1 10 100 https://contemporaryartumd.artinterp.org/omeka/files/original/2ace9767cbba44bd4cc2d450abaeb60d.png 34e4d1e67408ee1748e81949be0aba67 https://contemporaryartumd.artinterp.org/omeka/files/original/1646ffd48ef0c1ff8997d6846befb34d.png 51d6890c28877c9f3f45738f67d3f276 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 "54 Massachusetts, Unique Variation III" Description An account of the resource Rushern Baker IV is a Baltimore-based painter and teacher. Baker received his and his MFA in painting and printmaking from Yale University. He has exhibited in group and solo shows at galleries across the world. Baker’s abstract pieces billow with themes of military destruction, dense architectural elements, and tumbling dilapidated ruins of the Greco-Roman world. Fragments of Civil War soldiers, flags, and conflict mingle in an atmospheric array of colors and shapes to create objective narratives about war, history, and culture. 54th Massachusetts, Unique Variation III, and 54th Massachusetts, Unique Variation VI are part of a series that reflects on the nation's current political unrest, Manchurian politics, and the resurgence of racism seen in this country and around the world. Inspired by an 1890 painting of the 54th Massachusetts, the first African American infantry regiment, Baker's 54th Massachusetts prints symbolize the struggle for equality Black Americans are still calling for today. Using graphic figuration and Civil War historical motifs to focus on the black people that were making the sacrifices of bringing about true democracy in America, Baker’s paintings take strong objective perspectives on our current political climate through abstract visual devices. Creator An entity primarily responsible for making the resource Rushern Baker Date A point or period of time associated with an event in the lifecycle of the resource 2020 Rights Information about rights held in and over the resource Image Courtesy the Artist and Hemphill Gallery Format The file format, physical medium, or dimensions of the resource Digital print and mixed media on heavy rag paper with hand-torn edges, 14” x11” Type The nature or genre of the resource Still Image 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" https://contemporaryartumd.artinterp.org/omeka/files/original/63c5043e323fac9c03350bf1d5a88136.png 0acc22bfc5f11623db0010802e83c220 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 "Cariño" Description An account of the resource Edgar Reyes is a Baltimore and Washington D.C based multimedia artist. He received his MFA from Maryland Institute College of Art and continued his practice locally while teaching at non-profit organizations and schools. He has centered his practice around his journey through exploring his Mexican American immigrant identity by way of compassion and understanding. His personal experiences serve as means of breaking down cycles of inherited trauma during the search for truth and healing. His recent works utilize images of Reyes’ own family members as he develops a personal yet universal narrative of lives shaped by displacement, migration, and discovery. Cariño is a digital collage printed on chiffon, most notably featuring a Polaroid photo of a young Reyes and his mother. The handwritten caption below dedicates the photo to his grandmother. The technicolor clouds and modular elements that surround the image address the relationship between memory and place while paying homage to family history. Creator An entity primarily responsible for making the resource Edgar Reyes Date A point or period of time associated with an event in the lifecycle of the resource 2021 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 Digital print on chiffon, 53” x53”. Type The nature or genre of the resource Still Image 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/10e6172c13950bd7a7ecdc37f12ecfd1.jpg 4599148a31f82f3f0c414b5b690ca005 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 "Under My Skin #1" Description An account of the resource Kei Ito is a Baltimore-based conceptual photographer and installation artist. He graduated from the Maryland Institute College of Art with an MFA in Photography. Ito has exhibited nationally in solo and group exhibitions. Ito’s unique approach to photography does not include a camera. Instead, he exposes light sensitive materials to sunlight to create an x-ray like print that recalls a history of nuclear tragedy in Hiroshima. Specifically, Ito’s practice draws on his grandfather’s experience of the bombing of Hiroshima in 1945. He intertwines this past experience with his contemporary moment, expanding on the dialogue of nuclear matters in today’s politics. Ito remembers his grandfather telling him the day the bomb was dropped “...was like hundreds of suns lighting up the sky.” Those words pervade Ito’s body of work, and he often uses the sun in his work as both a symbol of the bombing and a natural photographic medium. Ito’s newer works including Under My Skin #1 use honey and oil to create microscopic patterns reminiscent of cancer cells, a reference to the unseen illness that hid under the skin of atomic bomb survivors. This creates a powerful abstract representation of the physical effects of nuclear warfare. Ito details how the scarcity of basic medicine after the bomb left survivors to treat their burns with oils and honey they found lying around, which are used in the photographic process. The Under My Skin series represents a shift in Ito’s work from the sun exposed C-print photograms to the more physical and gestural use of natural materials to create an almost painterly print. Creator An entity primarily responsible for making the resource Kei Ito Date A point or period of time associated with an event in the lifecycle of the resource 2020 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 silver gelatin monoprint, chemigram, honey, various oil, 18” x 42” Type The nature or genre of the resource Still Image https://contemporaryartumd.artinterp.org/omeka/files/original/3b1b3a6634efea03c97dd4db5891bfa3.jpg 9f0cf2c5a9495315054b226e4977c87e 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 Chalk on asphalt paper Physical Dimensions The actual physical size of the original image Image: 49 x 36.25; Framed: 54.375 x 41 x 2.125 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 <em><em><span>Brown, Bell, Garner</span></em><span><br /></span></em> Description An account of the resource <p>Recent work by Titus Kaphar addresses the human and civil rights crisis currently underway in the United States criminal justice system. This work responds, in particular, to the persistent, deadly assault of unarmed black men by law enforcement in America. This monumental drawing mourns the premature deaths of Sean Bell (1983–2006), Michael Brown (1996–2014), and Eric Garner (1970–2014). Kaphar sketches headshots of these young men in white chalk, layering one on top of the other on a ground of black asphalt paper. The resulting image appears to flicker between individual and collective portrait, challenging the viewer’s capacity, and willingness, to perceive these men as singular beings beyond any demographic group.</p> Date A point or period of time associated with an event in the lifecycle of the resource 2015 Relation A related resource 2014-2015 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 2015.1.8 Creator An entity primarily responsible for making the resource Titus Kaphar Rights Information about rights held in and over the resource ©Titus Kaphar.  Courtesy of the artist and Jack Shainman Gallery, New York. https://contemporaryartumd.artinterp.org/omeka/files/original/c603f9b74861f6e6755e0650bf934a1f.jpg 660b1dcad1beba272ee2c53cd2a8318f https://contemporaryartumd.artinterp.org/omeka/files/original/1f0c9a1afb222ef79024c3f5987789d5.jpg ed5dc44e2bf8f781493db1c005410ee1 https://contemporaryartumd.artinterp.org/omeka/files/original/57f61ffae315e8f95d0406ba643dcc57.jpg 481d682b31463b87fddfd594a82cbd09 https://contemporaryartumd.artinterp.org/omeka/files/original/b060040f08a13244f4666256455f92e1.jpg 6afcd3ad4839a10a3f65fb1ab895900c 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 15 Iris prints on velour paper mounted on Hahnemuhle cooperplate paper with letterpress text on each page Edition 14 of 40 with 10 APs Physical Dimensions The actual physical size of the original image Paper: 10 x 8 in (25.4 x 20.32 cm) each Image: 1 ¾ x 3 ¼ in (4.445 x 8.255 cm) each Overall dimensions variable upon installation 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 <em>15 Mouths</em> Creator An entity primarily responsible for making the resource Lorna Simpson Date A point or period of time associated with an event in the lifecycle of the resource 2002 Relation A related resource 2006-2007 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 2007.1.7 Rights Information about rights held in and over the resource Courtesy of Lorna Simpson and Salon 94, New York Description An account of the resource <p>Since the mid-1980s, Lorna Simpson has made art that explores and challenges conventions about identity, gender, history, memory, and culture.  Simpson’s conceptual photography often links images with text to create works that both intrigue and perplex: the meanings of her works are never straightforward. In the print portfolio 15 Mouths, Simpson pairs closely cropped images of lips with ambiguous phrases such as, “uncontrollably loud” and “immeasurably deep.” The portfolio is arranged in a dispersed, site-specific configuration, inviting viewers into their own creative processes of reading and looking while thwarting the possibility of discovering any one underlying narrative. This work, as in many others in Simpson’s oeuvre, requires the viewer to participate actively, if inconclusively, in its interpretation.</p> 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 <em>As I Lay Dying by William Faulkner</em> 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 <em>As I Lay Dying</em>. 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. https://contemporaryartumd.artinterp.org/omeka/files/original/46c76fb3bdfaeb33b8b8b811ffb019ee.jpg 48f2332a80f82e495075b235e49687ce 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 Color coupler print Physical Dimensions The actual physical size of the original image Framed: 25.25 x 29.25 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 <em>Auguststrasse/Ecke Tucholskystrasse, Berlin</em> Description An account of the resource From the series "The Writing on the Wall" Shimon Attie’s photographs reflect on the relationship between place, memory, and identity. To make the “Writing on the Wall” series to which this work belongs, Attie gathered archival photographs taken before World War II of street life in one of Berlin’s former Jewish quarters. He projected slides enlarging these historical images onto the locations where they were originally made and then photographed the results of his projection at night. The photographs seem to make the invisible visible, giving temporary form to memories and now hidden aspects of a place. They present the past as a flickering apparition in the present. To make this particular photograph, Attie projected a snapshot from 1930 of the Torah Talmud School onto the building it used to occupy at the corner of August and Tucholsky Streets. Date A point or period of time associated with an event in the lifecycle of the resource 1993 Relation A related resource 2006-2007 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 2007.1.1 Creator An entity primarily responsible for making the resource Shimon Attie Rights Information about rights held in and over the resource ©Shimon Attie.  Courtesy of the artist and Jack Shainman Gallery, New York.