UMBC Center for Art, Design and Visual Culture
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The Center for Art, Design and Visual Culture (CADVC) is a non-profit organization dedicated to organizing comprehensive exhibitions, publications, and educational community outreach projects. The Center’s programs serve as a forum for exploring the social and aesthetic issues of the day.
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Item Open to Interpretation(UMBC Magazine, 2023-06-08) O'Grady, JennyItem MARBLEIZED OIL FROM THE GULF OF MEXICOMOREN, LISAHow can we respond to the ever growing, ever multiplying ecological tragedies without sinking into a quagmire of negativity and fear about the present and the future? Lisa Moren performs a brave and important art of inquiry into the oil spill in the Gulf of Mexico and accomplishes the nearly impossible task of expressing both the despair and the hope. She does not turn away from the devastation, but plunges into its materiality, extracting what she can to make something else out of it. Something else that nourishes our desire for a future — not of denial or even recuperation — but rather one where we might pursue possible ways out of the mire. While art cannot offer us political solutions, it can sustain our sense that there can be another way, and in this Lisa Moren’s work is a great gift, evoking the sense of other possibilities that we need in order not to turn a blind eye, in order to respond, to care about our eco-system.Item Kate Millett, Sculptor: The First 38 Years(Fine Arts Gallery, University of Maryland Baltimore County, 1997) O'Dell, Kathy; Millett, Kate; Berger, Maurice; Fine Arts Gallery; Fine Arts GalleryKate Millett (1934-2017) is widely known as a feminist scholar and activist. Indeed, she became one of the key initiators of the second round of 20th Century feminism when her doctoral dissertation-turned-book, titled Sexual Politics, was published in 1970, ultimately earning her a place on the cover of Time magazine in August of that year. She also led many a protest associated with civil, women’s, and gay rights through organizations ranging from the Congress of Racial Equality to the National Organization for Women, Redstockings, Radicalesbians, and more. But at the time that Kate Millett, Sculptor: The First 38 Years was mounted at the University of Maryland, Baltimore County’s Fine Arts Gallery (now the Center for Art, Design, and Visual Culture) in 1997, relatively little was known about Millett’s myriad accomplishments as a visual artist. The exhibition focused on her sculptural works, featuring installations focused on themes of violence against women, incarceration, and mental health, as well as more fanciful Fluxus-inspired works. The catalog features an introduction by Linda Nochlin; comprehensive essay by the exhibition’s curator Kathy O’Dell; reprint of an article Millett published about her own sculpture in 1988; timeline of events in the areas of Gender and Sexuality, Art and Culture, and Millett’s life, compiled by Maurice Berger; and over two dozen photographs of Millett’s works made across the 38-year period covered in the exhibition.Item ⌘Z: Artists Working With Phenomena And Technology(Center for Art Design and Visual Culture. Distributed by D.A.P. [Distributed Art Press, Inc., NY]) Moren, Lisa8-9. Ingrid Bachman, The Portable Sublime, 2003; 10. Ingrid Bachman, Symphony for 54 Shoes, 2006; 11-18. Ingrid Bachman, The Portable Sublime, 2003; 19-23. Nina Katchadourian, Talking Popcorn, 2001; 24. Nina Katchadourian, Talking Popcorn Journal, 2001-12; 25-32 Jocelyn Robert and Émile Morin, Leçon de piano, 2003-07, 33-38. Paul DeMarinis, One Bird, 2007. Also includes links to videos of One Bird, Le Lecon Piano, Symphony for 54 Shoes and The Portable Sublim, and Talking Popcorn ( Videos produced by Lisa Moren, Post-Production Assitance by Katherine Morris, Interviews by Francesca Cerquetti; Post-Production Audio by Tim Nohe; Production Support by Christian Valiente)Item Fred Wilson: Objects and Installations, 1979-2000(Center for Art and Visual Culture, 2001) Berger, Maurice; Center for Art, Design and Visual Culture; Center for Art, Design and Visual CultureFred Wilson: Objects and Installations, 1979-2000 explores the artist’s sustained aesthetic inquiry into the relationship between art and the museum. Wilson’s “mock” museum installations, into which he places provocative and beautifully rendered objects, explore the question of how the museum consciously or unconsciously perpetuates prejudice. If social justice is Wilson’s ultimate subject, the museum itself becomes his medium—from the use of meticulously fabricated objects to the careful selection of wall colors, lighting, display cases, and even wall labels. Sometimes the artist reconfigures and supplements the collection of an actual museum—as in his extraordinary installation Mining the Museum, for the Maryland Historical Society in 1992. Other times he creates gallery installations that imitate the look and sensibility of the museum. In the end, Wilson’s aesthetic commentaries reach across a wide historical expanse—from Egyptian and classical sculpture to African American memorabilia, “primitivism,” and the uniforms worn by the often black guards charged with the task of keeping American museums safe and secure. Organized by the Center for Art and Visual Culture, at the University of Maryland, Baltimore County, the exhibition Fred Wilson: Objects and Installations, 1979-2000 consists of more than 100 objects, each configured to re-create sections of Wilson’s original installations. This catalog, the most comprehensive book published on the artist’s work to date, includes essays by exhibition curator Maurice Berger and Jennifer González, an interview with Wilson by Berger, and an annotated list of projects by the artist, as well as numerous color and black-and-white photographs.Item Adrian Piper: A Retrospective(Fine Arts Gallery, University of Maryland Baltimore County, 1999) Berger, Maurice; Center for Art, Design and Visual Culture; Center for Art, Design and Visual CultureOne of the most influential artists of her generation, Adrien Piper has produced an exceptionally impressive body of work spanning a period of over thirty years. She played a formative role in the emergence of Conceptual art in the 1960-s and 1970s and an even more crucial role in the development of identity-based art in the 1980s and 1990s. Perhaps her most significant contribution has been to reaffirm the utopian potential of avant-garde art to transform society. Specifically, her reliance on minimalist and conceptualist forms generally thought by critics to be hermetic to effect social change has actually enhanced the ability of art to motivate viewers to examine intransigent attitudes about race, gender, and difference. A prominent philosopher as well as an artist, Piper has produced objects, installations, performances, videos, and soundworks that have established a direct, active relationship between artist and spectator, permitting neither to retreat to the usual defensive rationalizations that distance art from subjects as discomforting as personal bigotry and xenophobia. This catalogue, produced in conjunction with the retrospective exhibition organized by Maurice Berger, is the most comprehensive book ever published on the artist. Prolifically illustrated, it includes essays by Berger, Laura Cottingham, Jean Fisher, Kobena Mercer, Dara Meyers-Kinglsey, and the artist herself that illuminate the complex relationships between form and content in Piper's oeuvre from a variety of perspectives.