Losing Winter, a new exhibition opening in mid-July at the Maryland Center for History and Culture (MCHC) in Baltimore, examines changes in winter weather patterns through photographs, video, and personal memory.

The brainchild of Lynn Cazabon, professor of art and director of CIRCA, and co-curated for MCHC by UMBC history alumnus Joe Tropea ’06, history and M.A. ’08, historical studies, the exhibit includes images as varied as a news report by a young Oprah Winfrey, “Snowmageddon” in 2010, icy conditions during the Great Fire of Baltimore in 1904, and the 1899 blizzard.

Although the exhibition doesn’t directly address climate change, it’s certainly a subtext, said Cazabon, whose interdisciplinary work has often centered on the intersection of environmental and social issues. 

“Things are changing,” she said. “What are we doing about it?”

Winter Memories

Losing Winter was sparked by Cazabon’s own memory of freezing as she ice skated at age 14 in Michigan where she grew up. “That lake, in fact, doesn’t reliably freeze anymore,” she added. The idea percolated further in 2014 while Cazabon was making a film about women who had moved to the Yukon.

Talking about the weather used to be the quintessential conversation starter, she noted. “Now it’s fraught with emotion and worry. The weather is not an innocent topic anymore.”

“It forces us to think about the possibility of climate change. Why is our climate changing?” said Tropea, curator of films and photographs at MCHC.

The MCHC show features Maryland memories while a concurrent mounting of the exhibition at VisArts in Rockville will pair recorded reminiscences by area senior citizens with children’s artwork inspired by those memories. The VisArts exhibition opens in May.

At MCHC, home movies and weather reports from the 1970s, ‘80s and ‘90s will be on display, including a report from Oprah Winfrey, then on the WJZ news staff, interviewing ice skaters at the old Memorial Stadium.

“It’s an experience that takes you through the decades,” Tropea said.

Cazabon said she discovered “little moments of joy” along the way, such as a woman in her 80s recalling street skating in her boots, Baltimore Sun photographer A. Aubrey Bodine’s historic photos of Groundhog Day ceremonies, and old weather forecasts.

One of Tropea’s favorite pieces is 1928 industrial footage taken at the Holtwood Dam over the Susquehanna River. Ice floes rushing toward the bay caused extensive damage near the shoreline before the dam was built, Tropea said. The film, which will be projected on a large wall, depicts ice floes going over the dam and breaking apart as they fall. 

“Just watching it makes me feel cold,” Tropea said.

For the MCHC show, Cazabon and Tropea delved into the archives at MCHC as well as in the Special Collections Department of the Albin O. Kuhn Library with the help of Lindsey Loeper ’04, American studies, reference and instruction archivist.

Since Covid-19 restrictions have closed the library to researchers, Loeper collected 35 photos to show the professor and Tropea via video conferencing. 

“There were things I’ve never seen before,” she said, noting that the collection has millions of pieces. Among the items she shared were glass negatives and works by well-known photographers such as Marion E. Warren. The oldest photo featured children throwing snowballs in 1914.

Evolving Exhibit

Cazabon mounted her original Losing Winter exhibition at the National Museum of Contemporary Art in Bucharest, Romania, in 2018. It featured audio memories of past Romanian winters, along with melting ice sculptures by a local artist.

As part of the Losing Winter experience, Cazabon is also working with UMBC’s Imaging Research Center on an augmented reality app to display and allow people to experience the winter memories of others. Cazabon received a 2020-21 Saul Zaentz Innovation Fund grant to produce the app. The exhibition at MCHC will include a display of the app playing memories collected from people in Maryland. Cazabon has been working with MCHC Community Engagement Manager Martha Oster-Beal to host virtual workshops during which memories are shared and recorded.

The yearlong exhibition will be housed on the second floor of MCHC, in gallery space across from the H. Furlong Baldwin Library. Visiting at the hottest time of year, when the exhibit launches, “you might be dreaming of winter,” Cazabon said.

Cazabon said the project keeps evolving. The modular format of her project also makes it adaptable. She invites members of the UMBC community to contact her to participate. She’s open to a variety of memories and opinions. 

“The project is designed to evolve with each new site,” she said, adding, “I would like it to be a collection that includes people from around the world.”

— Mary K. Tilghman ’79

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MCHC will host participatory virtual workshops for residents to record their memories on April 29 and May 27. Go towww.mdhistory.org/events for details and registration.

For more information on how to participate in the project, visit https://www.losingwinter.net.

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Header image: Blizzard of 1922, Saturday afternoon. Unidentified photographer, January 28, 1922. Photo print, 10.25 x 13.5 inches. Municipal Museum Collection. Maryland Center for History and Culture, MC1909.

When the pandemic first hit, many of us found ourselves looking closely at what surrounded us and what confined us. For Brea Souders ’01, visual arts, however, the circumstances drove her to look outward through the screen of her upstate New York window, and to wonder deeply about the lives happening beyond her driveway. End of the Road, the latest in the Albin O. Kuhn Library Gallery’s spring online exhibits, pairs Souders’ images with the poetry of UMBC writer-in-residence Lia Purpura, to create tender appreciations of the details that connect us all, even when we’re apart.

We sat down with Souders and Purpura to learn more about the making of End of the Road, on display now through the end of April.

* * * * *

UMBC Magazine:  So, Brea, how did the idea for this series come about for you?

Brea Souders: In late March 2020, I moved from New York City to rural upstate New York. This was the beginning of the pandemic when contact with the outside world was abruptly cut off for many people and would be for the foreseeable future. The house is situated just before the gravel cul-de-sac of a country road and I began to observe people through my window as they wandered back and forth to the end of the road.

So it started in a space of stillness and solitude, which led to focused daily observation. I began to wonder about the people I saw; what brought them to the end of the road and what their stories were. As a photographer it’s second nature to pick up a camera and photograph something that has captured and sustained my attention, especially if it mystifies me in some way, if there is something hidden or unknowleable in what I see. Even if it’s an illusion, the camera draws a line connecting you and your subject and shortens the distance between you.

UMBC Magazine:  What was your mindset at that time, making them, versus where you are now?

Souders:  There is solid evidence now that the world will begin to open back up and there are already some signs of that happening, but we’re still very much in this emotional and physical space of isolation and stillness. I’ve been making these pictures for a year now, and the trees are beginning to bud again just the way they did when this all started. It’s reassuring to witness some things just carrying on as they do. 

UMBC Magazine:  And Lia, you were brought into this exhibit by curator Beth Saunders. What did you feel when you saw Brea’s images for the first time? What was your first impression?

Lia Purpura: When I saw Brea’s photos, immediately they seemed like micro-dramas, these brief moments that enacted a form of inward reflection that’s also a part of the way many people are experiencing COVID times. Artists are able to find the under-seen, under-noticed ways of being and Brea’s work does that.

I love is the way Brea sees, and the different postures of these photos. And by “postures” I mean the place from which the eye is seeing. Postures of discovery. The intimacy, the solitude of the space, the stillness the viewer inhabits. That quiet felt inhabited by a presence, a curious eye.

UMBC Magazine: What was it like to collaborate in this way, pairing Brea’s new images with Lia’s poems from her 2015 book,It Shouldn’t Have Been Beautiful?

Souders: I love the way Lia thinks. She categorized the initial list of poems for our collaboration according to the photographer’s point of view, the subject’s point of view, the seasons, the feeling of walking, and sense of place. That approach deepened the connection between the poems and pictures and informed the selection and sequencing of both.

It was Beth’s idea to organize the images loosely by seasons. As you scroll through, you have a general sense of the seasons, although the window screen and distance impart a greyness to the images and you have the feeling of where am I? What day is it? Which of course is the way many people would describe this past year. The human condition and the seasons are so finely articulated in Lia’s poems. I love her exquisite attention to detail and the quiet observation felt in her work. In some of her poems, it feels as if she is looking through a small window just the way that I am.

UMBC Magazine: There’s a lot of trust involved in the process, I’m sure.

Purpura: Yes, absolutely!  We didn’t know each other at all. I mean, I think Brea had read some of my work, but at the outset is the decision to trust in many things. A person’s aesthetic, their sense of good will, their collaborative ego—with this relationship in place, you can launch all kinds of thoughts and know the other will receive it in open ways.

Souders:  Definitely. I felt it immediately, too. Kindred art souls.

UMBC Magazine: Brea, I understand you have a book coming out in June from Saint Lucy Books, and there are even more UMBC connections there (designer Guenet Abraham and publisher/editor Mark Alice Durant, both visual arts professors). What does it mean to see your work embraced so strongly within the UMBC community?

Souders:  I’m floored by all the support. It’s a wonderful thing to be able to collaborate with a network of kind people doing exciting, interesting work in their fields. I’m truly honored to be a part of that.

* * * * *

The Albin O. Kuhn Library Gallery will host a Virtual Artist’s Talk: Brea Souders and Lia Purpura in Conversation on April 22 at noon. Visit the Albin O. Kuhn Library Gallery’s website to register for the free talk, and to see End of the Road in its entirety.

Learn more about Brea Souders: eleven years at Saint Lucy Books.

Header image: Brea Souders, End of the Road 5, 2020. Courtesy of the artist.

Majoring in the arts requires intense levels of stamina and self-discipline—long hours rehearsing, creating, writing, designing, interpreting—coupled with an inner drive for inquiry and perfection. UMBC’s undergraduate and graduate students in the arts are no exception, reaching forward even in this era of social distancing.

UMBC’s 2020 graduates in dance, theatre, music, and visual arts include scholars looking forward to graduate study, teaching, and professional creative work in their fields. Some have been able to move ahead with long-planned next steps. Others have been making adjustments in response this unique and challenging moment.

Listening to the natural world

Percussionist Jonathan Sotelo ’20, music, came to UMBC to study music education, but discovered his love of timpani by playing in the UMBC Symphony. Since then, he has been a member of the UMBC Percussion Ensemble and studied with associate professor Tom Goldstein and Baltimore Symphony principal timpanist James Wyman.

With a strong interest in new music, Sotelo has commissioned a number of his student composer colleagues to write solo percussion pieces for him.

“My most important achievement at UMBC,” says Sotelo, “was learning how to listen. I’ve learned how to listen to the natural world, and how to apply it to music. Because of that, I am able to make my performances more connective to the audience, in any type of music—improvisations to the orchestral repertoire.”

He looks forward to attending graduate school at the University of Maryland, College Park, with the goal of becoming an orchestral timpanist.

An athlete, an artist

Linehan Artist Scholar and Division I soccer player Courtney Culp ’20, visual arts, has combined her loves of sport and visual arts to create impactful works during her time at UMBC.

The National Civil Rights Museum in Memphis screened her film A Mile in My Cleats as the opening presentation of the 2020 Race and Sports Day, held just before Martin Luther King Day. Through her documentary, she gave others space to share their stories of what it’s like to be a black female athlete. She shares, “I finished the project with an immense amount of new knowledge of my craft and closer relationships with my peers at UMBC.”

Studying Italian art and culture in Rome in 2019, with UMBC visual arts faculty Kimberly Anderson and Lynn Cazabon, also played a significant role in Culp’s UMBC experience. “I have gained lifelong friends at UMBC that have pushed and challenged me for the better,” she says. “I will forever be grateful for my time here.”

Culp will begin an M.F.A. program in illustration with minors in production design and themed entertainment design at the Savannah College of Art and Design (SCAD) this fall. “My hope is to become a visual designer for animation, film, and interactive entertainment projects.” She is also slated to play soccer at SCAD.

Contemporary musician

Few musicians are equally adept at more than one instrument, but Christian Hartman ’20, music, is an exception. He has made a name for himself as both a cellist and percussionist.

The principal cellist of the UMBC Symphony and a Linehan Artist Scholar, Hartman will attend the University of Delaware in the fall for graduate studies in cello performance. While at UMBC, he received a Music Performance Fellowship and Music Achievement Award.

“I’m considering an academic career, which would allow me to perform, teach, and research,” says Hartman, “especially in the fields of contemporary and early music in which I’m most interested.”

His interest in contemporary music has led to collaborations with composers, and he has premiered a number of new compositions. A composer and arranger himself, he has written and arranged music for a variety of ensembles, including works premiered by high schools, honor groups, dance companies, and collegiate ensembles.

As a percussionist, Hartman plays snare drum in the Baltimore’s Marching Ravens Drumline, which he intends to continue through graduate school. He also drums for the Baltimore-based rock band The Negative Men and serves as percussion director for Manchester Valley High School marching band, his high school alma mater.

Lighting a new path

Linehan Artist Scholar Corey Goulden-Naitove ’20, theatre, has already had the opportunity to work professionally as a lighting designer at the Annapolis Shakespeare Company, Abington Friends School, and Long Lake Camp for the Arts. He had planned to continue this path when he graduated. But as coronavirus stay-at-home orders rolled out, and show after show was cancelled, he watched as five months of work evaporated in 24 hours.

Remarkably, the next day Goulden-Naitove received a call from Indiana University, Bloomington, inviting him to their Design + Technology program. At the time, it seemed “out of the blue.”

“They called up to offer me a spot in the M.F.A. program, with an assistantship with a living wage and tuition remission,” he says. Now, he will have a chance to continue studying his craft and remain connected to the theatre industry during COVID-19 closures.

This past winter at the Southeastern Theatre Conference, Goulden-Naitove presented his lighting design for the 2019 UMBC production of Anon(ymous), and won First Place in the Undergraduate Lighting Competition. He would later learn that it was that lighting design and award that caught the attention of the University of Indiana.

“UMBC was definitely the right choice for me—I have had opportunities here that I don’t think I would have found anywhere else in the world,” Goulden-Naitove says. “I am very grateful to all of my professors, to the university, and to Earl and Darielle Linehan for helping to make this happen.”

Inspiring the next generation of students

It’s no wonder that Linehan Artist Scholar Teresa Whittemore received the dance department’s Outstanding Senior in Choreography Award—her work has been twice featured at the American College Dance Festival. This includes the work Giving Skin, performed this spring.

Whittemore has also twice presented for UMBC’s Undergraduate and Creative Achievement Day, and through departmental dance showcases. And Arts by the People has presented her choreography in New York.

In addition to choreography, Whittemore also loves to teach. Following graduation, she plans to teach at three area studios—JMD Studios, EMC Performing Arts, and Kinetics Dance Theatre, where she is currently assistant school manager.

Everyday activities become something more

Brandon Ables, who earns his M.F.A. in Intermedia and Digital Arts this spring, had expected to travel to Romania this September as a Fulbright scholar. Fortunately, although coronavirus complications have delayed his travel, it will still move forward in February 2021. In Romania, he’ll teach English at a university and will conduct an arts research project on the Romanian deadlift weightlifting form and history.

In the meantime, Ables will continue his research in the U.S. His work replays dreams, notes, and ideas using everyday environments and actions, accompanied with hypnotic suggestions. “I’m interested in discovering and creating triggerable actions within daily routines to score with audio and visual self-help style suggestions, guiding the subconscious to solve practical and absurd challenges,” he says.

“Activities like lying in bed, chewing, and looking in the pantry become opportunities to carve the subconscious into a desirable shape with no extra effort required.”

This summer, Ables will complete an interactive novel about parking, autonomous cars, and impulse purchases. He will also develop a one-man-band live performance to add more complexity to the actions he’s using to trigger self-hypnotic audio and visuals. And then, onward to Romania.

Performer, producer, teacher

Raymond Robinson ’17, music technology and jazz studies, and ’20 M.A.T., music, came to UMBC in 2013 as Linehan Artist Scholar and a multifaceted musician. He already was a skilled pianist and saxophonist, but he credits UMBC and his professors for his mastery of music theory and music technology.

“Now I produce, engineer, and know advanced jazz theory, arrangement, and composition,” he says. “I would not be the musician and educator that I am today without the guidance of all my teachers. I feel like I owe it to them to also be a teacher.”

Robinson feels that it’s important to have more men in the education system, especially black men. “I hope to have the opportunity to teach students of all ethnicities about acceptance and open-mindedness before perspectives and deeper implicit biases get locked-in,” he says. And he hopes to be a role model for black boys and young men.

He looks forward to teaching instrumental and general music in Baltimore County and Anne Arundel County public schools. He also looks forward to resuming performances at popular venues around Washington’s U Street corridor and with A.B.M and New Impressionz, two of the major Go-Go bands in the District.

Intensive training, unique opportunities

Linehan Artist Scholar Emily Godfrey ’20, dance, has performed at the Kennedy Center not once, but twice. Godfrey first appeared there in 2018 at the American College Dance Festival, performing choreography by Maia Schechter ’18, dance. She then appeared again in 2019 in choreography by assistant professor Ann Sofie Clemmensen.

Godfrey’s own choreography, terminal, was chosen in 2020 for the American College Dance Association (ADCA) Mid-Atlantic North Conference Gala, along with Giving Skin by Teresa Whittemore. At UMBC, she has appeared on stage with Baltimore Dance Project and in many dance department programs.

With the financial support of the Linehan Summer Award and the Dance Department Summer Award, Godfrey attended several intensive programs. These include the Hubbard Street Dance Chicago Summer Intensive, the Paul Taylor American Modern Dance Summer Intensive, the Peridance Blueprint Summer Intensive, and study at the Gerlev Sports Academy in Denmark.

Following graduation, Godfrey plans to pursue a professional career in dance performance with national and international companies.

Satisfying “my creative side”

Double majoring in the arts and sciences can be daunting, but Linehan Artist Scholar and Honors College student Sarah Brewer ’20 will graduate with a B.A. in dance and a B.S. in biology. She credits open communication with dance and biology faculty, a team of advisors, and her own focus on time management for making it work.

As she prepares to leave UMBC, Brewer remains committed to both art and science. She is interning at a molecular biology lab within the Johns Hopkins Applied Physics Laboratory, and recently interviewed for a full-time position. She says the work at the lab “satisfies some of my creative side and all of my scientific side.” Still, she’s already reaching out to contacts at local companies to find ways to continue her work in dance. 

Brewer says her proudest undergraduate moment was a duet performance choreographed by Teresa Whittemore ’20, When Eve and Eve Bit the Apple, at an ACDA gala performance in spring 2019. The piece was one of only two undergraduate works among twelve selected for the gala.

She shares, “To be a part of Teresa’s choreographic process, and build a creative relationship with her and my duet partner Michelle Ye ’22 was one of the most rewarding experiences I’ve had at UMBC.”

The perfect fit

Some UMBC students dream of attending the university for years before they arrive on campus. Linehan Artist Scholar Olivia Mills ’20, visual arts, had a different experience.

“I’m not from Maryland, and I wasn’t familiar with UMBC until the end of my college search,” Mills says, “but once I researched it and was offered the Linehan Artist Scholarship, it rose to being my first choice—and it was the perfect fit for me,” she says.

Mills’s focus has been on animation. Her senior capstone project and 2020 URCAD presentation, the animated film Creatures in Crisis, challenged the notion that robust animated film projects emerge only from major studios.

As an artist at UMBC, she especially enjoyed Commonvision programs, and made a point to share her work during annual Art Week festivities and in seasonal zines.

Given the impact of coronavirus on the arts, Mills plans to use her time immediately following graduation to build her artistic portfolio. “While the coronavirus situation saddens me and has been a source of stress, a silver lining is I now have to stay in and work on my art,” she says. “I’m also glad there is a virtual network through UMBC’s Career Center and Alumni Association to get on-track with my professional goals.”

Catherine Borg contributed to this article.

Banner image: Emily Godfrey ’20 performs with colleagues in Baltimore Dance Project’s 2020 concerts at UMBC.

All Photos by Marlayna Demond ’11 for UMBC unless otherwise noted.

For an independent filmmaker, recognition from the Sundance Film Festival is a big deal. This past January, Jovan James ’13, visual arts, along with co-director Elegance Bratton, presented their short film Buck at Sundance to an appreciative crowd of industry insiders.  

“It was incredible because you wonder when you make your work if someone is going to care about this, will it matter?” said James recently upon hearing the news that the film was selected for Sundance. “It feels great to be seen, to know that you are doing the right thing by telling stories that you want to tell, and not compromising.” 

Getting to Sundance is an incredible accomplishment on its face, as well as an important opportunity to network within a key professional community. For James it could also mean an auspicious entrance to a career in film, considering the results of early support from the Sundance Institute – think Ryan Coogler’s Fruitvale Station, Paul Thomas Anderson’s Hard Eight, or Quentin Tarantino’s Reservoir Dogs.

Motivated to Make a Difference 

Completed in 2019, Buck is James’ MFA thesis film – the culmination of his graduate studies in the NYU Tisch School for the Arts Graduate Film program. It is a story about a young black man, Lynn, caught in the throes of a depressive fugue. Seeking escape, he resorts to debauchery with an older white lover Richard. But, rather than joy, he discovers that happiness is a more complicated proposition.

Aware of the mental health crisis facing the black gay community – noted by a rise in suicide rates and drug addiction as the rate of HIV infection hovers at 50% – James approached this project from a very personal perspective. He wanted Buck to tell a story that could speak to this community – his community –  and suggest a way towards a different outcome.

Young black men like Gemmel Moore, who was in the news after overdosing in the home of wealthy white political donor Ed Buck, were on the minds of the directors as they selected a title for their film, they said, along with the commodification of black male bodies, as the term references black male slaves and black male sex workers.

The Through Line: Collaboration

As a transfer student to UMBC from CCBC Essex, James lived on campus and enjoyed the grit of the community. He often found himself among other dedicated students working at all hours in the Fine Arts Building, making short films for classes and with close friends throughout his time at UMBC.

“A lot of my path, of course, began at UMBC…I met a lot of interesting people on campus…and I left the country on the study abroad program (in Milan, Italy in 2012 at Università Cattolica del Sacro Cuore), that was a big moment in my life.” He goes on to recount the sense at UMBC that to be great you had to work really, really hard and want success. “I’m thankful for that – it really gave me my sense of determination, and allowed me to experiment.”

Once at NYU, there was pressure to follow the “auteur model” of filmmaking, but the egoism in the approach went against the way he wants to lead. Collaboration has been an important element of his filmmaking, ever since the early days at UMBC and throughout production of the three short films he has released – The Jump Off (2017) and Tadpole (2018) preceded Buck – since entering the program at NYU. Bratton and his husband, producer and costume designer Chester Algernal Gordon, have become key collaborators.

Assistant professor Susan McCully recalls James from her playwriting class: “He was always front and center in class – completely focused. He challenged me frequently; it was always the kind of defiance that I yearn for from my students. His questioning was always about his growth, not about him protecting his ego. I’ve been following his journey through NYU and now in the world. I’m not surprised by his success. I’m proud that his work is ‘out’ and defiant and about people growing in the world.”

Bringing the Work Home

James currently lives in L.A. while interning at Bad Robot Productions in a coveted year-long internship program that gives him direct access to people who can help his career. (He recently had an opportunity to screen Buck for his colleagues, including Bad Robot head J.J. Abrams!) But, James can’t wait to share Buck in Baltimore, where so much of his inspiration comes from. News of an upcoming screening in Baltimore is forthcoming.

All three of James’ films have been shot in Baltimore and he hopes to shoot his first feature in his hometown. Buck was recently named an official selection of the 22nd Annual Maryland Film Festival and will be screened during the festival’s revised virtual edition from June 12 to 21.

“There are so many environments in Maryland that I want to use,” said James.“I want to bring that love and attention to my city…and money, jobs, and mentorship programs to teach kids to gaff, do sound, costumes, AD and also to direct, write and produce their stories!”

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Header image: James (left) on set with his crew. Photo by Dawn Hall.

See more from Jovan James on Instagram and Twitter.

The film begins, a fast-moving montage of seemingly unrelated images: eyes, people dancing, an airplane landing, artillery, President Kennedy, wrestlers, a woman applying hairspray, all interspersed with wacky cartoon-like animated images. 

It’s the start of Breathdeath, Stan VanDerBeek’s experimental 1963 masterpiece that would influence a generation of artists, including Monty Python’s Terry Gilliam. VanDerBeek’s genius and visionary thinking—not only as a filmmaker, but also as a video artist, computer animator, and futurist—would earn him worldwide fame and, in 1975, a full professorship at UMBC, where he taught until his untimely death in 1984.

VanDerBeek’s vision can still be seen in the programs he helped found and the alumni he inspired at UMBC.

Underground Artist

Born in 1927 in New York to immigrant parents, VanDerBeek’s early interest in painting, architecture, and design led him to Black Mountain College, where he befriended pioneering composer John Cage, choreographer Merce Cunningham, and inventor Buckminster Fuller, all of whom were to prove deeply influential on the artist. In the early 1950s, working as a designer on the CBS children’s program Winky Dink and You—which featured plastic screens children could apply to the television and draw on with special crayons—VanDerBeek learned basic animation skills and, by 1955, began to create his own animated films. In 1959, he organized a New York film festival entitled “Films from the Underground,” and the term “underground film” was born.

Throughout his 30-year career, VanDerBeek was more than an artist; he became a visionary who thought beyond limits and boundaries, often dreaming up fascinating ideas that couldn’t be executed—at least in his lifetime. In 1980, midway through his tenure at UMBC, he imagined, “You’ll sit in your backyard and look up at beautiful paintings I and other artists will do for you on a 10,000 square mile screen of clouds. The strokes and colors will be images projected by laser beams. I call it ‘painting with light’ or optical painting.” 

At UMBC, recalls Ellsworth Hall ’82, visual arts, the cloud projections were realized on a smaller scale. “A good friend of mine, Ed Hopf, with whom I’ve made films with since we were 13, helped Stan on his multimedia presentations. He would have film projected on the ‘smoke’ created by melting dry ice. At one point there wasn’t enough ‘smoke’ and Stan was in a hurry trying to coordinate some other aspect of the production so he grabbed the dry ice with his bare hands and threw it in the container to melt!”

For VanDerBeek, moving images weren’t only material for his artwork—they had the power to facilitate global understanding and to help the world move toward peace. In a manifesto, “CULTURE: Intercom and Expanded Cinema,” he wrote, “I propose the following: that immediate research begin on the possibility of a picture-language based on motion pictures; that we combine audio-visual devices into an educational tool: an experience machine or ‘culture-intercom’; that audio-visual research centers be established on an international scale to explore the existing audio-visual devices and procedures, develop new image-making devices, and store and transfer image materials, motion pictures, television, computers, video-tape, etc.; that artists be trained on an international basis in the use of these image tools…” He set forth ideas with the certainty that they could be accomplished and even needed to be accomplished. 

To facilitate that vision of global communication, VanDerBeek forged what was perhaps his best-known creation, the Movie-Drome. Located at Stony Point, New York, at the Gate Hill Cooperative (populated by the young VanDerBeek family in addition to others who had migrated from Black Mountain College, including John Cage, pianist David Tudor, and potter M.C. Richards), the Movie-Drome was the top of a grain silo dome. Guests were invited inside, asked to lie down, and, looking up, watched a mosaic of continually changing films and slides that were concurrently projected across the dome’s interior. VanDerBeek imagined a network of Movie-Dromes operating internationally, linked by satellite, presaging the internet.

Endless Possibilities

By the time VanDerBeek arrived at UMBC in 1975, he was already in the international limelight—a filmmaker whose works had won awards at festivals worldwide and who had received support from the Guggenheim Foundation, the Ford Foundation, the National Endowment for the Arts, and the Rockefeller Foundation. He had taught, lectured, or been in residence at Columbia University, MIT, the Walker Arts Center, the Smithsonian Institution, WGBH (Boston), NASA, and dozens of other institutions and had enjoyed a 1968 retrospective at the Museum of Modern Art. Ever fascinated by the possibilities of emerging technologies, VanDerBeek had branched out from film to embrace videography and computer animation, which seemed to offer endless possibilities. (His early computer-generated films were produced at MIT and at Bell Labs, where he was in residence and assisted by computer art pioneer Ken Knowlton.) An exhibition of VanDerBeek’s work Machine Art: An Exhibit of “Inter-Graphics” was presented in UMBC’s Library Gallery in spring 1976.

“It was a dynamic time,” remembers Ferdinand Maisel, who studied at UMBC and also worked in the dance department, “and Stan was maybe among the first interdisciplinary/collaborative artists of the 20th century. He was fascinated with how other people would think and solve problems. I met Stan via my work with Liz Walton—I worked for the dance department back then as a composer. Stan immediately had me push his shopping cart of films (which he was known to walk around campus) to a Steenbeck film machine, where I watched, with amazement, some of the films for which he wanted music.” VanDerBeek tapped Maisel to help run his Image Lab, a precursor to UMBC’s present-day Imaging Research Center.

While at UMBC, VanDerBeek recreated the Movie-Drome. Baltimore newscaster Denise Koch, who taught acting and theatre performance at UMBC, recalled, “Stan built a geodesic dome in the center of a large field and projected clouds and nighttime sky-lines, and had people come and lay on the floor for the experience.” (He had planned to erect on campus a 70-foot dome housing a 40-foot planetarium screen.) 

Koch also stars in a 1979 VanDerBeek film, Mirrored Reason. “He came to me and told me he’d been given a studio at the Voice of America for a day, and wanted to play with some of the equipment and asked if I’d participate as his actor—how could I refuse! We went to the studio, and he placed me in a room and just asked me to do an improvisation. I think I used a Kafka story to fall into a state of paranoia as Stan fooled around with my image. At one point my head splits in two and then I’m facing myself—thus, I believe, Mirrored Reason. Stan and our theatre company, Kraken, collaborated a number of times. Once, he took video of each actor’s head in the exact same position and then had us bleeding or melting into and out of each other as if we were a company made up of one face that held the persona of eight different people. It’s hard to explain, but I remember I was stunned!” 

Ellsworth Hall remembers that VanDerBeek’s “office was rather messy with stacks of magazines, books, and film cans, but he knew where everything was!” Always encouraging his students to branch out with novel techniques, “In Experimental Film class Stan would have us put objects directly on unexposed film and then move them and expose each frame so as to create a direct animation on the emulsion. Very unusual technique, but it resulted in some interesting images.”

Steve Estes, who studied film at UMBC as an undergraduate and then returned to earn an MFA in 1997, remembers VanDerBeek as an encouraging, supportive force. “He was very open, and very open to whatever you really wanted to do. Stan was the kind of guy who was helpful by basically just being there, and letting you do what you did, and providing whatever assistance he could. He had suggestions about this or that, but he was pretty much, ‘Go for it! Freedom, man, just go ahead and do it. Explore! Play!’”

Filmmaker Richard Chisolm ’82, interdisciplinary studies, recalls VanDerBeek as a character whose mind was sometimes racing so quickly that he wasn’t always focused on teaching, but says, “This dreamer personality, this charming dreamer, is kind of by definition boundary-less, and wild, and expressive. We need Stan VanDerBeeks to challenge our otherwise concrete, boring, structured way of looking at the arts. True art is extremely messy. It requires taking risks, and it requires trying things that are going to fail, and losing money, and losing time during those failures, and people like Stan are just fearless and have no regard for whether this dream is going to come true or be doable or not. It’s the old cliché about throwing things at the wall and seeing what sticks—that’s definitely how he looked at ideas. He got ideas every day, and every week, and he tried to contagiously get people to jump in with him, and sometimes they would. He was going super fast every day, always walking and talking fast and could never sit still.”

Dreaming at UMBC

VanDerBeek’s “dreamer” personality was, in fact, fascinated by dreams. He posted a note in a 1970s-era publication, Dreamworks, encouraging readers to send him brief written descriptions of their dreams, saying, “I am seeking this material for developing my ‘dream theater’ and for other futuristic dream-related media projects…. I am convinced that movies are the visual enactment of the dream state. I do not know how specific this function of pre-visualizing and making tangible the dream state is in our lives. But my own instincts move me further into experimenting with such illusory systems, such as freedom of metamorphosis to create ‘meta’ images that can approximate the geometry and forms of dreams.”

UMBC’s connections to the VanDerBeek family run deep. Two of his children—August and Max— studied briefly at UMBC, and his daughter Julie graduated in 2003 with a degree in theatre. Max returned in the 1990s to teach for the Department of Music; his son, Clay, was a Linehan Artist Scholar who graduated in 2017 with a degree in theatre. Another of Stan’s daughters, artist Sara VanDerBeek, has exhibited and spoken at UMBC’s Center for Art, Design, and Visual Culture. Stan VanDerBeek’s second wife, Louise, graduated in 1976 with a degree in interdisciplinary studies and an arts emphasis and then returned to earn a master’s in 1995 in instructional development systems. 

“If I had to draw a cartoon for The New Yorker that was about Stan VanDerBeek?” Richard Chisolm asks rhetorically. “It would be Stan VanDerBeek buys furniture at IKEA, and then you see him in a room with the boxes, and then in the next frame you would see something that didn’t look at all like furniture, and the instructions would be curled up in the corner, and what he built would be this anarchistic mound of panels and windows that was not at all what the IKEA people were telling you to build.”

VanDerBeek served as chair of UMBC’s Department of Visual Arts for only a short time in 1983 and 1984 before becoming ill. Several days before his death in September 1984, he received a poignant good-bye letter from fellow experimental filmmaker Stan Brakhage, who wrote, “I grow more sure of what we’ve done, and that someday…our works and lives will be fully known to the ears and minds of human beings….”

— Tom Moore

*****

To learn more about Stan VanDerBeek’s work, visit stanvanderbeek.com. An exhibition, VanDerBeek + VanDerBeek, which presents artwork by Stan VanDerBeek alongside work by Sara VanDerBeek, is on display at the Black Mountain College Museum + Arts Center through January 4, 2020.

Thanks to Max VanDerBeek, August VanDerBeek, Chelsea Spengemann, the Stan VanDerBeek Archives, and Judy Taylor.

All images, including header, courtesy of the Estate of Stan VanDerBeek.

During the height of UMBC Homecoming festivities on October 12, the university community and supporters from across Maryland gathered to celebrate the opening of UMBC’s Interdisciplinary Life Sciences Building (ILSB). “With the addition of this incredible, world-class facility, the state of Maryland will continue to lead the way,” Governor Larry Hogan told the crowd, speaking from behind a festive ribbon twisted in the form of a double helix . “And UMBC will continue to push the boundaries, achieve significant breakthroughs, and shine as a national and global leader in innovation.”  

Vision for the future

When thinking about how this building came to be, Bill LaCourse, dean of the College of Natural and Mathematical Sciences, sees convergence—people and ideas coming together from different directions to create something new and meaningful—as the central concept.

“Already there are research teams working in this building on such complex issues as age-related disease, environmental degradation, and health disparities,” he notes. Why these topics? Solutions to our most complex challenges “are found through a convergence of talent and effort,” bringing together the perspectives of people from different fields and backgrounds, he shared at the opening event. This is what the new building is designed to achieve.

The ILSB is a physical space where people from all over UMBC converge to learn and discover, and it was developed with that goal in mind. “This was a shared effort,” LaCourse said. “This building belongs to everybody on this campus.”

But the benefits of the building will extend far beyond those who study, experiment, and collaborate inside it. “The vision is that we prepare the citizens of this state for the workforce, so everybody has a better life,” shared UMBC President Freeman Hrabowski. “This building will lead to so many people in science, in engineering, and in medicine, saving lives. And it’s that vision I want everyone to think about.”

Alumni leaders reflect

In addition to Governor Hogan, several local and state leaders, who are also UMBC alumni, joined in to celebrate what the new building represents: UMBC’s investment in inclusive, problem-oriented, team-based approaches to teaching and research that will also support economic and workforce development in the state. 

Baltimore County Executive John “Johnny O.” Olszewski, Ph.D. ’17, public policy, lauded the numerous and diverse UMBC graduates who go on to own local STEM-oriented businesses and employ other Marylanders. “UMBC is a special place, and I couldn’t be prouder to have a degree from this incredible institution,” he added.

Maryland Speaker of the House Adrienne Jones ’76, psychology, also expressed her appreciation for UMBC. “UMBC is really setting the bar high in terms of science, and I commend you for what you continue to do,” she shared. “I’m proud to be an alumna.” 

Alumni delegates Mark Chang ’99, psychology, and Charles Sydnor III ’00, policy sciences, also attended. Senate President Mike Miller gave remarks, as did Ken Skrzesz, executive director of the Maryland Arts Council, which supported the construction of the ILSB’s public art installation.

Environment for growth

Following the ribbon-cutting ceremony, the ILSB opened for building tours and hands-on, family-friendly science activities in the teaching labs, including making slime and using microscopes. The building also hosted an active learning demonstration in a tech-enabled classroom and UMBC’s fourth annual GRIT-X talks.

Nine GRIT-X speakers shared their stories of discovery, creativity, collaboration, and perseverance with a standing-room-only crowd in the ILSB. They included two alumni, six faculty members, and one graduate student, representing all three UMBC colleges.

Crystal Watkins-Johannson ’95, M3, biological sciences, reflected on how her experience at UMBC shaped her future. Today, she combines her expertise in neuroscience with her passion for education and patient care as director of the memory clinic in the Sheppard Pratt Health System and assistant professor of psychiatry and behavioral sciences at Johns Hopkins University.

“I’d always felt like I was different, but when I came to UMBC for the accepted Meyerhoff Scholars weekend, everyone around me had accomplished just as much as I had,” Watkins-Johannson shared. “It really inspired me that I was going to have an environment that would allow me to grow, think about new ideas, and propel me to the next step.” 

Today, she uses the grit she internalized at UMBC to help her patients with memory loss. “I’m able to help other people look at memory loss and persevere through it,” she says.

Empowering experiences

Fellow alumnus Premal Shah ’98, biochemistry and molecular biology, earned his Ph.D. in biochemistry and molecular biophysics at Caltech, and then launched a career as a socially-conscious entrepreneur. In 2018, he co-founded Citizen, a company that helps people access their healthcare data for free. The goal is to improve health outcomes by empowering people to take a more active role in their healthcare.

Like Watkins-Johannson, Shah’s UMBC experience was pivotal in his development. “I want to emphasize that I’ve been fortunate enough to have very good people in my life,” he shared at GRIT-X. “People who have taken an interest in me, people who have cared about me, people who’ve shown me the difference between right and wrong—and therefore I’ve been able to achieve what I have in my career.”

Other speakers included Kevin Omland, professor of biological sciences; Tinoosh Mohsenin, associate professor of computer science and electrical engineering; Lisa Moren, professor of visual arts; Mustafa Al-Adhami, Ph.D. ’20, mechanical engineering; Greg Szeto, assistant professor of chemical, biochemical, and environmental engineering; Carolyn Forestiere, associate professor of political science; and Yonathan Zohar, professor of marine biotechnology. Their talks covered a range of topics including the value of study abroad experiences, sustainable aquaculture, artificial intelligence, and the need for diversity among scientists.

At the ribbon-cutting, President Hrabowski reflected on the broad and impactful work members of the UMBC community have already accomplished, and which the ILSB will continue to support for current and future Retrievers.

Whether it’s changing the world through research or training the next generation, “When you have a great goal, it’s important to build a large and diverse community,” to work toward that goal, Hrabowski said. “This building is really teaching us the power of convergence.”

Banner image: Supporters gather outside the ILSB in advance of the ribbon-cutting ceremony. All photos by Marlayna Demond ’11 for UMBC unless otherwise noted. 

Every so often, we shine a spotlight on alumni who have made the news recently, in Baltimore and beyond. Today, we’re featuring two alums who are making an impact through creative expression, whether through storytelling or visual art.

Asif Majid ’13, interdisciplinary studies, former class valedictorian and current instructor at UMBC, will relay his tale of getting lost on a pilgrimage to Mecca at the February 10 Stoop Storytelling event at the Senator Theatre in Baltimore. Stoop Storytelling is now in its 10th year, and was created to “foster empathy and build a community” in Baltimore, both by empowering citizens to tell their own unique stories and give audiences a different perspective on other people’s lives.

John Alexander ’98, visual arts, has mounted a solo photography exhibit at the Savannah (Ga.) Jewish Educational Alliance art gallery called “Connecting with Nature.” As an artist, Alexander is inspired by Claude Monet, Georgia O’Keeffe, and Mary Cassatt, and says that being out in nature is his “great escape.” The Columbia native has established himself as a wedding, portrait, and commercial photographer since graduating from UMBC.

Got news to share with us? Send in a class note!

One of the things that makes UMBC great is how wonderful our alumni, students, faculty, and staff are. Because of these amazing people, UMBC often finds itself “in the news,” so each week, we’ll be sharing with you a round-up of the most newsworthy achievements from our community.

• Dr. Hrabowski spoke at this week’s American Public Health Association Conference in Chicago, as well as the CyberMaryland Conference and the Southwest Baltimore Economic Forum’s monthly meeting.
• Hrabowski also co-authored an editorial in the Seattle Times with Yolanda Watson Spiva, president and CEO of the College Success Foundation, on preparing low-income students for college success.
• Marie desJardins, computer science, spoke to Quartz about physicist Steven Hawking’s recent remark that “women should remain a mystery,” and how attitudes like this hinder women from pursuing careers in artificial intelligence research.
• Govind Rao, chemical and biochemical engineering, has headed a project that will allow soldiers in combat to manufacture life-saving medications in a matter of hours using a “portable briefcase-sized kit.”
• Dennis Coates, economics, warns us about overestimating the economic growth a professional football franchise might bring to Los Angeles.
• Lisa Gray, Assistant Director of Student Life for Cultural and Spiritual Diversity, was on The Marc Steiner Show to talk about empowering young girls through social justice education.
• Rennetta Tull, Associate Vice Provost for Graduate Student Professional Development and Postdoctoral Affairs, is one of three finalists for the 2015 GEDC Airbus Diversity Award.
• Ellen Hemmerly, bwtech@UMBC, talks about why cyber companies are prime targets for mergers and acquisitions.
• Maurice Berger, visual arts, talks about the “Modern Art and the Birth of American Television” exhibit at the NSU Art Museum Fort Lauderdale.
• Women’s soccer has made it to their third straight America East Championship season after defeating Stony Book 1-0 on Sunday.
• Women’s swimming and diving bested George Washington University 138.5-120.5 at the Aquatic Complex last Saturday, while the men’s team beat GW 132-115.
• The swimming and diving teams also released their 2015-16 hype video this week, and you can watch it here.
• Men’s soccer edged Drexel 1-0 Tuesday.

Read more at UMBC Insights!

Katie Feild ’05, visual arts, has always loved stories: creating them, illustrating them, binding them in books. She went to graduate school to get better at writing them. In her current job at the Maryland Science Center, she looks for stories to tell in the stars and planets. And now, with the release of the new book Land Beast, written by Feild’s grad school colleague Kate Wyer, she has had the opportunity to completely illustrate one.

“This was the first time I had done something that was so heavily illustrated,” she says, ruffling through a black leather case filled with drawings, storyboards, concepts. Some of the papers are covered on both sides with sketches, dabs of paint. Feild says she’s “not very precious” with this sort of thing.

The pictures are done entirely in grayscale gouache, pen and ink. They’re meant to be seen through the eyes of Land Beast’s narrator, a female rhinoceros who’s been poached for her horn and taken from her home.

Feild was initially inspired by the atmospheric illustrations Yoshitaka Amano did for Neil Gaiman’s The Dream Hunters, but her creative process took her in a different direction. Rhinoceri don’t see very well, she explains, so the images are specific sensory details rather than lush scenescapes: a close-up of another rhino’s ear, a dark moon radiating shades of gray onto the white page.

“I do very small work,” she says.

That work tends to get done in between jobs that have little to do with art, and it’s the way Feild has operated ever since she graduated. After finishing her undergraduate degree at UMBC, she stayed on to work in the Office of the Registrar for a number of years, picking up an M.F.A. in creative writing and publishing arts from the University of Baltimore during that time. She chose that program for its focus on book arts, and to understand writing so that she could better house a story in pages.

After graduation, she went through what she calls a “hibernation” artistically, picking up small projects like album cover designs here and there. After leaving UMBC, she went on to work in such diverse places as the Maryland Science Center planetarium – “the most ideal and incredible work,” she says, because she has a chance to “[connect] people to the visible” – and a garden in the Western Maryland mountains.

“I like different experiences,” she says, “and they don’t have to be art-oriented…the art stuff just happens.”

When Wyer approached Feild to collaborate on Land Beast, Feild says she was ready to do art again. She had worked with Wyer before, most recently on the novel Black Krim, which she illustrated. What initially began as a proposal for a cover design ended in about 40 illustrations interspersed with the text.

Feild and Wyer published Land Beast themselves under the Ceros Press imprint (something UB’s M.F.A. program encourages its students and graduates to do, in an entrepreneurial sense). “Ceros” is Greek for “horn,” and the book was released on International Rhino Day in September. While the text never explicitly reveals that its protagonist is a rhino, key details like these provide context along with Feild’s artwork.

Feild was not initially going to be credited as the book’s illustrator. “[It] was in essence going to be a book by Kate Wyer that happened to be illustrated,” she says, “…so [when Kate asked me if I wanted to be credited] I was very flattered and felt very honored about that.” She was glad to collaborate with Wyer again, and while Ceros Press was originally meant to be a one-off, they’ve saved the name just in case.

“[It] takes encouragement, openness, trust, and recognition to do meaningful work a lot of the time,” she says. “Kate has definitely always given me this kind of support, as both a good friend and a fellow creative.”

–Julia Celtnieks ’13

No matter what they study, our alumni go on to do some pretty amazing things after they graduate. Today, we’re featuring Dani Baer ’13, graphic design, and Megan Zlock ’09, animation, two women who each took a less-than-conventional path after graduating with arts degrees.

Dani Baer ‘13, graphic design, performed with Suspended Citizens, an all-female aerialist troupe, at this year’s 29th annual Reisterstown Festival. Baer, who has experience in dance and gymnastics, first got into aerial silks last year, and now trains every day in addition to her full-time job as a graphic designer. For more about Suspended Citizens, and for videos of Dani and the rest of the troupe in action, click here.

Megan Zlock ‘09, animation, was recently interviewed by Technical.ly about her career as a front-end developer at Viget, an agency that designs digital brands and platforms for customers. After receiving a BFA in animation from UMBC, Zlock went back to school for a professional certificate in web design and development, and has been working in tech ever since. She has also been named one of DC’s 30 Powerful Women Programmers by DCFemTech.