3 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/c840b93dec7351eb00487e2fc470976e.jpg fb425a6750c040dc3f1cb1e21324e03b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Dye-coupler print mounted to acrylic. Edition 2 of 5. Physical Dimensions The actual physical size of the original image Image: 15.5 x 22.5 inches; Framed: 16.5 x 23.5 inches 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 Holy Bible (1950) Description An account of the resource From the series "Collective Memory" In his series “Collective Memory,” Doug Keyes explores the experience of reading a physical book. With a background in graphic design, Keyes is highly attuned to processes of conveying and receiving information and images. He is interested in the ways in which knowledge “stacks upon itself over time, leaving an impression or collective memory.” Attempting to recreate this ephemeral process, Keyes photographed pages in books from his own collection, as well as in texts suggested by his friends. He superimposed the resulting images, producing a version of each book condensed onto a single page. By deliberately manipulating the photographic process, Keyes examines how such commanding, canonical texts as the Christian bible permeate cultural consciousness over time. Date A point or period of time associated with an event in the lifecycle of the resource 1999/2009 Rights Information about rights held in and over the resource Courtesy of the artist Relation A related resource 2010-2011 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2011.1.5 Creator An entity primarily responsible for making the resource Doug Keyes https://contemporaryartumd.artinterp.org/omeka/files/original/a9320df1e4a302e7ba3850f905528605.jpg 16cabffdf8b4358c6ced58985aa784aa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Rolled paper, glue, Sumi ink and graphite Physical Dimensions The actual physical size of the original image 17.5 x 10 x 9.5 inches 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 Untitled JK #526 Date A point or period of time associated with an event in the lifecycle of the resource 2006 Relation A related resource 2010-2011 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2011.1.6 Creator An entity primarily responsible for making the resource Jae Ko Rights Information about rights held in and over the resource Courtesy of the artist and Marsha Mateyka Gallery Description An account of the resource Jae Ko makes sculptures by twisting and contorting large spools of paper. She rolls and unrolls the spool and jiggles it to create space within the coil so that she can work the lines of paper into a three-dimensional drawing. Her process ends when the roll of paper has become so malleable that it is “almost collapsing—another push or pull might ruin the work.” Ko then fixes the final shape in place with a mixture of glue, graphite, and pigment. She achieves the saturated matte black of this work using Sumi ink, an ink made from vegetable oil soot traditional to Japanese calligraphy which Ko studied in art school in Tokyo. The result is a simple object that gives concrete form to Ko’s creative process while also suggesting natural phenomena, such as waves, tornadoes, and tendons. https://contemporaryartumd.artinterp.org/omeka/files/original/6c894b21eda851e80c3f763d40d8345f.jpg 93f7efa02048321be61f8a80c097510d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil on canvas Physical Dimensions The actual physical size of the original image 40 x 32 inches 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 Piano Song Date A point or period of time associated with an event in the lifecycle of the resource 2011 Relation A related resource 2010-2011 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2011.1.7 Creator An entity primarily responsible for making the resource Jenny Morgan Rights Information about rights held in and over the resource Courtesy of the artist and Driscoll Babcock Galleries Description An account of the resource Jenny Morgan begins her tensely psychological portraits by photographing her subjects, often people she knows, and painting them in painstaking detail. She then obliterates parts of the surface, sanding away and peeling back skins of paint until the figure appears spectral and transparent in some areas and palpably raw and real in others. The result can be spatially disorienting, as in Piano Song where face and torso seem to flatten and recede while hands appear variously thick and fleshy or striated as if they were unevenly printed reproductions. Building on traditions of portraiture, Morgan’s work has a decidedly contemporary presence, emphasizing the elusive, multifaceted, and interior qualities of the human beings they would represent. https://contemporaryartumd.artinterp.org/omeka/files/original/b1436c709c053480f71522c0b6466709.jpg 90a485b134f9982636ee904e332622af Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo-weaving, c-prints and thread Physical Dimensions The actual physical size of the original image 48 x 60 inches 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 Fear on Their Faces Date A point or period of time associated with an event in the lifecycle of the resource 2011 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.1 Creator An entity primarily responsible for making the resource Hunter Reynolds Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource Fear on Their Faces (page 7) is a work from Hunter Reynolds’s “Survival AIDS” series. Between 1989 and 1993, the artist clipped and archived articles he encountered concerning the LGBTQ community and, in particular, the topic of AIDS. To make this work, Reynolds scanned and enlarged news stories focused on familial relationships among gay children and their heteronormative parents, or children whose parents were dying of AIDS. The artist then wove these clippings together with more personal artefacts: a photograph of the artist as a teenager smiling on the beach with a friend, the lipstick signature of the alter ego Reynolds created as a performance artist, and images he superimposed of his own HIV-positive blood. Large and public in scale, this work offers an intensely personal glimpse into an individual’s efforts at reconciling dissonant experiences of the AIDS pandemic, both as a person living with the disease and as a consumer of mass media that is often characterized by its impersonal and detached reporting. https://contemporaryartumd.artinterp.org/omeka/files/original/264803f075b1b7bb79082d65503d3df5.jpg ef4ca7240d0e2fc11962096b58295c55 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ink and acrylic on hanji paper mounted on canvas Physical Dimensions The actual physical size of the original image 24 x 24 inches 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 Kudzu Date A point or period of time associated with an event in the lifecycle of the resource 2012 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.2 Creator An entity primarily responsible for making the resource Jiha Moon Description An account of the resource Jiha Moon makes paintings using Hanji (mulberry) paper, a traditional medium in Korean art. Moon exploits its capacity to soak up paint while holding dense layers of pigment stacked on top. Moon describes the effect of these materials as analogous to the “twists and layers” of her own identity as a person from South Korea who has lived in the United States over a decade. This painting bursts with symbols and designs ambiguously connected to both nationalities, as well as to broader notions of “Asian-ness” in American pop culture. The title, kudzu, refers to a creeping vine native to eastern Asia promoted in the United States in the late nineteenth century as an ornamental Japanese plant. American authorities planted kudzu aggressively against soil erosion in the 1930s, so that it became ubiquitous across the American south and entangled in regional identity. Here the pink and blue vine embraces a whirlwind of cartoon-like shapes—birds, leaves, and mountaintops—their candy colors densely coded with humor and contradiction. https://contemporaryartumd.artinterp.org/omeka/files/original/40a13e48a92e234f27361b7687a752b9.jpg 0f1bcb718e5e47f0ad4037bdf3b12d74 https://contemporaryartumd.artinterp.org/omeka/files/original/85a94873b64fa44b322d45d67ab6a1b8.jpg 4c6cba7d1067941e9177bb557bf62b08 https://contemporaryartumd.artinterp.org/omeka/files/original/5f12818d5b5227ea866e16e91ec57e72.jpg 66e823e824c2c23bcb107fce08da83fd https://contemporaryartumd.artinterp.org/omeka/files/original/953522093f531f65ebfefaaa493d3bda.jpg bc1bbf248b2b683b7672c2123fe5acd0 https://contemporaryartumd.artinterp.org/omeka/files/original/9ae28d5138c8c1b8d27391cbb9d38f3d.jpg 22787bbb905d235a1771630ae500a18b https://contemporaryartumd.artinterp.org/omeka/files/original/10a20d86356f4bb125c6389dbb928e10.jpg fa0ec64ec52c008b69102b197f245a05 https://contemporaryartumd.artinterp.org/omeka/files/original/b55a1da9a146d10b49cc5ca66f71dc2e.jpg cfb309d48dbb69895d9ea553cabfdf39 https://contemporaryartumd.artinterp.org/omeka/files/original/c95571477a60c39e3340e24f72c825aa.jpg 343a95930287658736b474196de2356c https://contemporaryartumd.artinterp.org/omeka/files/original/0064f2a8bf05c74d36acc26f5f0bc67f.jpg 62f9e55987b895342f4f5016e3110936 https://contemporaryartumd.artinterp.org/omeka/files/original/e088b52e15294e70045df560a449550b.jpg 90a3c0ae35dab4c6f963f9daaf894d54 https://contemporaryartumd.artinterp.org/omeka/files/original/5c60875b0aa57a7ac5658961f03cb431.jpg 909f8f8e528785fd4f66db6543723881 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Digital C-prints on canson Infinity Platine Fibre Rag Paper Physical Dimensions The actual physical size of the original image 10 segments, each 11 x 14 inches; Installed: 55 x 28 inches 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 Geolocation (College Park) Date A point or period of time associated with an event in the lifecycle of the resource 2013 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.3 Creator An entity primarily responsible for making the resource Nate Larson & Marni Shindelman Rights Information about rights held in and over the resource Courtesy of the artists Description An account of the resource From the "Geolocation" series Nate Larson and Marni Shindelman are photographers and art educators who met and began collaborating in 2007. Projects in their “Geolocation” series begin on Twitter, where the artists use publicly available geotagging metadata to explore a particular city—in this case, College Park, MD—through the tweets generated there. Larson and Shindelman seek out updates that “reveal something about the personal nature of the users’ lives or the national climate, while also examining the relationship to physical space and the ways in which it influences online presence.” After making their selection, they visit the real world location from which each post was made and memorialize it with a photograph. Text and photo are printed together, anchoring that fleeting moment in one person’s existence to its digital expression and a physical place. The series explores issues of privacy, public safety, socialization, isolation, and the pace of technological change in contemporary life. https://contemporaryartumd.artinterp.org/omeka/files/original/ac16ccf699feff07deb07ec2ade4e72f.jpg 43e09d3ebd6c08774c63af858a29957c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Acrylic and color pencil on Mylar Physical Dimensions The actual physical size of the original image 42 x 30 inches 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 If She Only Belonged Date A point or period of time associated with an event in the lifecycle of the resource 2008 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.4 Creator An entity primarily responsible for making the resource Hedieh Javanshir Ilchi Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource From the "Traveler Series" Hedieh Javanshir Ilchi’s artwork focuses on issues of identity, exploring the “dualities of self” that the artist has encountered in her own experiences as an Iranian-American immigrant. In the “Traveler Series,” Ilchi chronicles the exploits of a heroic female figure in a non-linear narrative. Paint on Mylar translates into scenes of vivid color, such as this one, and fine lines in colored pencil produce intricate patterns, referencing the ornamentations of “Tazhib” or the Persian art of illumination. Ilchi balances precision and chance, figuration and abstraction, to represent external realities of war and exile. At the same time, her painting also explores the more interior terrains of a conflicted psyche. https://contemporaryartumd.artinterp.org/omeka/files/original/edfa9e02a18fec3902a648a55cbf0769.jpg c17783a173d1a682971f1284dd5077e3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Thread and pins on board Physical Dimensions The actual physical size of the original image 26 x 32 inches 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 Economics Date A point or period of time associated with an event in the lifecycle of the resource 2013 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.5 Creator An entity primarily responsible for making the resource Jeremy Dean Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource Jeremy Dean explores the idea of ‘the American dream’ by deconstructing symbols of wealth, patriotism, and power. To make Economics, he took apart an American flag thread by thread. He then reassembled it by tying each strand to a needle superimposed over a list of the top 1,000 stocks of the last 100 years printed to resemble a page in the Wall Street Journal. Contours of the fragmented flag suggest a pair of graphs that demonstrate the disparity in wealth between top 1% earners and the rest of the American population. Peaks and troughs create gaps in the flag and suggest the impact of significant events in American economic history—the Great Depression and tax cuts during the presidency of George W. Bush. Dean’s work presents the nation’s most iconic symbol as two unraveled halves of a whole unable to integrate. https://contemporaryartumd.artinterp.org/omeka/files/original/eb328fbb89bf5bea1acc0016a8b7c81e.jpg 74b132a5bc85348c9b1063aca5d16235 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Microbial growth on boards Physical Dimensions The actual physical size of the original image 9 segments, each 16 x 16 inches; Installed: 75 x 75 inches 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 Contamination 32 Date A point or period of time associated with an event in the lifecycle of the resource 2013 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.6 Creator An entity primarily responsible for making the resource Selin Balci Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource Selin Balci, who earned her MFA in installation and mixed-media art at the University of Maryland in 2012 and a degree in forestry from the University of Istanbul in 2002, considers herself a bio-artist. She applies her training in scientific laboratory settings to artmaking. Fascinated by the capacity of microbial growths to mimic the drama and complexity of human behavior, Balci creates works such as Contamination 32 that force mold and fungi collected from soil and tree bark to share space and compete for resources. Once brought together, these small life forms interact without manipulation by the artist, resulting in kaleidoscopic confrontations of vibrant textures and colors. According to Balci, “The behaviors of the microorganisms resemble human actions and motives. Visually representing the maps and aerial scenes, these microbes act as metaphors for war and the human predicament.” https://contemporaryartumd.artinterp.org/omeka/files/original/8147a32b2dda1246a0e92f1e918123d7.jpg 747a65bebea5c3ddc62d3fe086de378a https://contemporaryartumd.artinterp.org/omeka/files/original/b1f3a83d3a1ee3cb3a0be6ad3f9e5efd.jpg 2bcd4d0b1a55c813914bdc9fb1ba4dbd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ink on paper Physical Dimensions The actual physical size of the original image 22 x 30 inches 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 As I Lay Dying by William Faulkner Date A point or period of time associated with an event in the lifecycle of the resource 2003 Relation A related resource 2012-2013 Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2013.1.7 Creator An entity primarily responsible for making the resource Alice Attie Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource This artwork draws its title and subject matter from American author William Faulkner’s 1930 novel As I Lay Dying. Alice Attie made this ink drawing of a coffin by copying lines of Faulkner’s prose in a miniscule script. Depending on the spacing and direction of Attie’s writing, Faulkner’s words lose their legibility and instead take the shape of shadowed volumes, wood-grain textures, and hard, angular contours. The coffin is an object central to Faulkner’s story, and Attie’s mode of drawing with text deepens this connection to her source material. With meandering forms, she seems to meditate on the stream-of-consciousness technique of writing for which Faulkner is well known and, with the relative density of the text on each facet of the coffin, she nods to the novel’s multiple narrators.