Physiciancy, Inc. is a physician-led medical scribe organization that provides a wide range of specialties and settings to physicians and providers.

Description: As a medical scribe, you will shadow physicians and other health care providers in the outpatient/office setting and assist with patient documentation. This includes documenting patient history, physical exam, tests, labs, and plans. You will learn to navigate electronic medical record systems. You will obtain significant clinical and patient exposure hours, useful for those interested in a healthcare related career and/or those students in a pre-professional program (pre-med, nursing, PA programs).

Compensation: Hourly

Hours: Part-time shifts are M-F daytime. No nights/no weekends. Must be able to commit to a minimum of two full days per week.

Location: Annapolis, MD

UMBCworks ID: 9297952

Visit Website here for more information. 

Under the direction of AEMS Executive Director, the Development Coordinator implements and develops fundraising strategies to increase donations and grants to the organization.

AEMS Vision: All Maryland public school students have equitable access to arts education so that they can learn and achieve in and through dance, media arts, music, theatre, and visual arts.

Maryland Historical Society’s current exhibition Unscripted Moments: The Life and Photography of Joseph Kohl celebrates “one of Baltimore’s most distinctive and forward-looking photographers,” according to Joe Tropea ’06, history, ’08 M.A. history, Curator of Films & Photographs and Digital Projects Coordinator at MDHS.

The exhibition, on display at MDHS in Baltimore through April 29, features a small sample of the vast body of work Joseph Kohl ’87, visual & performing arts photography, left behind when he tragically died in 2002 at the age of 44 from leukemia. A prolific news and fine arts photographer, Kohl covered Baltimore for a diverse collection of publications in the 1980s and ‘90s – City Paper, Afro-American, Village Voice, Easy Rider, Catholic Review, and Mid-Atlantic Gay Life – capturing spontaneous moments, whether or not he was on assignment. Outside of his journalism beat, he documented Baltimore’s alternative culture including “the city’s erotic sub communities, small venue-rock concerts, and queer nightlife” as the Maryland Historical Society notes in a statement accompanying the exhibition.

Many pictures in the exhibition, mostly in black and white, embody the gritty, quirky, working-class nature of Baltimore, as well as the politics and local celebrities of the age – from former mayor Kurt Schmoke to filmmaker John Waters. Though some seem surprisingly provocative material for a Maryland Historical Society show, they are an important record, says Tropea, calling them “a time capsule from the end of the last century.”

A short documentary film by Tropea (preview below) in also included in the exhibit, weaving an engaging narrative about Kohl and his work through interviews with friends, family, and associates, and additional photographs of Kohl’s not included in the exhibition.
[vimeo 238949279 w=640 h=360]
The MDHS holds approximately 55,000 of Kohl’s negatives and prints, which were acquired in 2003 after a posthumous retrospective exhibition at School 33 Art Center organized by Linda Clark and her late husband, professional photographer Carl Clark. In 2015, MDHS began an enormous undertaking to clean, inventory, rehouse, and conserve the entire collection led. Volunteers from UMBC, Towson and Johns Hopkins were instrumental to efforts to sort and organize the collection and to create the finders guide, said Tropea.

Andrew Holter ’12, English, history, ’17 M.A. history, was one of the volunteers involved in those preservation efforts. In a moving piece about Kohl and his work for the Baltimore Beat, he wrote:

In a place as segregated and traumatized by its own self as Baltimore in 2017, Kohl’s photos leave behind a vision of what it can be to live in a city—even what it might look like in the earliest stages of building what Dr. King called “the beloved community.” Everyone counts in Kohl’s Baltimore. His approach to the city followed the logic of what bell hooks meant when she wrote: “Making the choice to look at images or read about people different from oneself, irrespective of whether those images are positive or negative, opens up the possibility that positive curiosity will be awakened and lead to positive contact.”

Most of the images are undated and little known about those depicted in the images. This is also the case for most of the images on view in the exhibition, though a few of the photographed have been identified by visitors to the museum.

Though Kohl did not graduate until 1987, he was a fixture of UMBC’s photo department from the early 80s while already active as a photojournalist. Tom Beck, Chief Curator, Retired, Affiliate Associate Professor of Art, remembers having him as a student. “He was a very serious, aspiring photojournalist who was committed with his whole being to a future career in the field…When in class, his camera bag was always close at hand for that moment’s notice when he would be called upon to shoot a subject.” Both Beck and visual arts department program specialist Chris Peregoy ’81, visual and performing arts, M.F.A. ’99, IMDA,also recall that Joe photographed for The Retriever in the early ‘80s. “I knew Joe Kohl fairly well…(he) was a great alum and the photo community lost a talented photographer with his passing in 2002,” said Peregoy.

* * * * *
Unscripted Moments: The Life and Photography of Joseph Kohl will be on display at the Maryland Historical Society at 201 West Monument Street, Baltimore, through April 29. The entire Joseph Kohl Photograph Collection, PP284, will remain at the MDHS in perpetuity.

UMBC’s Maurice Berger, research professor and chief curator for the Center for Art, Design and Visual Culture (CADVC), and a major national figure in the field of media studies, has won the International Center of Photography (ICP) 2018 Infinity Award. The award, in the category of Critical Writing and Research, honors Berger’s acclaimed ”Race Stories” column for the Lens section of the New York Times.

ICP’s Infinity Awards are widely considered the leading honor for excellence in the field of photography and visual culture. The selection committee includes Isolde Brielmaier, assistant professor at NYU and executive director of Arts, Culture and Community, Westfield World Trade Center; Marina Chao, assistant curator of exhibitions for ICP; James Estrin, Lens blog co-editor and senior staff photographer for the New York Times; and Antwaun Sargent, writer and critic.

Since 1985, the ICP Infinity Awards have recognized major contributions and emerging talent in the fields of photojournalism, art, fashion photography, and publishing. The 34th annual ICP Infinity Award honorees will be celebrated at a gala on April 9 in New York City.

”I am honored to receive an award long considered important to the community of photographers, writers, editors, and curators of which I’m a part,” Berger shares. “To write monthly for the New York Times about the ways photography mediates the issues of race fulfills a long held dream. To have that work acknowledged and rewarded by my peers, in addition to the incredible support I get from Times readers, is truly wonderful.” 

Berger’s monthly “Race Stories” column explores the relationship of photography to concepts, themes, and social issues around race not usually covered in the mainstream media. He launched the column, in July 2012 and two years later received the 2014 Creative Capital | Andy Warhol Foundation ArtsWriters Grant in recognition of his writing.

The well-researched essays are written in a literary and reader-friendly style and explore a range of subjects and photographers. Predominantly focused on work from the civil rights era to the present, his writing has focused on a multiple issues: contemporary African American art and photography; the modern civil rights movement; Latino/a, Asian-American, and Native American photography; Asian and African photography; 19th-century and Civil War-era photography and race; and developments in Latino and Asian American photography. His work has also explored how artists and photographers of color have employed photography to combat stereotypes and prevailing ideas about race and identity in the United States.

Included in the series is a moving personal essay from December 2017, “Using Photography to Tell Stories About Race”, that contextualizes Berger’s writing on race within his personal story. In the essay, Berger writes:

As a Jew, I have known anti-Semitism. As a gay man, I have known homophobia. But neither has seemed as relentless as the racism I witnessed growing up — a steady drumbeat of slights, thinly-veiled hostility and condescension perpetrated by even the most liberal and well-meaning people. It was painful to watch, and as my friends let me know, considerably more painful to endure.

“Continually observing this reality shaped how I understood racism: When people told me they had experienced prejudice, I believed them. I had rejected the liberal tendency to defensively dismiss the victim to protect the accused.”

ICP worked with Harbers Studio and MediaStorm to produce mini-documentary films on each of the 2018 Infinity awardees, including a  12-minute film on Berger:

The CADVC recently launched a webpage indexing all of the “Race Stories” essays that is updated monthly as new posts are published. “I wanted to find ways to make the ‘Race Stories’ series available to as broad an audience as possible,” says Berger. “I think it’s important for college and university students to read these essays. So putting them on the CADVC website has made all of them available, in one convenient place, to our students at UMBC as well as the thousands of outside visitors to our website.”

Berger shared further, “I always write my essays for The New York Times and curate my exhibitions on race and visual culture with young people in mind…because if you can inspire a young person to see the world in new ways, then you can inspire anyone. I get a lot of emails from high school teachers and college professors, who tell me they routinely assign my ‘Race Stories’ essays to their students. I’m an educator, first and foremost. The principal purpose of my work is to teach racial literacy through visual culture.”

In addition to Berger’s writing for the New York Times, his work regularly appears in other major publications, from Artforum and Aperture to Wired and the Los Angeles Times. His latest essay, “These Reenactments Put a Personal Face on the History of Black Protest,” appears in a historic April special issue of National Geographic on race. The magazine put together a team of photographers and race writers to explore one of the most complicated issues of our time. Berger’s writing engages with the work of Senegalese artist Omar Victor Diop, who explores the fight for civil rights in reenactment photos. His essay will also appear in an eight-page spread in the print issue.

Top image: Maurice Berger, photo by James Estrin. Center images from left to right: Nona Faustine, Arbores autumnales puella, Queen Ming, the photographer’s daughter, 2016, Courtesy of the artist; Gordon Parks, Untitled, Mobile, Alabama, 1956, Courtesy of the Gordon Parks Foundation; Ken Gonzales-Day, Erased Lynching: Disguised Bandit, 2006

The UMBC Graduate School Dissertation Fellowship

Application Deadline:  Friday, April 20, 2018