LITTLE-kNowN FAcTS ABoUT ARTISTS wITH - UMUC

PRESORTED
FIRST CLASS
U.S. POSTAGE
PAID
UMUC
UNIVERSITY OF MARYLAND UNIVERSITY COLLEGE
7 Become a Friend
of the Arts at UMUC
SPRING 2012
6 Upcoming Events
6 University of Maryland
University College
Arts Program Mission
Statement
6 Collectible Book Available
His Own Path: The Spirit
and Legacy of Herman Maril
5 Did You Know?
News and perspectives
for friends of the arts
4 Infinite Mirror: A Fresh
Look at American Identity
3 Influence Over Time:
The Art of Winston Harris
3 UMUC Adds to Its
Permanent Collections
2 Remembering
Larry Chappelear
1 Greetings from the
President & Greetings
from the Chair
IN THIS ISSUE
Arts Program
3501 University Boulevard East
Adelphi, MD 20783-8007 USA
www.umuc.edu/art
SPRING 2012
University of Maryland University College
is a constituent institution of the University
System of Maryland. Art@umuc is published
twice a year by UMUC’s Art Advisory Board.
Please send comments to arts@umuc.edu
or mail to
Newsletter Editor
Arts Program
University of Maryland University College
3501 University Boulevard East
Adelphi, MD 20783-8007
Phone 301-985-7937 • Fax 301-985-7865
Managing Editor
Eric Key
Graphic Designer
Jordan Campbell
UMUC Art Advisory Board
Susan C. Aldridge, PhD
Michèle E. Jacobs, Chair
Anne V. Maher, Esq., Vice Chair
Eva J. Allen, PhD
I-Ling Chow, honorary member
Paula Cleggett
Linda Derrick
Patricia Dubroof
Karin Goldstein, honorary member
Juanita Boyd Hardy
Sharon Smith Holston, Past Chair
Pamela Holt
Eric Key
Philip Koch
Thomas Li, honorary member
David Maril, honorary member
Barbara Stephanic, PhD, Past Vice Chair,
honorary member
Arts Programs Updates
Get the latest updates on
the UMUC Arts Program. Visit
www.umuc.edu/art/newsonline
On cover (clockwise from left): 1 Winston Harris,
Military Time (detail) 2 Cesar Augusto Martinez,
Hombre que le Gustan las Mujeres 3 Kakyoung
Lee, Drifting 1 (14:30 at the airport) (detail)
4 Jennifer Greenburg, Donnie Hawleywood (detail)
GreetinGs from the President
Dear Friends,
As another season of exciting arts events begins, I would like to take this
opportunity to thank you for your continued support of the Arts Program
at University of Maryland University College (UMUC) and highlight some
of the arts initiatives you have helped make possible.
This fall, the university launched The Poetics of Water, a wonderfully
unique exhibition that continued through mid-January. I hope you had
the opportunity to view the exhibition, which included artistic expression
from a variety of perspectives, including those of students, seniors, and
professional artists and poets.
I am also pleased to announce that the book release and reception for His Own Path: The Spirit
and Legacy of Herman Maril was a great success. After years of collaboration and hard work,
we are delighted that this book is now in the hands of so many art lovers and available to you
through the Arts Program’s office. Additionally, I would like to thank Christine McCarthy, executive
director of the Provincetown Art Association and Museum, for delivering an educational lecture on
Herman Maril and his art to students, faculty, and art patrons who gathered for the event.
This spring promises to be a busy one, as the university has three exhibitions scheduled to open
between January and April: Infinite Mirror: Images of American Identity, Joseph Sheppard: A
Voyage from Memory (1930–1960), and the Faculty Art Invitational Exhibition. I hope you will
have a chance to view each of these exciting and informative exhibitions. Without art patrons and
supporters like you, they would not be possible. Thank you.
Sincerely,
Susan C. Aldridge, PhD
President, University of Maryland University College
GreetinGs from the Chair
Dear Friends,
This year promises to be a time of continued growth and development for
the Arts Program at UMUC. We have several exciting exhibitions planned—
Infinite Mirror: Images of American Identity, Joseph Sheppard: A Voyage
from Memory (1930–1960), and more—and I hope you will have the
opportunity to join us at them.
In addition, I am inspired by two recent gifts the Arts Program received.
Beverly Corey kindly donated a Preston Sampson work, and Iver Nelson
generously added 15 works to the university’s Asian Collection. Gracious gifts like these, as well
as the ongoing support of everyone involved with the Arts Program, help ensure that we continue
bringing art to the community.
I cannot stress the impact the Arts Program has on the education of our students, visitors, and
community. In 2011, the Arts Program hosted more group tours, and in 2012, will work hand
in hand with academic departments to ensure that students benefit from the culturally diverse
artistic expressions of the exhibitions. Indeed, the Arts Program is reaching beyond its regional
borders to share visual art from artists around the world. I have every reason to believe that in
the new year, the Arts Program will further its mission of creating an environment in which the
university community and the general public can learn about art by directly experiencing it.
May we all take the time to explore our interests and passions in 2012. Thank you for your support.
Sincerely,
Michèle Jacobs
Chair, Art Advisory Board, University of Maryland University College
www.umuc.edu/art • page 1
KATHErINE LAMBErT PHoToGrAPHy
TrACEy BroWN PHoToGrAPHy

STEVEN HALPErSoN, TISArA PHoToGrAPHy
The recent loss of my dear friend and colleague
of more than 20 years has prompted me to reflect
on his life and legacy. It is with both a sad heart
and a profound pride that I share my recollections
and memories of Larry Chappelear. He was, first,
my friend, but so much more: a colleague,
a teacher, and an artist.
As a colleague at the College of Southern Maryland
(CSM), Larry was always engaged, fair, and
understanding. He was a champion for the issues
we faced together: advancing the arts program,
setting the highest standards of teaching, and
furthering a fundamental appreciation of the arts.
We worked in tandem to develop a quality reputation
for the CSM gallery, recruiting top-level artists
for exhibitions. The goal for us was to bring in
artists of high caliber from across the country and
around the world. It wasn’t always easy to stick to
our goal, but Larry’s honest and straightforward
approach, along with a marvelous sense of humor,
saw us through many awkward moments.
As a teacher, Larry conveyed his passion for and
love of the arts to his students. His extraordinary
talent and unyielding commitment to his personal
page 2 • www.umuc.edu/art
Remembering Larry Chappelear
BY BARBARA STEPhANIC, PhD
art became an inspiration, and he became a role
model to so many. Teaching provided him a
stimulating forum for his ideas and an opportunity
to share his enthusiasm for art. He taught
his students more than the mechanics of putting
ideas on a two-dimensional surface; he showed
them how to see objects with a discerning eye
and to reach for their individual creativity. Students
benefitted from his experience, his originality, and
his innovative vision while learning to respect the
process, technique, and subject matter of the
work they created.
It is, perhaps, the art of Larry Chappelear that
will be remembered and held in high regard by
most. Those who did not know him personally
will know the incredible sensitivity of this artist
from his paintings. As an outdoorsman, Larry had
a special relationship to the landscape. He had an
exceptional ability to keenly observe the seasonal
changes in nature, each with its own freshness
and spectacular painterly beauty. He most often
painted outdoors from direct observation, capturing
the artistic elements in nature. His landscape
paintings provide a visual diary of his experiences
and speak to his passion and creative responses
to the environment around him. His compositions
unify the complex elements in nature into
a panorama of harmony and balance. Each is a
testimony to his intrinsic understanding of solid
forms and empty spaces and his unique ability
to organize form, color, space, and light. Larry was
successful in his effort to, as he said, “capture the
viewer by transforming the openness of a field
into an intimate space.” He had a unique ability to
share, through his paintings, a feeling of serenity
and solitude with others.
Early in this century, Larry experienced a pivotal
change in his interpretation of the landscape. He
moved from the specificity of realism to experimenting
with the mysterious and metaphorical
characteristics of abstraction. The landscape continued
to be his inspiration, but now he saw more
provocative elements prevalent in nature. It was
the new, bold, abstract collage and assemblage
that came to the attention of Marilyn Hart, then
assistant vice president of the Arts Program at
UMUC, who subsequently arranged an exhibition
of his new work. The exhibition included both his
traditional landscapes and the new abstract work.
I had the extraordinary good fortune to be invited
Above, Left: Larry Chappelear
Above, Right: Larry Chappelear, Window Still Life III (detail), 2008, assemblage mixed media
HENry TrENTMAN
to write the essay for the exhibition and the privilege
to work closely with Larry for nearly a year
in preparation. We spent many hours talking about
the fundamental principles of art making and the
specifics of his ideas for composition, color theory,
and conveyance of the basic elements of nature
in abstract forms. While we talked, he often would
continue painting, and I could see the excitement
build as he worked tirelessly on a composition,
studying and reworking the forms until he was
satisfied. I researched and studied the history
of American landscape painting and the evolution
of abstract art so as to best explain Larry’s
ideas—the content of his paintings, iconography,
and style. His latest work combines the traditional
structure in landscape representation with the bold
colors and strong lines in abstract interpretations.
UMUC ADDS TO ITS
PERMANENT COLLECTIONS
The Arts Program would like to thank Beverly
Corey and Iver Nelson, who recently donated
works of art to UMUC. Due to the generosity
of such patrons, the collections at the university
continue to grow and now include more
than 1,800 works.
Corey donated Generation by Preston Sampson.
This large painting is reflective of Sampson’s
colorful and fluid artistic style. Sampson’s work
might be best known from a commission by
Absolut Vodka for a series of paintings for its
1997 advertising campaign, which traveled to
various exhibition venues. Sampson was also
awarded a professional travel grant to Spain,
and the trip inspired him to incorporate the
human torso into his artwork, perhaps influ-
INFLUENCE OVER TIME:
ThE ART OF WINSTON hARRIS
Influence over Time: The Art of Winston Harris
is a reflection of Harris’s sustained interest in
the notion of the unending passage of time and
the roles that overt status symbol timepieces,
such as rolex watches, play in contemporary
culture. These screenprint and digital hybrids
will be on view Monday, February 20, 2012,
through the summer, on the second floor gallery
of the UMUC Inn and Conference Center.
I will be forever grateful to Larry for all he taught
me about art, for his remarkable and intuitive
sense of aesthetic, and for his gentle kindness.
The legacy he leaves in his paintings will continue
to give pleasure to and captivate all those who
see them. I will think of him whenever I see a
spectacular red and yellow sunset, a cloud formation
against a cobalt blue sky, or a lone tree in a
vast green meadow. He left us all with a new way
of seeing and appreciating the landscape.
But, most of all I am grateful for his endearing
friendship and steadfast loyalty.
Barbara Stephanic, PhD, is past vice chair and honorary
member of the UMUC Art Advisory Board.
She was a professor of art history at the College
of Southern Maryland until her retirement.
encing a work such as Generation. Works by
Sampson can be found in many public and
private collections throughout the country,
including the Jean and robert Steele Collection,
the Darryl Walker Collection, the Tubman
African American Museum, and the David C.
Driskell Collection at University of Maryland,
College Park.
Iver Nelson, an esteemed Asian art collector,
donated 15 works of art to UMUC’s Asian
Collections. Nelson, who had amassed a large
collection of rare works over the years, has
donated exceptional pieces to the Art Institute
of Chicago, the Indianapolis Museum of Art,
and the Minneapolis Institute of Arts. The oldest
work Nelson donated to UMUC is from the Tang
Dynasty (618–907 AD). The piece is a kneeling
Bactrian camel, and is prized for its elegant movement
and naturalism.
Harris is a Washington, D.C., area artist who, supported
by a Prince George’s Arts and Humanities
Council grant, collaborated with the printmaking
department at University of Maryland, College
Park in 2010. Harris worked with assistant professor
Justin Strom and students to create a new
series of flat and sculptural prints.
Known primarily as a printmaker, Harris holds a
BFA in printmaking from Howard University and
an MFA in printmaking from Virginia Commonwealth
University.
Above: Larry Chappalear, Sycamore, 2004,
mixed media on panel, 32 x 30 in.
Above, top: Preston Sampson, Generation (detail), 1999,
mixed media / Above, bottom: Bactrian camel, Early Tang
Dynasty, earthenware with pigments, 13½ x 1½ x 8½ in.
Above: Winston Harris, Military Time,
2009, oil stick and print, 36 x 29¾ in.
www.umuc.edu/art • page 3
STEVEN HALPErSoN, TISArA PHoToGrAPHy HENry TrENTMAN

What is American identity? Is it about shared
values and national unity, something our Founding
Fathers might have hoped for? or is its foundation
in America’s vast natural topography, as depicted in
early American landscape paintings, for example,
The Grand Canyon of the Yellowstone by Thomas
Moran, which hangs at the U.S. Department of
the Interior, or Frederic Church’s Niagara Falls,
from the Corcoran Gallery of Art? How would
artists who represent the ethnic diversity of the
so-called melting pot that is America respond?
This provocative question is the focus of the
exhibition Infinite Mirror: Images of American
Identity, which is on view at the UMUC Inn and
Conference Center through April 8, 2012.
Infinite Mirror reflects our increasingly diverse
society, and helps us understand the American
experience from the perspective of artists
who are U.S. citizens, albeit from vastly different
backgrounds. The exhibition showcases 63 works
by 39 American artists of Native American, African
American, Asian American, Hispanic American,
and European American cultural heritage.
page 4 • www.umuc.edu/art
Infinite Mirror is the brainchild of Allan Edmunds,
founder and president of Brandywine Workshop,
a nearly 40-year-old Philadelphia-based nonprofit
that enables artists to explore their creative
sensibilities through printmaking. When the
Michigan-based nonprofit art institution Artrain,
Inc. issued a request for exhibition proposals,
Edmunds enthusiastically answered the call.
The Brandywine proposal was chosen to be
Artrain’s 18th multiyear traveling exhibition
during its impressive 40-year history.
Artrain is known for mounting art exhibitions
on its five-car train museum and bringing them
via the U.S. railway system to communities
throughout the United States. As Artrain was
considering its next exhibition, it was also transitioning
from the train to other vehicles that
offer more flexibility and a broader reach into
America’s rural communities, which it principally
serves. To keep the momentum of Infinite Mirror,
Artrain engaged International Arts & Artists
(IA&A) a Washington, D.C., based non-profit
committed to promoting cross-cultural understanding
through art, to manage its travel using
BY JUANITA HARDY
more traditional exhibition approaches. UMUC
will be one of only five venues where the exhibition
will stop as it travels from January 2011
to March 2013.
Blake Bradford, director of education for the
Barnes Foundation in Philadelphia is curator
for Infinite Mirror. Benito Huerta, associate
professor and curator of the Gallery at the
University of Texas at Arlington, and robert
Lee, executive director of the Asian American
Art Centre in New york City, are co-curators.
The curatorial team has assembled an impressive
body of work organized along the following
four themes, which the team outlines:
• Self Selection—Reflects how we choose
to present and project ourselves to the world
• Pride—Connotes an appreciation of
one’s origins, character, values, and
personal accomplishments
• Assimilation, a subject of the American narrative
dating back to the first European settlers—
Is about aspiring to fit in
• Protest—Expresses a push against tyranny
and exploitation and toward humanity,
equality, and opportunity.
Infinite Mirror invites a conversation about what
it means to be American, about what American
identity is. The artists in this exhibition answer this
question through their own experience, which
is simultaneously American and multicultural.
Does American identity represent shared values
and also celebrate the cultural heritage of its
many ethnicities? Infinite Mirror offers the
opportunity to inspect American culture and
its subcultures, to understand, build bridges,
and evolve. It reminds us that America is a country
of immigrants, that our diversity is what has built
our country and made it strong.
Above, left: Leamon Green, Little Big Girl, 2005, acrylic and silkscreen on paper, 55 x 42 in.
Above, right: Kaylynn Sullivan TwoTrees, Maka Wicasa (detail), 1992, lithograph, leather, straw, collage
By 2042, America’s “minority” populations will
be the majority. This new “minority majority”
will include Hispanic and Asian Americans,
combined as the largest minority group, rising
to more than 39 percent of the total U.S.
population. The Hispanic and Asian American
populations are expected to double by 2050;
this growth is attributed in part to immigration. i
Furthermore, as Baby Boomers advance to
their golden years and birth rates decline, the
size of America’s workforce is shrinking, suggesting
that the demand for immigrant labor
will continue, indeed increase. ii In the future,
the U.S. labor pool and others in Europe are
likely to be fed in part by immigrants flocking
from emerging economies in Africa, Asia,
and the Middle East (largely the Arab World). iii
It behooves us to understand these changing
dynamics and to appreciate the countries and
cultures they represent. So, while Infinite Mirror
is decidedly about American identity, it is also
about global identity.
DID You Know?
Did you know James Earl Reid won a landmark court battle to
strengthen creative and intellectual property rights in the “work for hire”
doctrine of copyright law? He received his Bachelor of Fine Arts from
the Maryland institute College of Art (MiCA) in 1966 and his Master of Arts
from University of Maryland, College Park, in 1970.
Did you know A-Young Henriksen was born in Busan, Korea,
and had an exhibition in Munich, West Germany?
Did you know Amalie Rothschild was primarily a painter but
turned to sculpture in her later years? she had her first solo exhibit
at the Baltimore Museum of Art in 1942.
It reflects our diverse population rooted in
countries and cultures around the globe.
Did you know that Trace Miller’s father was a World War ii veteran
who fought in the Battle of the Bulge? His father was wounded and later
captured and made a prisoner of war.
Did you know that Bennard Perlman is an art critic, author, lecturer,
and educator who explores design and composition in his works? He primarily
works in charcoal, oil, and pastels and creates works reflective of the
Maryland scene.
This exhibition is compelling for a variety of
reasons: the dedicated team of nonprofit art
institutions involved; the impressive curatorial
team, which tells a compelling story about
America’s diversity through revered American
artists such as Emma Amos, John yoyogi
Fortes, Edgar Heap of Birds, Leticia Huerta, Luis
Jimenez, Jacob Lawrence, and Joe Namy; and
the opportunity to enrich one’s understanding
of our global culture by inspecting and learning
from our own.
Juanita Hardy served on the board of directors
for Artrain, Inc. from 2004 to 2010 and chaired its
exhibition committee. She serves on the boards of
the Brandywine Workshop, the Asian American Art
Centre, and the UMUC Art Advisory Board. She is
cofounder of Millennium Arts Salon, a nonprofit
arts education program, and teaches intercultural
training as part of Tiger Management Consulting
LITTLE-kNowN FAcTS ABoUT ARTISTS wITH
woRkS AcqUIREd BY oR ExHIBITEd AT UMUc By Linda Derrick
Group, a business consulting firm she established
in 2006.
i U.S. Census Bureau: Report, United States Population
Projections 2000–2050, by Jennifer M. Ortman and
Christine E. Guarneri
ii It is well documented that the workforce in many industrialized
countries (e.g., the United States, Europe, Japan) is
shrinking. Analysts suggest increased immigration will be
required to feed labor pool deficiencies. For example the
PriceWaterHouse Coopers report, Talent Mobility 2020
states, “Governments that anticipate the need to import
talented individuals to replace gaps in their ageing workforces
may remove their immigration barriers in a bid to
stimulate their economy.”
iii U.N. population growth projections show rapid growth
in youthful and developing economies, in Africa, Asia,
and the Middle East. These countries have majority Muslim
or minority Muslim populations of 33 percent or more.
For example, the combined population of the most populous
Muslim dominated countries—Bangladesh, Egypt, Nigeria,
Indonesia, Pakistan, and Turkey—was 24.2 million in 1950
and 882 million in 2009 and is projected to be 1.3 billion in
2050. By comparison, while these six countries will grow
by 475 million by 2050, the six most populous developed
countries will grow by 44 million.
Did you know that realist painter Jacob Glushakow was born in
a steamship, the s.s. Brandenburg, as it crossed the Atlantic Ocean from
Bremen, Germany, to Baltimore, Maryland? He enjoyed painting dilapidated
scenes from his community and was not concerned about trends in modern art.
Left: Bennard Perlman, Swing Low, Sweet Chariot (detail), 1954, oil on board / Top, right: Trace Miller, Wall Tracings (detail),
1987, oil on canvas / Bottom, right: Jacob Glushakow, Untitled (Fells Point Market) (detail), 1965, oil on canvas
www.umuc.edu/art • page 5

COLLECTIBLE BOOk AVAILABLE
His Own PatH: tHe sPirit and Legacy Of Herman mariL
The long-awaited book His Own Path: The Spirit and Legacy of Herman
Maril is now available for your collection. His Own Path captures the life and
spirit of Maryland artist Herman Maril, who was active in the art scene for
more than 50 years. It is a reflection of Maril’s creative journey and includes
major essays by David W. Scott, PhD, and Howard E. Wooden with an introduction
by David Maril, the artist’s son. It also includes a DVD documentary
about the artist. To order your book, please contact Denise Melvin at 301-
985-7937 or at arts@umuc.edu. The hardback, cloth-cover publication is
available for $49 plus shipping.
UNIvERSITY oF MARYLANd UNIvERSITY
coLLEGE ARTS PRoGRAM MISSIoN STATEMENT
The Arts Program at University of Maryland University College
(UMUC) creates an environment in which its diverse constituents,
including members of the university community and the general
public, can study and learn about art by directly experiencing it. The
Arts Program seeks to promote the university’s core values and to
provide educational opportunities for lifelong learning. From the
research and study of works of art to the teaching applications of
each of our exhibitions, the Arts Program will play an increasing role
in academic life at the university. With a regional and national focus,
the Arts Program is dedicated to the acquisition, preservation, study,
exhibition, and interpretation of works of art of the highest quality in
a variety of media that represent its constituents and to continuing
its historic dedication to Maryland and Asian art.
page 6 • www.umuc.edu/art
Above: Herman Maril, Sunday at the Docks,1938, oil on canvas, 28 x 36 in.
Upcoming Events
INFINITE MIRROR: IMAGES OF AMERICAN IDENTITY
Monday, January 30–Sunday, April 8, 2012
Opening Reception:
Sunday, February 19, 2012, 3–5 p.m., Arts Program Gallery
Infinite Mirror: Images of American Identity is a collection of 70 multimedia
works by a culturally diverse group of artists from across the
United States. The collection’s theme is the use of portraiture and
figuration as symbols for emotional and social ideas to depict the
current circumstances and experiences of multicultural populations
in the United States. Artrain, Inc. and a group of independent curators
selected works of art by established and emerging American artists
for inclusion in the exhibition. This exhibition was developed by
Artrain, Inc. and Brandywine Workshop (Philadelphia, Pennsylvania)
and is toured by International Arts & Artists (Washington, D.C.).
It is presented with support from the Institute of Museum and
Library Services and the National Endowment for the Arts.
JOSEPh ShEPPARD: A VOYAGE FROM MEMORY (1930–1960)
Sunday, April 8, 2012–Monday, March 25, 2013
Opening Reception:
Thursday, April 12, 2012, 5–8 p.m.,
The Leroy Merritt Center for the Art of Joseph Sheppard
This exhibition will showcase the works of Joseph Sheppard, an artist
who explored and taught realism painting for many years and whose
works are based on cultural moments and events in the history of the
United States.
FACULTY ART INVITATIONAL ExhIBITION
Sunday, April 22, 2012–Friday, June 22, 2012
Opening Reception:
Thursday, May 3, 2012, 6–8 p.m., Arts Program Gallery
The Faculty Art Invitational Exhibition is an annual event that features
the work of UMUC faculty members and teaching artists from the
University System of Maryland along with special guest artists. The
2012 show will have a new theme—drawing—introduced by the
program’s curator, Brian Young. For this exhibition, a drawing will
be defined as any unique work on paper that is not a print or photograph.
Works will include charcoal sketches, watercolors, pastels,
and oil on canvas.
Invited artists include but are not limited to Patrick Craig (University
of Maryland, College Park), Joan Bevelaqua (UMUC), Brooke Rogers
(Salisbury University), James Plumb (Chesapeake College), Mark
Karnes (Maryland Institute College of Art), Matt Klos (Anne Arundel
Community College), and others.
Make an Annual Contribution to the Arts Program
Art enthusiasts in the UMUC community help make the university’s visual arts exhibitions, educational
lectures, book signings, symposiums, and meet-the-artist receptions possible. Through
the Friends of the Arts program, our biggest supporters enjoy a variety of benefits as a thank
you for helping UMUC’s art program become one of the most recognized in Maryland.
Simply commit to making an annual contribution at one of the following levels and you can
join our growing list of friends. Visit www.umuc.edu/art and click on “Join the Friends of the
Arts Program,” call 301-985-7937, or complete and return the registration form below.
Associate (less than $35)
Name recognition in the arts newsletter,
invitation to exhibit openings
Friend – ($35–$99)
Above benefits, plus 10 percent discount
on specialty items produced by the Arts
Program, 10 percent discount on tickets to
nonfundraising events, Arts Program lapel pin
Bronze-Level Friend ($100–$249)
Above benefits, plus autographed
poster from the collection
Silver-Level Friend ($250–$499)
Above benefits, plus name recognition on
the donor’s wall in the Arts Program Gallery
Gold-Level Friend ($500–$999)
Above benefits, plus full-color art catalog
from a major UMUC art exhibition
JOIN FRIENDS OF ThE ARTS TODAY.
Complete and return this form to
University of Maryland University College, Arts Program
3501 University Boulevard East, Adelphi, MD 20783-8007
Or fax it to 301-985-7865.
Contribution Level
� Less than $35 ......................................................... Associate
� $35–$99.........................................................................Friend
� $100–$249 .............................................. Bronze-Level Friend
� $250–$499................................................ Silver-Level Friend
� $500–$999 .................................................Gold-Level Friend
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BEcoME A FRIENd
oF THE ARTS AT UMUc
Platinum-Level Friend ($1,000–$2,499)
Above benefits, plus VIP invitation to dinner
with the guest artist and the university
president, 10 percent discount on breakfast
or lunch, and 15 percent discount on dinner
at the Marriott Garden restaurant at the
UMUC Inn and Conference Center
Citrine-Level Friend ($2,500–$4,999)
Above benefits, plus corporate name and logo
listing on UMUC Arts Program Web page,
name and logo listing on all printed materials
for exhibitions and public relations materials
for the season
Sapphire-Level Friend ($5,000 and more)
Above benefits, plus a corporate art exhibition
by a local artist coordinated by UMUC (Special
requirements apply; see www.umuc.edu/art
for details.)
Personal Information
NAME (PLEASE PRINT)
ADDRESS
FRIENDS OF ThE ARTS
(Janurary 1, 2011–present)
Sapphire-Level Friends
John M. Derrick
and Linda Derrick
Platinum-Level Friends
Dr. Susan C. Aldridge
Joseph Vernon Bowen Jr.
and Michele E. Jacobs
robert W. Jerome
Eric Key
Thomas M. Li
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Friends of Joan F. Stern
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Kenneth L. Greif
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and Mrs. Jean Steele
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reverend Kenneth S. Jones
and Mrs. Larocca T. Jones
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Harriet S. McNamee
Joseph C. Mosier
Charles and Barbara reiher
Laurence Schifferhaas
Maria Schwartz
Kathleen Sobieralski
Jayme Erin Stevens
Winifred B. Wallace
Marcia r. Watson
Friends
G. David Anderson
Dr. Willaim r. Barger Jr.
Diane Bartoo
Tracey Brown
Angela Mary Cooper
Elizabeth o. Curtis
Joseph E. Edmunds
Mary Ann Elliott
James C. Fitz
Ernest L. Flax
Cathy L. Gelatt
Mr. Irvin Greif Jr.
and Mrs. Nanette Greif
Eric C. Helfers
Henri E. Hill
Bradley P. Hudson
Bonnie Leonhardt
Jill A. Lion
Dr. Graciela P. Nemes
ramona M. Quinn
Joseph S. rogers
Steven Scott Gallery
Judith A. Sever
Ann Stilwel-Strong
Lydia Christina Waddler
Joan Warner Tarbell
robert Weick and
yoshiko oishi Weick
James D. Williamson
Mr. Brian young
and Ms. Molly Deere
Associates
Lawrence Battle
Cheryl Cleaves
Christine Demaitre-Wolfe
Dr. Frederick L. Dunn Jr.
Dr. robert B. Finkelman
John H. Garot
Denise Melvin
Nancy Parnell
Michael richmond
Edith W. Schultz
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