The latest exhibition at the U.S. District Courthouse in Greenbelt, Maryland, features the photography of William Anderson, Mignonette Dooley, and Bruce McNeil and presents three unique perspectives on the world through the lenses of these diverse and dynamic photographers, who each have used his or her own life experiences and mastery of the camera to produce images that make viewers think, wonder, and smile.
When asked to explain abstract painting, the kind of artwork that is often a punching bag for criticism along the lines of “My toddler could paint that,” Eric Key tells people that the work is already achieving its purpose.
“If you’re asking me that question, you’re already beginning to think, and that’s what education is about,” said Key, Arts Program director at University of Maryland University College (UMUC.)
If the person asking persists, Key recommends dwelling on a single painting. “Just stand there and look at one piece. If it triggers you to say why this, or what’s that, or any of those kinds of questions, you’re automatically beginning to understand what abstraction is.”
The exhibit, “The Language of Abstraction,” on display until June 24 in the University of Maryland University College (UMUC) Arts Program Gallery not only treats viewers to a visual feast that is both explosive in color and movement, but also provides them the opportunity to experience three very different approaches to abstract art.
By Alex Kasten, Special to the Global Media Center
When you walk into the newest exhibit at the University of Maryland University College (UMUC) Arts Program Gallery, the first thing that may strike you is the vibrant colors and curious images of a diptych, in which two figures, holding chainsaws, stand in the foreground of a makeshift outdoor workspace.
A walk through the exhibition “Joseph Sheppard: Highlights from the UMUC Collection” at the Leroy Merritt Center for the Art of Joseph Sheppard at University of Maryland University College is almost like experiencing a comprehensive articulation of the history of art.
The image is at once comically absurd and sobering. Three young men sit on plastic patio chairs at a table in a rowboat, drinking through straws from fruit-colored cups. A mango tree grows out of one side of the boat as a packaged loaf of Sunbeam bread floats by. In the distance, other Sunbeam loaves bob on the water’s surface, and two figures also appear semi-submerged. One of them holds a rope tied to the boat, suggesting it won’t go very far.
Join the University of Maryland University College community at a new exhibition celebrating the extraordinary work of artist and professor Curlee Raven Holton, a painter and master printmaker whose work asks viewers to carefully examine their humanity.
“Andy was more interested in becoming a celebrity than the next Picasso,” explained Quaishawn Whitlock, an artist, and guide at the Andy Warhol Museum in Pittsburgh. He was leading half of the roughly 45 participants in the mid-June UMUC annual Arts Program trip and he explained that Pittsburgh-native Warhol (Andrew Warhola) grew up in an immigrant family, which had come from present-day Slovakia. The family was working class, but Warhol would go on to epitomize the American dream, Whitlock explained.
“Order Out of Chaos,” the latest exhibit presented by the University of Maryland University College (UMUC) Arts Program examines the works of artists who live and create in the supportive housing complex, Artists’ Housing Incorporated (AHI) in Baltimore, Maryland. The show is guest curated by Baltimore artist Ruth Channing Middleman, painter, printmaker and wife of fellow artist Raoul Middleman.
When James Phillips saw his acrylic painting on canvas “Sankofa II” (1997-8) installed at the new Smithsonian National Museum of African American History and Culture (NMAAHC), the Baltimore artist and associate art professor at Howard University crossed his arms and carefully inspected it.
Melanee Harvey, an art history Ph.D. candidate who accompanied Phillips on his NMAAHC visit, said she wondered what he was looking for. And Phillips told her, “I’m just making sure I got my lines right.”