9 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/f66f98aa133574737c723b12c8e99822.jpg e7c191dde48e94176723ccaecc641066 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 Chromogenic print, embossed and screen printed. Edition 1 of 7. Physical Dimensions The actual physical size of the original image Image: 16 x 24 inches; Framed: 21 x 29 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 Bubble 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 2011.1.4 Creator An entity primarily responsible for making the resource Sarah Anne Johnson Rights Information about rights held in and over the resource © Sarah Anne Johnson, Courtesy Julie Saul Gallery, New York Description An account of the resource From the "Arctic Wonderland" series Sarah Anne Johnson conceived of the series “Arctic Wonderland” after an artist’s residency on a ship sailing the Norwegian territory of the Arctic Circle. As she traveled through this tremendous and pristinely beautiful landscape, Johnson could not help but contemplate the possibility that human beings would eventually destroy it. Johnson took photographs during the expedition and later manipulated them with paint, Photoshop, and embossing. She wanted to challenge photography’s capacity adequately to represent the vast complexity of either the landscape or her emotional response to it. “I do this to create a more honest image,” Johnson has said. “To show not just what I saw, but how I feel about what I saw.” The resulting body of work interrogates notions of perpetual progress, innovation, and expansion. The work also explores the psychological terrain of grappling with ecological challenges that can seem insurmountable. https://contemporaryartumd.artinterp.org/omeka/files/original/401120168ec4b2009a37688d6fbbeb29.jpg 855b381a648edb5e108abc473ae629cc 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 Flame-worked glass. Artist Proof. Physical Dimensions The actual physical size of the original image 7.5 x 7.5 x 7.5 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 HIV, Series 2 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 2011.1.3 Creator An entity primarily responsible for making the resource Luke Jerram Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource From the "Glass Microbiology" series In his “Glass Microbiology” series, Luke Jerram contemplates the global impact of major diseases and considers how artificial coloring of scientific imagery affects public understanding of these phenomena. Here he represents a single molecule of the human immunodeficiency virus, isolated and magnified by a factor of one million to a scale viewers might imagine holding in their hands. Jerram uses glass to replicate the natural transparency of virus particles, which are too small to reflect visible light. Designed with virologists from the University of Bristol and produced with professional glassblowers, sculptures in this series explore the tension between the destructive impacts of such diseases and the beauty of their forms. As one viewer wrote to the artist in 2009, “I can’t stop looking at it. Knowing that millions of those guys are in me, and will be a part of me for the rest of my life . . . It’s a very odd feeling seeing my enemy . . . and finding it so beautiful.” https://contemporaryartumd.artinterp.org/omeka/files/original/014b951b6ea1c96a591691b48f0fa7cf.jpg bf6c49bc717cd4cab9b7cf21427ec179 https://contemporaryartumd.artinterp.org/omeka/files/original/a6606976ecfc7c79053b56eeec97b98d.jpg bc14dac0f2b0f2b863550bdc68b44410 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 Mixed media sculpture: paper, acrylic, extruded styrene, copper, acrylic gel medium, hair, steel, acrylite, tin, lighting, BK7 glass 3-inch exposed lens Physical Dimensions The actual physical size of the original image Lens: 3 inches; Box: 22.25 x 12.25 x 10.25 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 Fairy Ring with White Clover Source A related resource from which the described resource is derived Pierogi Date A point or period of time associated with an event in the lifecycle of the resource 2010 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 2011.1.2 Creator An entity primarily responsible for making the resource Patrick Jacobs Description An account of the resource Patrick Jacobs creates small portals that invite viewers in for intimate moments of discovery and introspection. At first glance, Fairy Ring with White Clover appears to open a lens onto a photographic landscape. A closer look reveals something more strange and enthralling—a verdant meadow in miniature. Jacobs builds his dioramas out of disparate materials like copper and hair, but the end result is so coherent as an environment that it blurs perceptual distinctions. With the title of the work, Jacobs references ancient folklore about naturally occurring circular growths of mushrooms in forests and fields. Legends attribute these rings to the dancing of fairies and warn that mortal beings who cross their thresholds may lose their grip on reality. https://contemporaryartumd.artinterp.org/omeka/files/original/782ee024bc141fee332b04473f85ae3b.jpg 0a233fe099ec8631f83224330a693148 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 pigment prints. Edition 4 of 9. Physical Dimensions The actual physical size of the original image Portfolio of 24 prints, each 7 x 7 inches; Installed: 34 x 48 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 Signs Without Signification Description An account of the resource From the series "American Typologies" Jeff Brouws scrutinizes the American built environment looking for simple structures that multiply across the landscape—strip malls, tract housing, parking lots. His “Signs Without Signification” portfolio focuses on defunct armatures of signage at failed businesses, a familiar feature of industrial wastelands. Brouws photographed these relics of a bygone era dramatically from below. Each sign takes center stage against a brilliant blue or cloudy sky. The artist seems to pay homage to the singularity of each skeletal form, taking care to shoot it from its most dynamic angle. Arranging the images as a succession of like items in a grid, Brouws participates in a rich tradition of conceptual photography, drawing in particular on California artist Ed Ruscha’s typologies of gas stations and palm trees. Date A point or period of time associated with an event in the lifecycle of the resource 2003-2007 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 2011.1.1 Creator An entity primarily responsible for making the resource Jeff Brouws Rights Information about rights held in and over the resource © Jeff Brouws, courtesy Robert Mann Gallery https://contemporaryartumd.artinterp.org/omeka/files/original/8aa8322befcbabe62a7abc3be6b5dbef.jpg ab671b3df6b08d56988e54104c80b0e8 https://contemporaryartumd.artinterp.org/omeka/files/original/8257a3cfca32e335a813d5c4cef6404f.JPG 55e5dc1f85252b17db1eca4a0a5f9b7e https://contemporaryartumd.artinterp.org/omeka/files/original/4032c65c351c2ddb8a7b5b61b8c8db41.JPG d8170a261692cc2d4ba97d6cbd947ac7 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 Ultrachrome ink on cotton paper. Edition 5 of 5. Physical Dimensions The actual physical size of the original image 2 segments, each 44 x 66 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 Exposure #43: Barmsee, Bavaria, 08.18.06, 4:02 p.m. Date A point or period of time associated with an event in the lifecycle of the resource 2006 Relation A related resource 2008-2009 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 2009.1.9 Creator An entity primarily responsible for making the resource Barbara Probst Rights Information about rights held in and over the resource Courtesy of the artist and Murray Guy, New York Description An account of the resource Barbara Probst investigates perception through photographic processes of framing and dislocation. She uses two or more cameras, triggered by remote, to record a single scene from multiple angles at the exact same moment. The resulting works subject the viewer to a complex process of comparison, synthesis, and evaluation, in which no perspective remains neutral. Probst further complicates the experience by varying shots in color or in grayscale, in closely framed crops or panoramic views. By revealed the potential range of impressions of a single time and place, Probst highlights the ways in which a photograph is always subject to the viewpoint and intentions of the photographer and the assumptions and expectations of the viewer. https://contemporaryartumd.artinterp.org/omeka/files/original/31f2148351c0d401f3081a07e3bc5c20.jpg 8b374fdcfd477039cd5bea68e32c831a 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 C-print mounted. Edition 5 of 8. Physical Dimensions The actual physical size of the original image 20 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 BERNABE MENDEZ from the State of Guerrero works as a professional window cleaner in New York. He sends 500 dollars a month. Description An account of the resource from the series "The real story of the Superheroes" Dulce Pinzón challenges negative stereotypes about immigrants in the United States with her project, “The real story of the Superheroes.” Pinzón set out to capture images of those she considers the unsung heroes of her community—those immigrants who not only keep American cities like New York running by working long hours for little pay but who also support their families by sending home substantial portions of their paychecks each week. Pinzón staged images of immigrant workers from her own native country of Mexico performing their jobs in their work environments dressed as popular American and Mexican superheroes. Date A point or period of time associated with an event in the lifecycle of the resource 2004-2005 Relation A related resource 2008-2009 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 2009.1.8 Creator An entity primarily responsible for making the resource Dulce Pinzón Rights Information about rights held in and over the resource Courtesy of the artist https://contemporaryartumd.artinterp.org/omeka/files/original/0e357ea480854014316b24d14e3f8660.jpg d2464d9fbea9e92e01d4a9132b23a41f 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 C-print mounted. Edition 3 of 8. Physical Dimensions The actual physical size of the original image 20 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 MARIA LUISA ROMERO from the State of Puebla works in a Laundromat in Brooklyn, New York. She Sends 150 dollars a week. Description An account of the resource From the series "The real story of the Superheroes" Dulce Pinzón challenges negative stereotypes about immigrants in the United States with her project, “The real story of the Superheroes.” Pinzón set out to capture images of those she considers the unsung heroes of her community—those immigrants who not only keep American cities like New York running by working long hours for little pay but who also support their families by sending home substantial portions of their paychecks each week. Pinzón staged images of immigrant workers from her own native country of Mexico performing their jobs in their work environments dressed as popular American and Mexican superheroes. Date A point or period of time associated with an event in the lifecycle of the resource 2004-2005 Relation A related resource 2008-2009 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 2009.1.7 Creator An entity primarily responsible for making the resource Dulce Pinzón Rights Information about rights held in and over the resource Courtesy of the artist https://contemporaryartumd.artinterp.org/omeka/files/original/6873b1a8ad8c86c7172a6959c86ef3f6.jpg 25d6ae9d3be810121e7f563566272c8c https://contemporaryartumd.artinterp.org/omeka/files/original/fe16d278dfbb2c160ff565d99f4ddd37.JPG 9b6346526c90019ba9072ca179e35aea https://contemporaryartumd.artinterp.org/omeka/files/original/686ab91230057c93355637f8d89f5b77.JPG 6ce382f2acf43aed8e4f7c635fdcac39 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 videos. Edition 5 of 10. Physical Dimensions The actual physical size of the original image Installed: 28 x 108 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 Juke Date A point or period of time associated with an event in the lifecycle of the resource 2006 Relation A related resource 2008-2009 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 2009.1.6 Creator An entity primarily responsible for making the resource Jefferson Pinder Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource Jefferson Pinder, who earned his MFA in video and performance art at the University of Maryland in 2003 and taught in the Department of Art for nearly a decade, is interested in the interaction between artwork and viewer. His video installation Juke comprises ten videos, two of which play on each monitor in the present installation. In each, a camera focuses on a black person’s face framed against a bright white background. The subjects—including the artist and nine other Washingtonians—lip-synch songs by white musicians, from country singers Loretta Lynn and Johnny Cash to rockers David Bowie and Patti Smith. Performances are heartfelt and visceral. Pinder elaborates: “There are hundreds (if not thousands) of unspoken rules of engagement in this never ending fight [against] racism in the United States. Popular music has been a dynamic changing battleground. Music has always been segregated. Juke is a musical installation that wrestles with serious issues in the most unfamiliar way. Can music be either black or white? Can song be used as an instrument to provoke a conversation about race?” As Juke makes evident, “the lyrics that these performers are singing relate to the black experience—all of them.” https://contemporaryartumd.artinterp.org/omeka/files/original/3a5aa830026270229c78660aeada205b.jpg 81603bbb65b1e7c4eacd9f2ae7ae406f 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 mylar Physical Dimensions The actual physical size of the original image 59 x 75 inches; 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 Untitled Date A point or period of time associated with an event in the lifecycle of the resource 2009 Relation A related resource 2008-2009 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 2009.1.5 Creator An entity primarily responsible for making the resource Linn Meyers Rights Information about rights held in and over the resource Courtesy of the artist Description An account of the resource Linn Meyers works to structure each drawing around its most basic elements, fascinated by the surprising complexity of form and process that can arise in that effort. She began this ink drawing by making several tangential circles at the center of a sheet of Mylar then echoed their curves to create a pattern and followed the natural flow of each line out to an edge of the work. Slips, slight bends, and bumps between lines are evident where Meyers strained or stretched her reach, imperfections that carry a resonant beauty as traces of mindful human endeavor. As Meyers explains, “The unmediated directness of making a drawing is the result of a line being an extension of the hand and the body.” https://contemporaryartumd.artinterp.org/omeka/files/original/09ef45fd28cacf7ff08cf2dfad1a2569.jpg 44b1867253f88c30ee3abb1e255be368 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 pigment print. Unique. Physical Dimensions The actual physical size of the original image Image: 24 x 30 inches; Framed: 25 x 31 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 Belle of the Yakimas/The Belle of the Deccan Plateau Description An account of the resource From the series "An Indian from India" In this series, Annu Palakunnathu Matthew explores ethnicity, immigration, and the colonial gaze. Each panel juxtaposes two images: a late-nineteenth photograph of Native Americans and a reenactment of that historical image with Matthew’s body taking the place of the original subject. The series was inspired by Matthew’s experience, as an immigrant living in the United States, of constantly being asked where she was “really from.” It explores the role of photography in fixing and perpetuating stereotypes. As the artist explains, “I’m talking about the imbalance of power between the subject and the photographer. That’s one reason that I turned the camera on myself. Since the portrait is of me, I am in control of how I am being represented. It was a way to hold hands with Native Americans and reverse that gaze.” Date A point or period of time associated with an event in the lifecycle of the resource 2001-2003 Rights Information about rights held in and over the resource Courtesy Annu Palakunnathu Matthew and sepiaEYE. Original Photo Courtesy: University of Pennsylania Museum of Archaeology and Anthropology. Relation A related resource 2008-2009 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 2009.1.4 Creator An entity primarily responsible for making the resource Annu Palakunnathu Matthew