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.”
When those passing by or browsing the web first set eyes on the National Museum of African American History and Culture, the newest Smithsonian museum that opened Sept. 24, 2016, on the National Mall mere steps from the Washington Monument, they often see echoes of a slave ship in the building’s architecture.
But visitors to the museum learn the real architectural inspiration behind the bronze-colored and tiered layering of the building when they tour its top floor galleries.
University of Maryland University College (UMUC) Arts Program cordially invites you to a new exhibition by Baltimore-based visual artist James Phillips. Phillips is an exceptional artist who meticulously produces colorful works that broaden one’s understanding of African aesthetics, patterns and symbols by incorporating these cultural references into contemporary compositions.
He describes himself as a product of the Black Power movement, which encouraged African American artists to create works that reflected pride in their history and culture. His works are in many public and private collections throughout the United States. Phillips received his MFA from Maryland Institute College of Art and is an associate professor of art at Howard University.
Funding for this project was provided by the Wolpoff Family Foundation; Maryland State Arts Council; Friends of the Arts Program; and Eva J. Allen, Ph.D., and Nicholas H. Allen, DPA.
January 15–April 16, 2017
9 a.m.–9 p.m. daily
UMUC Arts Program Gallery, Lower LevelUniversity of Maryland University College
College Park Marriott Hotel & Conference Center
3501 University Boulevard East
Adelphi, MD 20783 | Directions
“The Colossus,” an 1818-25 work in the collection of the Museo del Prado, is one of the scariest paintings attributed to the Spanish artist Francisco Goya. In it, mayhem has broken out on the ground and people and animals disperse in all directions as fighting seems to dominate the landscape. But the figures appear as mere ants compared to the giant—his nudity obscured by clouds—that towers above the scene. Fists raised, the giant is reminiscent of the war-god Mars.
The University of Maryland University College (UMUC) community, Dorothy and Henry Rosenberg Jr., and Patricia and Mike Batza, present the exhibition, Horrors of War, by renowned Baltimore artist Joseph Sheppard, Oct. 30, 2016–Oct. 29, 2017.
Lesa Cook’s terra cotta sculpture “Bacchus as Uninvited Houseguest” (2015) comes as advertised. Naked per custom, the Roman god of wine lies on a couch. A laurel wreath and grapes adorn his head. He holds a cup in his hand; his gut is appropriately proportioned for the patron saint of gluttony. The mustachioed figure resembles a familiar uncle, not a denizen of Olympus.