2 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/fa23e45f4f265b015cdff449cee791e1.jpeg 2150cd21d9fdc94095fc7c40121e79fb 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 Holding on to Innocence (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 2022 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond https://contemporaryartumd.artinterp.org/omeka/files/original/5aff41124d0059b19105c6119a90a6f1.jpeg 51b1f13d8dfd28fa4ade4e1b7650c4b6 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 Youthful Memories (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 2022 Format The file format, physical medium, or dimensions of the resource Silver gelatin on aluminum Dibond https://contemporaryartumd.artinterp.org/omeka/files/original/3317283a7e9f99c51cac66c59141dfe4.jpeg 7b27b06a0cee4598be5de738c4b82cc5 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 Processing Gender Aspirations Description An account of the resource Homosocial, a multimedia project created by Brian Van Camerik, celebrates same-gendered couples and queer individuals of the past by transforming found, vintage photographs into objects which represent queer gender and sexuality. Processing Gender Aspirations centers around a black and white photograph of a child of indeterminate gender with a bob haircut, long-collared shirt, skirt-like uniform, knee-high stockings, and Mary-Jane shoes. This photo is scrapbooked within microchip-shaped lavender paper, and gold paper wiring connects the photograph to two sub-processors. The two sub-processors read “bending the” and “binary,” respectively. This circuitry appears on green marbled paper that emulates the appearance of a circuit board. By combining the stereotypically male field of technology and stereotypically female field of crafting into a singular work, Processing Gender Aspiration collapses both binaries in art, all to represent an individual who also may not fit the gender binary. Van Camerik earned his Bachelor of Fine Arts from the University of Pennsylvania and the Pennsylvania Academy of the Fine Arts in 2014. In 2014, he was recipient of the Henry Schiedt Memorial Travel Scholarship from the Pennsylvania Academy of Fine Arts. He and Homosocial are currently based in the SF Bay Area. Creator An entity primarily responsible for making the resource Homosocial 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 Silver gelatin print, paper, ink https://contemporaryartumd.artinterp.org/omeka/files/original/712718c803b04ff021c50ed36b750d2c.jpg bbf16162f025c780ce2cb271af704837 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 Magically Found $768,000,000,000 Description An account of the resource Jenny Wu constructs her paintings through a complex process which involves pouring thick coats of latex paint onto a glass surface, one color at a time, and waiting for each layer to dry before moving on to the next. The dried paint is then cut to reveal the layers of color in the cross-sections, which are then assembled on a flat surface. The organization of each piece follows a specific pattern that utilizes the subtle imperfections and differences in each cross-section. Wu titles her works with phrases pulled from tweets, headlines, and other forms of mainstream media. Magically Found $768,000,000,000, whose title is derived from a tweet by Michigan Congresswoman Rashida Tlaib, references the 768 billion dollars allocated by the United States in 2021 for national defense programs. The full tweet reads: "Magically found $768,000,000,000 for a defense budget, but the same folks can't fully fund the $45-$60 billion needed to remove lead service lines in our country." Wu’s painting invites both close looking at the surface’s sculptural materiality and a productive dialogue about the United States’ controversial priorities. Jenny Wu (b. 1989) is a sculptural painter and educator, currently an assistant process in studio art at Trinity College in Hartford, CT. Wu was born in Nanjing, China. She holds a B.A. from William Smith College in Studio Art and Architectural Studies, and an M.F.A. in Studio Art from American University. Wu has evolved her artist craft through multiple fellowships, grants, and artist-in-residence programs, including those at the Pollock Krasner Foundation (2012), the Vermont Studio Center (2013, 2014), the Torpedo Factory Art Center (2015), the Touchstone Foundation Artist Fellowship (2018–2021), and the D.C. Commission on the Arts and Humanities Fellowship Grant (2021, 2022). Wu has been exhibited multiple times, including at Denise Bibro Fine Art (2010, New York, U.S.A.), the Katzen Museum (2014, Washington, D.C., U.S.A.), the Vilnius Academy of Art (2015, Vilnius, Lithuania), the Reed Museum (2018, 2019, Tennessee, U.S.A.), the CICA Museum (2019, Gueonggi-do, South Korea), and the Huntington Museum of Art (2021, California, U.S.A.). Creator An entity primarily responsible for making the resource Jenny Wu 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 Latex paint and resin on wood panel https://contemporaryartumd.artinterp.org/omeka/files/original/b4e9e317b245472949cc13eee4c42614.jpeg ef94a4cb721e113cc86c6069642b0d72 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 Topographies of Fragility V Creator An entity primarily responsible for making the resource Ingrid Weyland 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 Archival pigment print, edition 6/7 Description An account of the resource Ingrid Weyland’s Topographies of Fragility series emerged from the artist’s journey from the south of Argentina to Greenland’s ice sheets. These untouched, unspoiled, surreal, immense landscapes inspired Weyland to try to encapsulate their mood and beauty. On a return trip years later to these same locations, Weyland witnessed firsthand humankind’s destructive impact, prompting her to create works that simultaneously show the beauty and serenity of these locations while denoting the underlying threat of human interaction. To create the appearance of a crumpled landscape, Weyland took one of her printed photographs and crushed it to the point that it could never return to its prior state. The deformed print is then placed on top of the pristine print and rephotographed. The final product presents an analogy about the impossibility of returning once-thriving landscapes to their existence before human interference. In Topographies of Fragility V, a photograph of a rainforest and its crumpled copy appear perfectly aligned, coalescing into a single image interrupted by the folds of the fragile paper. Ingrid Weyland (b. 1969) is a photographer born in Buenos Aires, Argentina, to a family full of artists. Inspired by her relatives, she studied Graphic Design at the University of Buenos Aires, achieving a bachelor’s degree in 1992. Weyland learned her photographic craft through multiple workshops with Raquel Bigio, Fabiana Barreda, Inés Miguens, "Proyecto Imaginario" coordinated by Martín Estol and María Elena Mendez, and "Lab of Images" with Verónica Fieiras, among others. Notably, Weyland has exhibited at Feria Arte Espacio (2016, Buenos Aires, Argentina), Photo London (2020, U.K.), Exposure Photo Festival (2021, Alberta, Canada), The Climate Museum (2021, Hong Kong, China), Ashurst Emerging Artist Prize Winner Exhibition (2021, London, U.K) and the Fresh Annual Photography Exhibition (2021, New York, U.S.A.) Weyland has also achieved multiple awards, including Decade of Change (2020), AShurst Emerging Artist Photography Prize (2021), Rhonda Wilson Award (2021), Finalist of the Lensculture Art Photography Awards (2022), and the Photolucida Critical Mass Top 50 (2022). https://contemporaryartumd.artinterp.org/omeka/files/original/0f36c36d823d4294c0e2d178f968c0ac.jpeg ac33716dffce14e8c1a2c398e0276414 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 Hourglass Description An account of the resource Buenos Aires-born, Tel Aviv-raised artist Gabriela Vainsencher approaches her sculptures as extensions of herself as a woman and a mother, rooted in the ancient traditions of ceramics. Recognizing her medium’s inherent connection to the earth, Vainsencher endeavors to honor the organic desires of different types of clay, adapting her final product to reflect a harmony of her intentions and the material. Hourglass is a porcelain sculpture featuring a central hourglass shape, similar to a cervix, with pink stones passing through a narrow opening. The hourglass is bordered by bulges reminiscent of swollen wombs, while the darkening of the bottom half of the hourglass resembles the color of dried blood. Intoning a cyclical passage of time, the piece reflects on the biological rhythm of menstruation as a process of death and rebirth. Vainsencher proposes a series of juxtapositions including mythology and modernity, strength and fragility, destruction and renewal, and the consistency of change. The hourglass highlights the body’s resiliency, but also the reality of a biological time limit. Creator An entity primarily responsible for making the resource Gabriela Vainsencher 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 Porcelain, underglaze, glaze, acrylic https://contemporaryartumd.artinterp.org/omeka/files/original/971ee09fce8e6ea7eeb719ac85548350.jpg 4ee3fc8daaf2f69dddcb72c17ad15cd5 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 Together Creator An entity primarily responsible for making the resource Megan Lewis Date A point or period of time associated with an event in the lifecycle of the resource 2021 Description An account of the resource Megan Lewis (b. 1989) is a figurative multidisciplinary artist, creating paintings and murals that tell stories with a critical view on contemporary cultural issues. She was born in Baltimore, Maryland and studied at Ringling College of Art and Design in Sarasota, Florida. She now lives and works in Baltimore city. She is represented by Galerie Myrtis, and for the last several years, her works on canvas focus on portraits depicting Black men and women. Through her portraits, Baltimore-based artist Megan Lewis engages in discourse about the Black body in a historical and cultural context, exploring self image, the meaning of beauty, and her own joys and angers within her experiences as a Black woman. She also uses her artistic practice as a way to be critical of society’s historically problematic attitudes towards marginalized identities by intentionally untangling her imagination from Americanized history, art, and standards. A significant part of her creative process is allowing her emotions to play out across the canvas through her expressionistic brush strokes. Together shows a young Black woman looking directly at the viewer and standing in a traditional pose similar to those which appear in traditional portraiture. Lewis takes this conventional form and paints an imagined model to represent marginalized groups of people typically excluded from such images, endowing them with the same sense of prestige and value. Format The file format, physical medium, or dimensions of the resource Oil and acrylic on canvas https://contemporaryartumd.artinterp.org/omeka/files/original/54f2605789325658afb52cc415f64a44.jpg 4bf7b4b21f113e213849f2b14797ddf3 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 "Ser's Reflection" Description An account of the resource Faith Couch is a photographer from Durham, North Carolina, and a graduate of the Maryland Institute of Art. She was most recently recognized in the 2021 Forbes 30 Under #0 list for art and style. Her work has been shown at the African American Museum in Philadelphia, Nasher Museum in Durham, North Carolina, and New Image Gallery in LA among others. Couch’s photographs express love and intimacy as part of the Black experience with a focus on the body as a terrain. The work reminds viewers of Black life being free of temporal and spatial boundaries. The CAPP Committee’s decision to purchase two of her works; Ser’s Reflection and Then I remembered the most radical thing Black people can do- continue to love each other was made in connection to our goal of providing the UMD community with works that foster both intra- and interpersonal discussion. The pieces belong to different series, but offer the viewer two perspectives on the intimacies of life and shared memory within the Black experience. Then I remembered… alludes to archival imagery of Black people in their daily life from the 1950s and ‘60s while drawing attention to small gestures of amity and understanding. The actions and feelings of the subjects, which include Couch herself, are not completely accessible to the viewer, making them voyeurs into a space dominated through anonymity. Ser’s Reflection is another iteration of power in a moment of vulnerability. The subject’s face is obscured while the body’s action is frozen, giving the viewer a vicarious experience. Both of these images reject the negative generalization that Black people are depicted in throughout mass media. Couch denies viewers from their ability to co-opt the work through the objectification of her subject’s bodies, creating a space for them to be depicted in their essence. Creator An entity primarily responsible for making the resource Faith Couch Date A point or period of time associated with an event in the lifecycle of the resource 2021 Format The file format, physical medium, or dimensions of the resource Archival inkjet print, 20" x 20" Type The nature or genre of the resource photograph https://contemporaryartumd.artinterp.org/omeka/files/original/08d22b586c8670e9957f727c6fd210a2.jpg dddecaedd6bed5d3ecbede4990507aa5 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 "Then I Remembered the most Radical Thing Black People Can Do- Continue to Love Each Other" Description An account of the resource Faith Couch is a photographer from Durham, North Carolina, and a graduate of the Maryland Institute of Art. She was most recently recognized in the 2021 Forbes 30 Under #0 list for art and style. Her work has been shown at the African American Museum in Philadelphia, Nasher Museum in Durham, North Carolina, and New Image Gallery in LA among others. Couch’s photographs express love and intimacy as part of the Black experience with a focus on the body as a terrain. The work reminds viewers of Black life being free of temporal and spatial boundaries. The CAPP Committee’s decision to purchase two of her works; Ser’s Reflection and Then I remembered the most radical thing Black people can do- continue to love each other was made in connection to our goal of providing the UMD community with works that foster both intra- and interpersonal discussion. The pieces belong to different series, but offer the viewer two perspectives on the intimacies of life and shared memory within the Black experience. Then I remembered… alludes to archival imagery of Black people in their daily life from the 1950s and ‘60s while drawing attention to small gestures of amity and understanding. The actions and feelings of the subjects, which include Couch herself, are not completely accessible to the viewer, making them voyeurs into a space dominated through anonymity. Ser’s Reflection is another iteration of power in a moment of vulnerability. The subject’s face is obscured while the body’s action is frozen, giving the viewer a vicarious experience. Both of these images reject the negative generalization that Black people are depicted in throughout mass media. Couch denies viewers from their ability to co-opt the work through the objectification of her subject’s bodies, creating a space for them to be depicted in their essence. Creator An entity primarily responsible for making the resource Faith Couch Date A point or period of time associated with an event in the lifecycle of the resource 2020 Format The file format, physical medium, or dimensions of the resource Archival inkjet print, 25" x 36" Type The nature or genre of the resource photograph https://contemporaryartumd.artinterp.org/omeka/files/original/9875d75d715f1479eb10bb2bf088da46.jpg 822c5b7e841c0405a1a018071049c2d2 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 "All American Boys" Description An account of the resource Akea Brionne (b.1996 New Orleans, LA) is a photographer, writer, curator, and researcher working in Baltimore, MD. Akea received her BFA in 2018 from the Maryland Institute College of Art for Photography and Humanities. In 2018 she was announced the Documentarian of Color by Duke University. Her series Black Picket Fences was acquired by their permanent collection. In 2019 she was named the 2019 Janet & Walter Sondheim Winner. She has also received the Visual Task Force Award from the National Association of Black Journalists. Her work is also featured in the Smithsonian’s Ralph Rinzler Collection and Archives. Also in 2019, Akea co founded Shades Collective, a Baltimore based collective that is dedicated to giving BIPOC space in personal and professional pursuits in the arts and humanities. The CAPP Committee has chosen to purchase the work All American Boys from the A Brown Millennial Series. The series was exhibited in her first solo show in 2020 and features four photographic portraits saturated with colorful backgrounds and the aesthetics of Americana. Akea creates a 3-dimensionality in the work by positioning herself in front of a flat patterned background. The same fabric then wraps around her body to create a silhouette that initially blends into the picture plane before jumping out from the monotony of the patterned background. In the particular piece "All American Boys" Akea drapes herself in overwhelming images of bare chested white cowboys and red trucks. Akea submits a revisionist history, re-adding black bodies into American history, and more specifically the myth of the American cowboy. She exposes a history of racism, nationalism and nostalgia within the remembered histories of a legendary American Empire in the West. By placing her body within this pattern of the all-American cowboy Akea forces the viewer to question the traditional narratives of Western expansion, and the bodies of Natives and other people of color that were suppressed by this movement West. In her own words, Akea describes her practice as “nestled somewhere in between photography and critical theory.” She intertwines the personal and political, wrapping her contemporary body into history and culture to unpack the reality of privilege and force the viewer to ask difficult questions. Creator An entity primarily responsible for making the resource Akea Brionne Date A point or period of time associated with an event in the lifecycle of the resource 2020 Format The file format, physical medium, or dimensions of the resource Archival inkjet print, 24" x 34"