDCollegiate ProfessorUniversity of Maryland University College

Richard F. Blewitt President and Chief Executive Officer The Blewitt Foundation

Joseph V. Bowen Jr.Vice President of AdministrationMcKissack & McKissack

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

Stephen A. Burch, JDChairman of the Board of DirectorsUniversity of Maryland Medical System

John M. Derrick Chairman and Chief Executive Officer, Ret.Pepco Holdings, Inc.

Israel FeldmanPresident Feldman & Associates

Karl R. GumtowFounder and Chief Executive OfficerCyberPoint International

Michle E. Jacobs Managing Director Special Events at Union Station

Donald S. Orkand, PhD, Former Chair Founding Partner DC Ventures and Associates, LLC

Lt. Gen. Emmett Paige Jr., Ret. Vice President of Operations, Ret.Department of Defense and Intelligence Systems, Lockheed Martin Information Technology

Charles E. (Ted) PeckChairman and Chief Executive Officer, Ret.The Ryland Group, Inc.

Sharon PinderFounder and Chief Executive OfficerThe Pinder Group

Brig. Gen. Velma Richardson, Ret.Vice President, DoD IT Programsand Special Projects IS&GSLockheed Martin Corporation

Gen. John (Jack) Vessey Jr., Ret., Member EmeritusFormer ChairmanU.S. Joint Chiefs of Staff

William T. (Bill) Wood, JDWood Law Offices, LLC

Joyce M. Wright Chief Claims Officer, Peoples Trust Homeowners Insurance

CONTRIBUTORS

Project Manager: Donna GroveCurator: Brian YoungEditor: Kate McLoughlinDesigner: Jennifer NorrisProduction Manager: Scott EuryFine Arts Technician: Ren A. SanjinesAdministrative Assistant: Denise Melvin

Cover artwork:Patrick Craig, Maze (detail), 2011, acrylic on paperphotograph by Uphoto

12-ARTS-040

DRAWINGSFACULTY ART INVITATIONAL 2012

University of Maryland University College

FEATURED ARTISTS JOAN BEVELAQUA EDWARD BROWN AMANDA BURNHAM EMILY CONOVER PATRICK CRAIG CHRISTINA P. DAY BRADLEY P. HUDSON MARK KARNES MATT KLOS TRACE MILLER JAMES PLUMB NARE RATNAPALA BROOKE ROGERS JAMES VON MINOR

Amanda Burnham

Sold, 2010, watercolor and gouache on paper,

17 x 17 in.

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