5 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/7c57980c337017d123fd7b96b5425c66.jpg 0df8fcabb03e259ea55ef19c5c8a42d9 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 Embroidery thread, aluminum, and fabric Physical Dimensions The actual physical size of the original image 53in x 33in (unframed) 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 So Many Hopes Description An account of the resource Sophia Narrett uses her chosen medium of embroidery to create sculptural works with broad, open narratives for her viewers to explore. Applying her background in painting, Narrett treats the embroidery thread like brushstrokes of paint, building strands in a way similar to paint on a canvas that similarly results in a detailed, textured surface of color. Narrett’s works combine imagery from various areas of mass culture—from pop stars and reality TV contestants to historical figures and locations of everyday life—to weave a suggestive story for the viewer to interpret. In So Many Hopes, Narrett depicts a thrift store, where women shop and bond. A memorial to Susan B. Anthony occupies the composition at lower right, and a ritualistic relationship encounter dominates the space at upper right. All these scenes unfold within a set of fictive tree branches. While playful, the work shows a strong, positive feminine environment. Both the content and medium of the work raise questions about hierarchies in society, such as women’s roles, and argue for the valuation of “craft” mediums as art. Text written by Kat Hubbard Student Committee Selection 2016–2017 Date A point or period of time associated with an event in the lifecycle of the resource 2016-17 Rights Information about rights held in and over the resource Image courtesy of the artist. Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.9 https://contemporaryartumd.artinterp.org/omeka/files/original/81410eaa056c7d17e7627ce461d1e53b.jpg 13af6a0f92591baf82ef689dd2cfdb13 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 Hand-sculpted photo paper print Physical Dimensions The actual physical size of the original image 14in x 18in (framed) 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 Clenched Description An account of the resource Part of the “Tensions and Tapestries” series Nate Lewis is a registered critical care nurse. He makes photographic portraits, prints them on heavyweight paper, and then uses self-invented tools resembling surgical instruments to make controlled tears in the paper. These marks are heavily influenced by anatomy, physiology, and disease pathology, knowledge stemming from Lewis’s medical background. While the marks are tedious and mindful in their consistency, Lewis combines various patterns in an intuitive way. The end result calls to mind traditions of textile fabrication and etching. The marks appear representative of human physical biology and also display a visceral understanding of the interconnectedness of bodily systems. Clenched, a depiction of two grasping hands, illustrates Lewis’s primary tools of healing and references the labor-intensive process of his two different practices. Clenched pays homage to people who work with their hands, and to the intimacy and healing that direct contact brings. Text written by Rachael Carruthers Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Nate Lewis Date A point or period of time associated with an event in the lifecycle of the resource 2017 Rights Information about rights held in and over the resource Image courtesy of the artist and Morton Fine Art. Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.8 https://contemporaryartumd.artinterp.org/omeka/files/original/605f1b0596e190bfd12635a8df0b3102.jpg 294bbfe78e5a346e9f04f492dc787c98 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 Hand-sculpted photo paper print Physical Dimensions The actual physical size of the original image 29in x 31in (framed) 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 Thrice Description An account of the resource Part of the "Tensions and Tapestries" Series Nate Lewis, a registered critical care nurse, prints his own photographic portraits on heavyweight paper and then uses self-invented tools resembling surgical instruments to make controlled tears in the paper. These marks are heavily influenced by anatomy, physiology, and disease pathology, stemming from his medical background. While the marks are tedious and mindful in their consistency, Lewis combines his various patterns in an intuitive way, and the end result calls to mind traditions of textile fabrication and etching. The marks appear both representative of the physical biology of people and also display a visceral understanding of the interconnectedness of bodily systems. Thrice is a portrait of a man caught seemingly mid-blink. It is one of the few works in which Lewis has abstracted the boundaries of his mark-making outside of the printed figure. Combined with the figure’s expression, this deviation from the silhouette suggests a transcendence beyond the tangible nature of illness and patient care. With Thrice, Lewis draws attention to the importance of incorporating mental health care into our health systems. The artist confronts our understanding of vulnerability and the dichotomy of stability and instability within our own lives and bodies. Text written by Rachael Carruthers Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Nate Lewis Date A point or period of time associated with an event in the lifecycle of the resource 2017 Rights Information about rights held in and over the resource Image courtesy of the artist and Morton Fine Art. Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.7 https://contemporaryartumd.artinterp.org/omeka/files/original/892d2a0afa40a94d5e56b5647351f236.jpg 74520a78be2ec2e63bf7cbb71ef94db8 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 Suite of 10 drypoints and HD single channel video with sound, RT 2:20 Physical Dimensions The actual physical size of the original image prints: 21.25in x 15.25in each; video image: variable 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 Dance, dance, dance Description An account of the resource Dance, Dance, Dance is a video accompanied by a set of prints that represent stages in the work’s making. The work provides a crucial insight into the importance of self-love and self-care. Both the process and the cathartic result of this work reflect a pattern of intense study and relief, and suggest the necessity for meditation and creative action to support mental health. To create the animation, which the artist refers to as “moving images,” Lee uses the technique of drypoint printing. Her technique consists of etching onto a Plexiglas plate, which she then covers in pigment and presses onto archival paper. To make the video, Lee etched and printed 348 prints, one for each frame. Lee used the same plate for all impressions, adding the next frame of the animation to the already etched surface. The process of drypoint is painstaking and unforgiving. Lee’s meticulous mark-making takes hours, and the finished work displays the profound results that can be produced through mundane action. Lee makes the separation between her labor-intensive process and free-wheeling final work tangible, and this exposition of tedious and physical work is contrasted with the immaterial format of the video. Text written by Nick Duque Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Kakyoung Lee Date A point or period of time associated with an event in the lifecycle of the resource 2011 Rights Information about rights held in and over the resource (c) Kakyoung Lee; Courtesy of the artist and RYAN LEE, New York. Format The file format, physical medium, or dimensions of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.6 https://contemporaryartumd.artinterp.org/omeka/files/original/fdba594ac3d6c9ec3ddb2f5e33381172.jpg 7d39fb8491c2bd4b2afbe93057b4ad8e 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 Archival inkjet print Physical Dimensions The actual physical size of the original image 43.25in x 27.25in (unframed) 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 Line Up 4 Description An account of the resource Part of the "Line Up" Series Line Up 1 and Line Up 4 are two photographs from Martine Gutierrez’s “Line Up” series. The series comprises scenes meticulously staged and constructed by Gutierrez to deceive her audience. Gutierrez appears in these images alongside six mannequins, but she often presented as indistinguishable from them, so that identities shift between artist and mannequin. From the staging to the makeup, Gutierrez executes every aspect of the process. It is the fluidity of her role simultaneously as artist and as a subject of her own work that captivates the audience, as Gutierrez is present but difficult to identify in these scenes. With the “Line Up” series, Gutierrez seeks to question perception, and this aim is much of what builds tension within the photographs. In these fantastical scenes, which hold a dream-like aura, it is difficult to discern what is real and what is not. The viewer is prompted to question not only the identity of the individuals depicted, but every aspect of the image. Text written by Nick Duque Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Martine Gutierrez Date A point or period of time associated with an event in the lifecycle of the resource 2014 Rights Information about rights held in and over the resource (c) Martine Gutierrez; Courtesy of the artist and RYAN LEE, New York. Format The file format, physical medium, or dimensions of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.5 https://contemporaryartumd.artinterp.org/omeka/files/original/4659f73ff29accc227648c9f2baaac34.jpg 5189a1dbaed8abe5393be714f05d150c 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 Archival inkjet print Physical Dimensions The actual physical size of the original image 43.25in x 27.25in 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 Line Up 1 Description An account of the resource Part of the "Line Up" Series Line Up 1 and Line Up 4 are two photographs from Martine Gutierrez’s “Line Up” series. The series comprises scenes meticulously staged and constructed by Gutierrez to deceive her audience. Gutierrez appears in these images alongside six mannequins, but she often presented as indistinguishable from them, so that identities shift between artist and mannequin. From the staging to the makeup, Gutierrez executes every aspect of the process. It is the fluidity of her role simultaneously as artist and as a subject of her own work that captivates the audience, as Gutierrez is present but difficult to identify in these scenes. With the “Line Up” series, Gutierrez seeks to question perception, and this aim is much of what builds tension within the photographs. In these fantastical scenes, which hold a dream-like aura, it is difficult to discern what is real and what is not. The viewer is prompted to question not only the identity of the individuals depicted, but every aspect of the image. Text written by Nick Duque Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Martine Gutierrez Date A point or period of time associated with an event in the lifecycle of the resource 2014 Rights Information about rights held in and over the resource (c) Martine Gutierrez; Courtesy of the artist and RYAN LEE, New York. Format The file format, physical medium, or dimensions of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.4 https://contemporaryartumd.artinterp.org/omeka/files/original/9c647c94cc2efc36102dae43b157497d.jpg d71b2c8a84a8f9e381ccf0497b11d130 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 Collage on paper Physical Dimensions The actual physical size of the original image 20in x 11in 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 Those Girls #4 Description An account of the resource Part of the "Those Girls" Series Zoë Charlton builds dense sticker collages over figures to reveal the complicated facets of the historical positioning of people’s identity markers as they relate to power, privilege, and desire. The “Those Girls” series was inspired by Pablo Picasso’s Les Demoiselles d'Avignon (1907), and by suburbia. Charlton explores representations of white supremacy and the American dream in pop culture and art history, delving into the ways these capitalistic ideals limit the aspirations and possibilities for all people within our society. In her “Those Girls” series, Charlton collages stickers of plants, princess castles, and African masks over the heads of mid-century paper dolls—young white girls—to show the ways that they are restricted by their understanding of the world. Every sticker Charlton uses suggests a multitude of history and symbolism. In Those Girls #4, for example, the paper dolls are connected to each other by southern live oak branches, which overtake and form a canopy above their heads. Canopies monopolize the sun while blocking light from plants below, and the live oak is used to symbolize the Old South. Text written by Rachael Carruthers Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Zoë Charlton Date A point or period of time associated with an event in the lifecycle of the resource 2013 Rights Information about rights held in and over the resource Image courtesy of the artist. Format The file format, physical medium, or dimensions of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.3 https://contemporaryartumd.artinterp.org/omeka/files/original/e8d7b15d5d42b6896b6bc76c7da62885.jpg 739f12b01b02bc4396663481a8003ac0 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 Collage on paper Physical Dimensions The actual physical size of the original image 11in x 20in 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 Those Girls #1 Description An account of the resource Part of the "Those Girls" Series Zoë Charlton builds dense sticker collages over figures to reveal the complicated facets of the historical positioning of people’s identity markers as they relate to power, privilege, and desire. The “Those Girls” series was inspired by Pablo Picasso’s Les Demoiselles d'Avignon (1907), and by suburbia. Charlton explores representations of white supremacy and the American dream in pop culture and art history, delving into the ways these capitalistic ideals limit the aspirations and possibilities for all people within our society. In her “Those Girls” series, Charlton collages stickers of plants, princess castles, and African masks over the heads of mid-century paper dolls—young white girls—to show the ways that they are restricted by their understanding of the world. Every sticker Charlton uses suggests a multitude of history and symbolism. In Those Girls #4, for example, the paper dolls are connected to each other by southern live oak branches, which overtake and form a canopy above their heads. Canopies monopolize the sun while blocking light from plants below, and the live oak is used to symbolize the Old South. Text written by Rachael Carruthers Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Zoë Charlton Date A point or period of time associated with an event in the lifecycle of the resource 2013 Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 2017.1.2 Rights Information about rights held in and over the resource Image courtesy of the artist. https://contemporaryartumd.artinterp.org/omeka/files/original/22f24d6842910432d7ca0e539d8e5b2d.jpg 38532eff5fa73c9c5eb8d8525f8a1b68 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 Stancill (MD) lavender and gray clays, sand, steel, and Warrenton, VA basalt dust Physical Dimensions The actual physical size of the original image 72 in x 40in x 2in 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 Difficult Ordinary Happiness (with thanks to Adrienne Rich) Description An account of the resource In Difficult Ordinary Happiness (with thanks to Adrienne Rich), Margaret Boozer uses her expertise in ceramics to create an abstract image out of locally-sourced earth and minerals in what she calls a Rammed-Earth Painting. Boozer makes the Rammed-Earth paintings by repeatedly pounding her materials onto a wooden backing until they acquire the physical weight and presence of earth. The artist uses lavender and gray clays, sand and black basalt, and pigments sourced from a quarry she frequents in Maryland. The soil in this work tells a story about the state of Maryland. Boozer’s work explores the importance of understanding soil from its significance in growing healthy crops to its use in construction. Each pigment and grain that she extracts from the earth and offers for our contemplation tells a smaller story about the ground we walk on and interact with every day. Text written by Sarang Yeola Student Committee Selection 2016–2017 Creator An entity primarily responsible for making the resource Margaret Boozer Date A point or period of time associated with an event in the lifecycle of the resource 2017 Format The file format, physical medium, or dimensions of the resource Still Image Rights Information about rights held in and over the resource Image courtesy of the artist. Identifier An unambiguous reference to the resource within a given context 2017.1.1 https://contemporaryartumd.artinterp.org/omeka/files/original/20288c53281e1077a1a15971a3c9a40f.jpg 57dcd7170c4b58c411d2a56d284cb54e 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 In Response Promo