1 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/4fe6a7894cc589013fc2408dd1291aca.jpg e589fb5ce66e685aab78ec726c30a376 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource I Wish You the Best Description An account of the resource Heeseop Yoon is a Korean-American artist whose large-scale, site-specific installations and drawings engage deeply with the themes of memory, perception, and spatial disorientation. Yoon constructs intricate compositions that depict cluttered interior spaces, often based on photographs she takes of storage rooms, workshops, and abandoned buildings. These works explore the complexities of visual interpretation, the instability of memory, and the layered nature of temporal experience. In this piece, Yoon used images inspired by photographs of objects that students at the University of Maryland placed in front of the library before final exams as symbols of good luck. Alongside these, the work incorporates visual elements drawn from the God of Wealth altars Yoon encountered during her travels in Vietnam. While visiting various stores in Vietnam, Yoon noticed that each had its own unique version of a God of Wealth altar—an expression of hope for prosperity and fortune. This piece brings together these two traditions, blending symbols of luck, hope, and aspiration. I Wish You the Best is ultimately a reflection on the ways people gather meaningful objects to manifest good fortune and cling to hope for the future - yet it also acknowledges the inherent chaos in these gestures, a reminder that hope itself is often messy, layered and unpredictable. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Heeseop Yoon Date A point or period of time associated with an event in the lifecycle of the resource 2025 Format The file format, physical medium, or dimensions of the resource Pen drawing collage on paper Approximately 14 x 18 inches Type The nature or genre of the resource Pen drawing collage on paper Approximately 14 x 18 inches https://contemporaryartumd.artinterp.org/omeka/files/original/6d164403ad5c71877a081a2f9edf88d3.jpg 97f5ba51bc59de9501091a3a1c295d0e Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lakeland Photo Project Description An account of the resource Elena Volkova is a Ukrainian-American photographer based in Baltimore, Maryland. Volkova’s work engages around themes of liminality, subjectivity, and domesticity. Her process prioritizes connecting and engaging with her subjects in order to capture not only their likeness, but the essence of who they are. Through her use of tintype, one of the oldest forms of photography, she is able to capture deep shadows and dynamic portraits. Volkova was commissioned by the CAPP Committee to work with the historically Black neighborhood of Lakeland, which is directly adjacent to College Park. The goal of this project is to create a living art archive of Lakeland today, through photography and visual storytelling. Volkova worked with the Lakeland Community Heritage Project and community leaders to connect with the community to create a participatory project. The involvement by the subjects shaped how it unfolded, and the subjects were invited to share stories in order to preserve the legacy of Lakeland in a meaningful, artistic way. By capturing and connecting with a community that is experiencing intense gentrification to record their present moments, it is ensuring not only that they have a living archive, but also emphasizing the futures of the community. Many University of Maryland students are not even aware of the people who live in the neighborhoods that surround our campus, or their history. This project begins to bridge that gap with the community, connecting the campus to our neighbors. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Elena Volkova Date A point or period of time associated with an event in the lifecycle of the resource 2025 Format The file format, physical medium, or dimensions of the resource Tintype photographs, variable dimensions Type The nature or genre of the resource Tintype photographs, variable dimensions https://contemporaryartumd.artinterp.org/omeka/files/original/fd0856aab41821c3120136901bfedc63.png a7441136c42286264ddb004f8ac2b34c Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ni de Aquí, Ni de Allá Description An account of the resource Victor “Marka27” Quiñonez is an internationally recognized street artist known for his “Neo Indigenous” style that fuses street art and pop culture elements with Mexican and Indigenous aesthetics. Born in Mexico and raised in Texas, the New York City-based artist creates work inspired by his heritage and personal experiences, exploring the relationship between art and activism with the intent and purpose of empowering and uplifting underrepresented and indigenous communities. Ni de Aquí, Ni de Allá is a mixed media painting dedicated to asylum seekers and Indigenous people in the United States who are in pursuit of a better life. Influenced by his experience witnessing his father being arrested and deported and his mother’s relentless fight to support their family in his father's absence, Quiñonez captures a layered experience of perseverance and love in the face of oppression. This piece depicts a father securely holding his peacefully sleeping daughter as she holds the American Dream in her hand. The father is rooted by an Oaxacan ancestor, referencing the resilience and perseverance present through time as the relentless drive to seek a better life for future generations. Quiñonez addresses the marginalization of the immigrant community by challenging issues of inhumane treatment inflicted upon humans by detention centers and privatized prisons. He explores the unique experience that is defined by the intersecting American and Immigrant identities, reminding the immigrant community that they are a source of strength as the bridge between both cultures in the face of opposition from those who think they do not belong. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Victor Quiñonez Date A point or period of time associated with an event in the lifecycle of the resource 2024 Format The file format, physical medium, or dimensions of the resource Spray Paint, Acrylic, Textiles, Flag, and Mixed Medium on Wood 36 x 80 inches Type The nature or genre of the resource Spray Paint, Acrylic, Textiles, Flag and Mixed Medium on Wood 36 x 80 inches https://contemporaryartumd.artinterp.org/omeka/files/original/6110394bbebb31653c53dfdc18d970c1.png 974bd26a1a6727b3b9f934ee8bab3b4e Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Screenplay I Description An account of the resource Georgica Pettus is an American artist and playwright based in New York. Working primarily in time-based media, her practice explores theories of interactivity across dance, language, and computation. Screenplay I: A Play for Two Computers explores the complexities of communication across human and machine interfaces. Rooted in her ongoing interest in translation, particularly between written and embodied syntax, the work stages a dialogue between two computers, using code, language, and gesture as overlapping scripts. Pettus draws on networks of communication and logistics not only as metaphors but as material systems that shape and govern our physical realities. In Screenplay, these invisible infrastructures are made legible, revealing how translation, whether across bodies, languages, or protocols, can be both a site of friction and a space for poetic encounter. Translating language, gesture, and logic into a kind of digital dramaturgy, Screenplay finds a compelling counterpart in Patrick Jacobs’s Fairy Ring with White Clover (2010), a meticulously crafted diorama that offers a portal into an uncanny miniature world. At first glance, Jacobs’s work resembles a photographic landscape; a closer inspection reveals a lush, three-dimensional meadow constructed from unexpected materials such as copper and hair. Like Pettus, Jacobs invites viewers into a mediated space that challenges perception— one shaped by both intimacy and illusion. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Georgica Pettus Date A point or period of time associated with an event in the lifecycle of the resource 2023 Format The file format, physical medium, or dimensions of the resource 00:05:03 minute video Raspberry Pi, TFT backpack display, ethernet cable 24 x 24 inches Type The nature or genre of the resource 00:05:03 minute video Raspberry Pi, TFT backpack display, ethernet cable 24 x 24 inches https://contemporaryartumd.artinterp.org/omeka/files/original/eab123a3bfe74aea8f78188dc40c1449.jpeg 283c41435989c111fb45a2c898692945 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource To Care Is To Plant A Seed Description An account of the resource Nilou Kazemzadeh is an Iranian-American artist based in Maryland. She holds a B.A. in Studio Art (‘16) and an MA in Curriculum and Instruction (‘17) from the University of Maryland, College Park, as well as an MFA from the Tyler School of Art and Architecture. In her interdisciplinary practice, Kazemzadeh creates works that embody a deeply personal connection to place and lineage— acts of quiet revolt against isolating and harmful systems of power driven by politically motivated, self-serving agendas. Her work is anchored in care: a space held by the memories of family, heritage, and the earth. These domains, each intricate and sacred, interweave to form an environment of joy, a space where tenderness becomes an act of resistance. To Care Is To Plant A Seed is a stained glass panel that encapsulates an intimate image from the Kazemzadeh’s family archive: her mother and aunt’s hands offering a piece of pomegranate to her older brother, then a baby, in Iran. This central moment is encased in three surrounding layers of glass that form a house-like motif: offering protection, reverence, and permanence to an otherwise fleeting act of tenderness. Rooted in personal archive, locality, and understandings of home, the work resonates closely with Edgar Reyes’s Cariño (2021). Cariño features a Polaroid of a young Reyes with his mother, accompanied by a handwritten dedication to his grandmother. Like Reyes’s work, To Care Is To Plant A Seed offers a tender meditation on heritage and care, transforming personal history into a corresponding visual language. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Nilou Kazemzadeh Date A point or period of time associated with an event in the lifecycle of the resource 2023 Format The file format, physical medium, or dimensions of the resource Stained glass, powder/enamel screen printed imagery on glass 14 ⅛ x 20 x 1 inches Type The nature or genre of the resource Stained glass, powder/enamel screen printed imagery on glass 14 ⅛ x 20 x 1 inches https://contemporaryartumd.artinterp.org/omeka/files/original/908e30eab69a621860a0f3dbadde757c.jpeg 2a4339b290e0a499c919917d81dbb33c Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Wood Swallows Me Description An account of the resource Xanthe Burdett is an artist from Devon, England who lives and works in London. Her artistic oeuvre is mainly composed of paintings, drawings, and larger installations. She holds a MA Painting from the Royal College of Art and received her BA in Education, English, and Drama from Cambridge University. In her work, Burdett questions the distinctions between nature and humanity, exploring the body in nature and the body as nature in her work. In The Wood Swallows Me, Burdett’s body is faintly outlined, its substance formed by rising foliage that reaches up to her torso, allowing the upper half of her body to merge with the sky. To her left, a dog is also faintly outlined. Its mouth, the only opaquely rendered form in the painting, hangs open layered over Burdett’s thigh. By layering and entangling elements of the human and the non-human—a human leg, a leaf, and a dog's mouth visibly occupy the same space as other aspects of their bodies remain invisible—she blurs the line between where one living form stops and another begins. Burdett’s work not only interweaves humanity and nature on a canvas, it also exists within a web of representations and experiences of nature, both personal and cultural, becoming a node in the history of how humanity and nature interact. As a collective humanity, we participate in a web of symbiotic relationships, in a shared ecosystem. It has become clear that our interaction with nature is inevitable, as we are confronted with the physical realities of our disregard for nature. Therefore, we must be aware of the ways in which we interact if we do not want our interaction to be harmful. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Xanthe Burdett Date A point or period of time associated with an event in the lifecycle of the resource 2024 Format The file format, physical medium, or dimensions of the resource Oil on linen 70 7/8 x 39 3/8 inches Type The nature or genre of the resource Oil on linen 70 7/8 x 39 3/8 inches https://contemporaryartumd.artinterp.org/omeka/files/original/d9fe054d9b8656435e121e0c66a26a60.jpg 14d48971386f93c09b4110eb3ac990d6 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vendor with Flying Car Description An account of the resource Juan José Cielo is a Colombian American artist based in New York City. Cielo focuses on painting, photography and short films that speak on his Colombian heritage. His works envision a futuristic world that reflects his cultural background and experiences with his identity, viewing the future as the connection between where we come from and where we are going. His work challenges viewers to think about the present in relation to the future and the preservation of culture and places through time and change. In Vendor and Flying Car, Cielo depicts a street vendor selling a snack to an unseen customer piloting a flying car. Cielo’s work brings a distant future to the present moment, marrying that which exists in the present, to what will exist in the future. His work cements Hispanic culture and heritage firmly in the canon of a world that has not yet come to be, proudly stating that the Hispanic community has been here, is still here and is not going anywhere. This lens of deviating from the art historical canon and challenging what cultural norms look like through works is mirrored in the 2015 acquisition by Derrick Adams, Game Changing (Ace). In Game Changing, Addams depicts a black figure as the face for the Ace of spades. A card that does not traditionally have a face attached is made into a card representative of the black community’s fight to create space where there was none allotted to them. “Vendor and Flying Car” also discusses making space for communities that are often counted out of conversation, particularly as it pertains to co-creating a world for future generations. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Juan José Cielo Date A point or period of time associated with an event in the lifecycle of the resource 2025 Format The file format, physical medium, or dimensions of the resource Oil on canvas 30 inch x 40 inch x 1 3/8 inches Type The nature or genre of the resource Oil on canvas 30 inch x 40 inch x 1 3/8 inches https://contemporaryartumd.artinterp.org/omeka/files/original/54e6308cf5f3e20d59e9804f347f6915.jpg fac777a895bde6519a6ec798ae5d259c Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chamarra Diptych (Observe and Reverse) Description An account of the resource Born in Ciudad Juárez, Mexico and currently based in Washington D.C., Paloma Vianey received her B.A. in art history from The University of Texas at El Paso and an MFA from Cornell University. Her work centers around her heritage as a Mexican woman, working to bridge the gap between Western, and specifically American perspectives on Mexico, in contrast to how she and other Mexican people view their own cities and culture. Chamarra Diptych (Observe and Reverse), is from Vianey’s Chammarra series. Her Chammarra paintings pay homage to her native city of Ciudad Juárez and its many landmarks and views, which are familiar sights to the inhabitants of the city. Depicting views of the cityscape enveloped in handmade zip-up sweaters, Vianey calls back to the familiarity of being enveloped in a warm jacket (chammarra), as well as suggesting the revelation or opening up of her city to the audience. With these paintings, she not only shares a part of her own lived experience, but the lived experiences of so many Mexican citizens. Her work aims to reclaim the narrative of Ciudad Juárez and Mexico more generally. Vianey hopes to foster more open and honest conversations about her heritage to an American audience that is generally exposed to narratives spread through social media, news, or film, which often paint Mexico and Mexican people in a negative light. CAPP Committee Selection 2024 - 2025 Tenth Cycle Creator An entity primarily responsible for making the resource Paloma Vianey Date A point or period of time associated with an event in the lifecycle of the resource 2022 Format The file format, physical medium, or dimensions of the resource Oil on canvas and zipper 20 x 10 inches each Type The nature or genre of the resource Oil on canvas and zipper https://contemporaryartumd.artinterp.org/omeka/files/original/4ce17877a1f86e3d88586d73b564551b.jpeg 79de281462dcd3556b890827f7b6fedc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Questions For a Dinosaur Description An account of the resource Rachel Garber Cole’s projects are character-based, nonlinear narratives that undermine notions of authority and objectivity. Her performances utilize constructed sets, often made from household and craft materials, which foster a sense of play and levity. Questions for a Dinosaur is a project of multiple iterations in which Cole stages conversations about climate change between herself and a papier-mâché triceratops head. In the live performance and video production, Cole takes on various identities including a girl scout, house wife, and meteorologist, and asks 104 questions concerning extinction to a silent individual wearing the blue dinosaur head. Cole then posed as the dinosaur for 52 photographs printed with select questions from the original performance. Through the evolving questions, Cole articulates unspoken fears about climate change. By having these conversations with a dinosaur, Cole not only connects climate change to previous iterations of extinction in a fruitless attempt to gain wisdom from the dinosaur, but also approaches an existential dialogue with humor rather than foreboding sensationalism or blame. Rachel Garber Cole is a multimedia artist based in Brooklyn, New York. After graduating from Macalester College (St. Paul, Minnesota) in 2007 with a BA in Theatre Arts, Cole moved to New York City where she has since focused on performance, video, and sculptural works. Cole creates theatrical and socially engaged works that “articulate the interior experiences of shame, anxiety and desire and how these feelings intersect with public politics and social institutions.” In order to create such vocabularies, Cole’s projects are character-based narratives with non-linear storytelling that undermine notions of authority and objectivity, allowing for the exploration of complicated and intersectional themes. Cole’s performances utilize constructed sets, often made from household and craft materials, which foster a sense of play and levity, encouraging engagement with existential themes. Creator An entity primarily responsible for making the resource Rachel Garber Cole Date A point or period of time associated with an event in the lifecycle of the resource 2017/2020 Format The file format, physical medium, or dimensions of the resource 9 minute video, 52 digital and silkscreen print portfolio https://contemporaryartumd.artinterp.org/omeka/files/original/d9bd71259a7b582bb0890c6bf33f40bb.jpeg 9e974dc71cbfaa98a9cf1eb1aa127540 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource We the Children (from the "Royal Blue" series) Description An account of the resource Beverly Price began exploring photography in 2016 as she witnessed the rapid gentrification of her birthplace of Washington, DC. She decided to pick up the camera to document the stories of her fellow DC natives. The Royal Blue Series follows the aftermath of the murder of 11-year-old Karon Brown in Washington, DC, and its effects on his close family and friends. Price began documenting Karon’s brother and friends in July 2019 when they were 13. She revisited them in 2022 to document their grief, healing, and growth. This selection of photographs from the series span these three years in the boys’ lives, showing joy and resilience even after the devastation of losing Karon. In the first photograph from 2019, Karon’s brother can be seen in the frame along with three friends. Holding Onto Innocence shows the boys, a year older, at a playground where they spent much of their youth. Youthful Memories again revisits the playground, where the then-16-year-old boys look back at older photographs of themselves on a phone, bringing the series to a full circle. Creator An entity primarily responsible for making the resource Beverly Price Date A point or period of time associated with an event in the lifecycle of the resource 2019 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond