In the latest essay for his Race Stories column in The New York Times, Maurice Berger, research professor at the Center for Art, Design and Visual Culture, examines a new exhibition at the Bronx Museum of Art, “Three Photographers From the Bronx: Jules Aarons, Morton Broffman and Joe Conzo,” which opens Thursday, February 26. “Over the past 40 years,” writes Berger, “our collective view of the Bronx has all too often embraced the media-driven myth of its inexorable decline. For many, the blight, addiction and poverty that plagued parts of the South Bronx in the 1970s have come to symbolize the whole borough. But as Mr. Conzo’s photographs suggest, the reality of the Bronx has been far more complicated. They demonstrate the power of courage, cultural expression and political advocacy to sustain even the most endangered neighborhoods.”
Read “Complicating the Picture of Urban Life” and view the photographs at The New York Times Lens blog.
Berger’s Race Stories column, which appears monthly on The New York Times website, is “a continuing exploration of the relationship of race to photographic portrayals of race.”
Case 3 image, Untitled [shattered tree], Utah, Cibachrome print, ca. 2000s, Accession #P2006-01
On display through March 22 in the Rotunda of the Albin O. Kuhn Library & Gallery
is Manifestations of the Spiritual: Photographs by Richard Jaquish
, an exhibition drawn from the holdings of the Richard Jaquish Archive in the Special Collections Department.
Richard Warren “Jake” Jaquish (1933–1999) was a passionate landscape photographer for whom making photographs was a spiritual quest. Being out in the middle of a wilderness area gave him great satisfaction especially when he made images that touched upon something elemental in the human spirit. The primordial landscape produced in him a heightened awareness of matters only explainable in terms of images.
Trained in photography at Rochester Institute of Technology (RIT) during the late 1950s, Jaquish studied with notables such as Minor White and Beaumont Newhall. He graduated in 1960 taught elsewhere, and soon came to Baltimore to teach at the Maryland Institute College of Art. After eighteen years, he left teaching to work as a professional photographer for the Maryland State Department of Transportation where he was able to earn a living making his beloved landscape photographs.
The Richard Jaquish Archive was given to UMBC by Alwilda Scholler Jaquish, and supported by the Richard and Alwilda Scholler Jaquish Endowment. The show was produced by Tom Beck, Chief Curator, and Jazmin Smith, UMBC ’14.
Eric Dyer, Visual Arts, is featured in Wave & Particle, a group exhibition that celebrates Creative Capital’s fifteenth anniversary, at Ronald Feldman Fine Arts in New York. The exhibition opened on Saturday, February 14 and will continue on display through March 21. More information is available by clicking here.
His work will also be featured in Moving Image New York, a group exhibition on display at the Waterfront Tunnel in Chelsea in New York, from March 5 through 8. Additional information about Moving Image is available by clicking here.
The campus community is invited to attend Brahms Triple Play: an afternoon of works by Johannes Brahms, on Sunday, February 22, at 3 pm in the Concert Hall. Department of Music faculty members Audrey Andrist, piano, Gita Ladd, cello, and Airi Yoshioka, violin, are joined by Katherine Murdock, viola, for a thrilling program of chamber music by the great Romantic composer, featuring:
• Sonatensatz for violin and piano, WoO 2
• Cello Sonata No. 1 in E minor, Op. 38
• The monumental Piano Quartet in G minor, Op. 25
$15 general admission; $10 seniors; $5 students. Tickets are available online at MissionTix. Admission is free with a UMBC ID (tickets available at the door).
Complete information: http://wp.me/p2xNJ1-Us
On Thursday, February 19 at 5:30 pm, the campus community is invited to attend a lecture by visual artist Bob Paris in the Public Policy Building, Room 105.
Bob Paris investigates mass media, social duplicity and our culture of violence. His first foray into installation art was in 2006 with Disturbance, a sprawling series of video installations that excavate the ghostly remains of the 1992 Los Angeles riots to consider spectacle, social disaster and historical erasure. Paris is currently the director of The Cluster Project, an ongoing, online artwork that explores the thriving universe of cluster bombs, drones, nukes, and other indiscriminate weapons of terror. Since its inaugural launch, the project has released eleven distinct multimedia artworks, with more to come. These videos, animations, illustrations, performances, interventions, and data flow programming works, together with a wry and inventive blog, inspect our culture’s enduring embrace and simultaneous disinterest with weapons, war and civilian casualties. Paris’s videos have screened at venues around the world including the Whitney Biennial, the Image Forum Festival in Tokyo, and the Rencontres Internationales in Paris and Berlin. Paris was educated at the University of California at Berkeley and received a master’s degree at its Graduate School of Journalism. He is an associate professor in Kinetic Imaging at Virginia Commonwealth University’s School of the Arts, where he teaches video production and socially engaged media.
Admission is free.
Sponsored by the Department of Visual Arts, Visiting Artists and Designers Series. Image: Still image from The Children Experiment.
On Sunday, February 15, at 3:00 pm in the Concert Hall, the Department of Music presents collaborative artist, pianist, music director and teacher JoyAnne Amani and Friends in a program entitled Mozart, Margaret, Moses and Me. “February is the month,” shares the artist, “in which we focus on three themes: the contributions of African Americans to our society; love; and Women’s Heart Health. This concert celebrates all three themes and is a musical tribute to my mother, Mrs. Ethel Richardson.”
The concert will feature Janice Jackson, soprano and UMBC voice faculty; Bruce Henderson, vocalist/saxophonist; Randy Williams, vocalist; Janice Chandler Eteme, soprano; Shannon Harmon, piano; and other musicians from the Baltimore area.
$15 general admission, $10 seniors, $5 students. Tickets are available online at MissionTix. Admission is free with a UMBC ID (tickets available at the door).
Complete information: http://wp.me/p2xNJ1-UE
On February 5, 6 and 7, Baltimore Dance Project returns to UMBC for its 31st year, featuring choreography by Dance faculty Carol Hess and Doug Hamby, and performances by Sandra Lacy and the company, with guest artists Adrienne Clancy, Jessie Laurita-Spanglet, and Matthew Cumbie. All performances will be held at 8 pm in the Proscenium Theatre in the Performing Arts and Humanities Building.
Carol Hess presents a new evocative work for five women, and Lightfield, a multimedia event that fuses choreography with a mix of both live and recorded video manipulated by dancers interacting with an onstage Kinect camera.
Doug Hamby presents Red Wings of Desire, in which the dancers’ actions bend Ferdinand Maisel’s sound score using wearable sensors, and a new work for four men.
Time and destiny are contemplated in a humorous and quirky new duet by Adrienne Clancy and Sandra Lacy. Lacy will also perform the silky and mysterious solo Slip, a collaboration with former Trisha Brown dancer Mariah Maloney performed to an original score by Timothy Nohe (Visual Arts).
Guest artists Jessie Laurita-Spanglet and Matthew Cumbie investigate the role and power of ritual in Ritual Cycle #1. How do we deal with change now, and how have those before explored the same question?
$20 general admission, $10 students and seniors, $7 UMBC students. To order tickets in advance by credit card, purchase online through MissionTix. Patrons who prefer to pay cash or check at will call may make a reservation by calling x56240.
Complete information: http://bit.ly/1IhXPLF