Augmenting the Exhibition: Augmented Reality (AR)

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“Manhua + Manga” exhibit in the University of Maryland Art Gallery. Chinese and Japanese comics and cartoons on display. Photo by John Consoli/University of Maryland.

Augmented reality is a constantly trending hashtag on twitter. It seems that most museums are trying their hands at it these days, and if they are not, they are talking about it. Thanks to the presence of the Michelle Smith Collaboratory for Visual Culture in the Department of Art History and Archaeology at UMD, the Gallery has been able to experiment with it as well– to some amazing results.

When I began planning my show, I knew I wanted some sort of augmented reality component to accompany the exhibition. In my previous position as a Graduate Assistant in art history, I had the opportunity to experiment with various platforms and apps in the name of research and pedagogy. I have not been a graduate assistant in three years; and because technology years run roughly equivalent to dog years, I was over twenty years behind. I needed to know what was out there and what would work for my show.

After I pitched my exhibition to Quint Gregory, the director of the Michelle Smith Collaboratory for Visual Culture, he helped me dream up the AR component currently available in the gallery. Guests are invited to borrow iPads from one of our attendants or download the Aurasma application on their smart phones. In the gallery, different objects are “tagged:” they trigger information and images available through the app. Hover the iPad over a cover by Chinese female cartoonist Liang Baibo to hear about her career and see other examples of her work. Interested in the Prange collection and how it came to UMD? Take the iPad over to the last viewing case in Japan. All five of the triggers are marked by small red dots.

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“Manhua + Manga,” University of Maryland Art Gallery. Photo by Thai Nguyen/University of Maryland.

Augmented reality allowed me to add a new layer of information to the exhibition, as well as provided the audience with a different avenue to explore the exhibition. A special thank you to Quint Gregory and the Michelle Smith Collaboratory for Visual Culture for all their help.

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Augmenting the Exhibition: Pop-up Library

One point that kept sticking in my mind throughout the curatorial and exhibition design process was the functionality of these objects. These objects now live in museum and archival collections; and during their stint at the University of Maryland Art Gallery, they are displayed in custom viewing cases. When they were originally printed, however, they were meant to be held, flipped-through, and closely read. It was important to me to acknowledge and convey that origin to the audience.

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Pop-Up Library, Manhua + Manga, Photo by Thai Nguyen/University of Maryland.

For our previous exhibition at the University of Maryland Art Gallery, Timeline: The University of Maryland Art Gallery at Fifty, we worked with the University of Maryland libraries to create a pop-up library in the Herman Maril Teaching and Research Gallery. For Manhua + Manga, we decided to switch it up just a bit. We moved that pop-up library out into the space of the Gallery, and, rather than only feature reference text, we included manga and manhua in various languages from different authors and artists. In the center of the library sits a TV streaming several episodes from the early 1980s made-for-TV cartoon, Astro Boy.

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Pop-Up Library, Manhua + Manga, Photo by Thai Nguyen/University of Maryland.

As a result, visitors to the Gallery could more fully realize the nature of the displayed material. They also could make visual and historic connections between the texts they could browse and those they could only read from afar.

Augmenting the Exhibition: Design

 

As the culmination of my two years at the Gallery, I was invited to propose, curate, and realize a month-long exhibition at the University of Maryland Art Gallery. Currently on view, the exhibition Manhua + Manga features a selection of Chinese and Japanese comics, cartoons, and caricature from the 1930s. I curated this exhibition as part of my doctoral dissertation process. My dissertation examines the covers of various journals and magazines printed in Shanghai in the 1930s in an effort to understand the visual experience and landscape of the city.

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“Manhua + Manga” exhibit in the University of Maryland Art Gallery. View of Chinese journal covers. Photo courtesy of John Consoli, Between The Columns, April 2016.

For the exhibition I wanted to explore a tangential subject matter: the connection (or lack of one) between Chinese and Japanese comics during this period. It was important to me to show that these two mediums, China’s manhua and Japan’s manga, were distinct and rooted in local conditions, as well as drawing attention to the various transcultural flows between the two countries. China and Japan have a long history of shared cultural exchange, and this continued into the 1930s even under the threat of war.

How could I make this happen in a way that was respectful to the objects and cultures involved? I proposed to my supervisor “splitting” the Gallery in two: China on one side and Japan on the other. In this sense, the visitor could make their own connections while appreciating the differences between the two. During this initial discussion, he proposed constructing a map to display the objects upon. In place of traditional podiums, we would build tables that mimicked China’s coastline and Japan’s archipelago. To make this happen, we hired artist and designer Rob Hackett, a recent graduate of UMD’s MFA program. After a few meetings, the exhibition was sketched out and viewing cases ordered.

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“Manhua + Manga” at the University of Maryland Art Gallery. Chinese and Japanese comics and cartoons on display. Photo Courtesy of John Consoli, Between The Columns, April 2016.

The design of this exhibition is my second favorite aspect of the show- second to the objects on display. (The pop-up library and the augmented reality component are a close third.) When the visitor enters the Gallery, they can either go to the left, the right, or proceed down the middle of the room between the two display tables. If he or she chooses the latter, he or she is standing in a figurative East China Sea. From there they can examine the work of each country as separate and distinct, as well as grasp the cultural proximity between the two art forms. To further reinforce the geographical context, we placed labels and dots closely approximating the artistic and publishing centers of Shanghai and Tokyo.

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“Manhua + Manga” at the University of Maryland Art Gallery. Chinese and Japanese comics and cartoons on display. Photo courtesy of John Consoli, Between The Columns, April 2016.

Highlights of the Collection: Les Gens de Justice by Honoré Daumier

The following blog post is written by Zoe Copeman, the Curatorial Assistant for the exhibition Timeline: The University of Maryland Art Gallery at Fifty and recent UMD grad. To learn more about professional development opportunities for UMD students at the Gallery, click here.

Sleeping judges, double-tongued attorneys, and the morally inept. These are the stories behind the series Les Gens de Justice by Honoré Daumier. Originally published in the journal Charivari from 1845 to 1848, these prints satirize the daily lives of lawyers and judges.

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Honore Daumier, “Les Gens de Justice #4” from the journal Le Charivari, 1845, lithograph, 18.5 x 25.4, Gift of Robert Paul Mann (1975.1.1)

Daumier was a master caricaturist of the mid-19th century. Taking on a spectator role, Daumier found ways to criticize the whole of French society. His subjects often favored the scandals and legal corruption of his time. With the Industrial Revolution in full bloom, nineteenth century Paris streets rumbled with new technology, grime, and greed. In 1848, lawyers were preparing an ill-fitting constitution for France, and the Aristocracy was committing murders left and right. The lay people, with whom Daumier sympathized, were outraged. Les Gens de Justice was a timely series, exposing the nation through satire to the corruption of lawyers and the bourgeois. Daumier’s cartoons enlighten the viewer to these men made selfish and unprincipled by their seemingly unlimited wealth and power. Daumier’s simplistic compositions and exaggerated figural and facial expressions lend a depth to his works unmatched at the time, opening up a dialogue through which the ‘almighty’ could be criticized under the realm of humor.

The elusive Robert Paul Mann donated these seven prints to the University of Maryland Art Gallery (UMAG) in 1975, along with works by Kandinsky and other notable nineteenth century artists. These prints were the impetus for starting a permanent study collection, where professors of the University of Maryland could use the gallery as a mechanism for research and education within their classes. This interactive quality of the gallery has carried on to this day, becoming a large part of UMAG’s mission over the years and part impetus for the creation of the Herman Maril Teaching and Research Gallery within UMAG’s walls.

2015 MFA Thesis Exhibition

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UMD students viewing Hackett’s work from different angles.

The last show of the academic year, as it is every year at The Art Gallery, is the annual MFA thesis exhibition. It is always interesting to see what our neighbors in the building are up to, but it is also bittersweet. These talented artists are moving on to bigger and better things. Before they go, however, they leave us with their final statement as graduate students: The 2015 MFA Thesis Exhibition.

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Hackett and his work

This year’s exhibition features the work of artists Rob Hackett, Aydin Hamami, and Steve Williams. When visitors first enter The Art Gallery, they are greeted by Hamami’s work to the right, William’s to the left, and Hackett’s in the back gallery. For Hackett, it was important to alter the physical space of the Gallery and the experience of the viewer, and one piece consumes the entirety of the back gallery. It consists of wood blocks suspended on metal cables attached to wall brackets. The contrast of the warm wood blocks and the hard metal cables and brackets give the work both a heavy and light feeling. It reads gentle and delicate like a summer hammock swaying softly, as well as hard and heavy like the elements of a construction site ready for a build. The latter reference to urban life was influenced by the artist’s time in Pittsburgh, a city known for its numerous bridges.

Hackett invites and encourages his audience to walk in and around the work and to absorb it from differing vantage points. Visitors can be seen stepping in and around cables as they attempt to navigate the space without disturbing the piece.

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Hamami and his work

The inspiration of city life and urban space continues throughout the exhibition. In Aydin Hamami’s work, the artist utilizes various non-traditional materials to create large abstract paintings. Most notably Hamami’s use of tar plays upon viewer’s expectations and perceptions of a painting. The tar, shiny and heavy against the warm colors of the painting, is reflective. As the viewer gets close to examine the work, they unexpectedly come across their own partial and distorted image

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Hamami and his work.

The tar is but one of the many layers of materials in Hamami’s works. As a result, each piece has a depth of color and texture, but the overlay of strong materials such as the tar often disrupts this feeling. The piece once again is flat, a two-dimensional and hard-edged painting. In the Artist Round Table, Hamami noted that his work is often about the process, in particular his discovery and experimentation with new and unconventional materials. Each work reveals Hamami’s intimacy with his materials, and his hand is always evident allowing the subject of his pieces to toe the line between abstract form and artistic process.

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Williams and his work

The third artist featured in the MFA show is Steve Williams. Williams’s work is a series of large photographs of everyday miniscule objects enlarged and centered on a white background. These small objects were collected by Williams on the walk from his home in Takoma Park to UMD’s College Park campus. After Williams had collected a series of objects, he began to photograph them.

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Williams and his work

In the Gallery space the photographs take on religious and sacred connotations due to their scale, lack of context, rich color, and method of display. This aspect can most literally be seen in the works featuring religious imagery such as the Virgin of Guadalupe or the Shroud of Turin. More surprisingly, however, it is the works that lack these overt religious references that appear the most iconic. An enlarged piece of small, blue plastic becomes monumental through Williams’s process, and its simple form becomes totemic.

Each artists’s work is different from his peers, but all manage to speak to one another through their interest in space and form. If you want to see the exhibition, stop by The Art Gallery by May 22nd. The Gallery is open from 11:00 am – 4:00 pm Mondays through Fridays and select Saturdays.

-Madeline L. Gent, Graduate Assistant, The Art Gallery

Streams of Being: A First Look

The Art Gallery is currently hosting the exhibition Streams of Being: Selections from the Art Museum of the Americas. Curated by Assistant Professor of Latin American Art in the Department of Art History and Archaeology, Abigail McEwen, and University of Maryland graduate students, the exhibition features forty-five artists from sixteen countries across the Americas. To commemorate and celebrate this unique exhibition and collaboration between the Art Museum of the Americas of the Organization of American States and The Art Gallery at the University of Maryland, various University of Maryland graduate students and undergraduate students have taken over our blog. Below, University of Maryland senior Stephanie Gaither recaps the exhibition’s opening.

A First Look
Stephanie Gaither ’15

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The Art Gallery’s Taras Matla addresses the crowd at the opening. Photo by Madeline L. Gent

On March 25th, 2015, The Art Gallery presented the exhibition Streams of Being: Selections from the Art Museum of the Americas. Despite earlier previews and some familiarity with the pieces, nothing could beat the feeling of seeing the complete installation for the first time.  Perfectly situated, the artworks create a balanced and harmonious ambiance that guides the visitor throughout the space, sustaining a steady excitement and emotional response through each of the four areas. The opening gathered students, faculty, artists, and art enthusiasts on campus to enjoy the wide selection of objects. Taras Matla of The Art Gallery, Andrés Navia of AMA, and Professor Abigail McEwen all spoke briefly at the opening “We were thrilled to partner with the Art Museum of the Americas, home to one of the preeminent public collections of modern and contemporary Latin American art,” McEwen later stated.  “This exhibition was a true collaboration between AMA and The Art Gallery and one that we hope to advance in future years.  I was delighted to see so many students at the opening, and I hope that the exhibition continues to draw the campus community to the Gallery in the next month.” Close to 200 people attended the opening reception.

A few days later, I had the pleasure to interview some of the students in Professor McEwen’s undergraduate colloquium who attended the opening. Lindsay D’Andelet declared, “I thought that the opening was very interesting; there were a lot of people there including the director of AMA. Walking in the gallery was really cool, because I was one of the first people here and the first thing that I noticed was the large piece on the back wall which drew me in.” Sibia Sarangan, a student and the Gallery’s Collections Management and Research Intern, stated, “The opening was really successful in my opinion. A lot of people showed up from different demographics– students, members of the community, and everyone seemed to really enjoy the art. The exhibition was the result of collaboration between a lot of different people and institutions such as the Art Museum of the Americas and The Gallery here at the university. I think it was a great success and everyone seemed to be either interested in the streams and how the different pieces are connected with each other.” Most people seem to agree that the opening was a success, and are all very excited to have more people visit the show this month!

Stephanie Gaither is a senior at the University of Maryland, College Park. She is majoring in government and politics, and economics. Her interests include traveling, reading, and visiting art museums.

Dust and Ashes: A Poetic Reaction to Berni’s Imaginary World

The Art Gallery is currently hosting the exhibition Streams of Being: Selections from the Art Museum of the Americas. Curated by Assistant Professor of Latin American Art in the Department of Art History and Archaeology, Abigail McEwen, and University of Maryland graduate students, the exhibition features forty-five artists from sixteen countries across the Americas. To commemorate and celebrate this unique exhibition and collaboration between the Art Museum of the Americas of the Organization of American States and The Art Gallery at the University of Maryland, various University of Maryland graduate students and undergraduate students have taken over our blog. Below, University of Maryland senior Angela Seo-hyun Cho employs poetry to analyze and interpret a work featured in the show.

Dust and Ashes: A Poetic Reaction to Berni’s Imaginary World

Angela Seo-hyun Cho ’15

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Antonio Berni, Ramona, 1965, Xilo-Collage Relief, 14.75 x 10 in. AMA | Collection OAS Art Museum of the Americas

Antonio Berni fixated on two subjects, Ramona Montiel and Juanito Laguna, beginning in the mid-1950s. What was it about these two characters that so enchained him to their existence? One of these characters, Ramona, is on display in The Art Gallery. The artwork is black and white, slightly raised as to give it a three-dimensional appearance, but still almost cartoon-like and eerie. Berni might have appreciated a poetic rendition of and reaction to his many studies of the characters Juanito, a poor boy struggling to survive in an industrial shantytown, and Ramona, a working-class girl turned high-class prostitute, selling her body and soul.

Here follows my poetic take on the world of Ramona:

Dust and Ashes

Is poor so poor or rich so rich?
As far black as blackness goes or as far light as lightness goes,
you dig and build empires of dust all around you

So, is dust then so delectable and so palatable to your lips
that you should guzzle it down and stuff it down your throat?
Why are you so unquenchably hungry?

You fill your belly with dust and excrete human ashes
And you use the excrement to fashion ornaments
And figurines that resemble the echo of love

And you decorate your empires with lace and pearls,
and paint the towns with black ashes,
all the while licking off more dust from the sides of cars, buildings, anything you can find

But, alas, the empire rocks to and fro and finally, collapses on top of you:
Shards of wealth pierce you in between your second and third rib.
You choke on your own excrement and you violently cough up rubies and emeralds

And you wonder what happened to your soul
And you realize your soul was made dust too
And you ate it 634 days ago when you forgot that
To be unimaginably rich is not always rich
and to be desperately poor is not always poor.

I leave you with some questions. From whose perspective does this poem come from? And secondly, what is your personal interpretation of this poem? Of Berni’s work?

Angela Cho is a senior at the University of Maryland. She is studying english literature and is interested in art of all forms.