Research and Innovation

Huang Yao (1917-1987) was a member of the Chinese Diaspora who lived in Malaysia and who worked with the traditional Chinese art forms of poetry, calligraphy, and painting. This verbal-visual representation was characteristic of artists who painted for "themselves and like-minded friends," not dependent on commissions or signing contracts as is more often the case in western art. Huang Yao's attachment to this traditional Chinese art form is fascinating, especially as the artist was a member of the minority elite Chinese population in Malaysia, partaking of this traditional culture over and against the cultural pressures exerted by the majority native population. Students in the Seminars in Honors program at UMD have taken advantage of the research and insights in the bilingual book in which over 100 paintings are discussed. Not only are the students exposed to the work of Huang Yao, but they are receiving an immersion in the various artistic forms on which Huang Yao drew and practiced (poetry, ink painting, calligraphy). The capstone project of their immersive semester is to curate an ideal exhibition of the artist's work, populating one of two existing virtual Sketchup models of art spaces on campus (University of Maryland Art Gallery and Stamp Gallery) with a selection of the artist's works from the book.

A catalog to accompany an exhibition at the Michael Goedhuis Gallery, London.

Across the Roman Empire, ubiquitous archaeological, art historical, and literary evidence attests to the significance of bathing for Romans' daily routines. Given the importance of bathing to the Roman style of living, imperial patrons enhanced their popular and political stature by endowing eight magnificent baths (the so-called imperial thermae) in the city of Rome between 25 B.C.E. and 315 C.E. This book presents a detailed analysis of the decoration of the best preserved of these bathing complexes, the Baths of Caracalla (inaugurated 216 C.E.). An interdisciplinary approach to the archaeological data, to the textual and visual sources, and to anthropological theories facilitates new understandings of the visual experience of the Baths of Caracalla for a diverse Roman audience and simultaneously elucidates the decoration's critical role in advancing imperial agendas. This reassessment of one of the most sophisticated examples of architectural patronage in Classical antiquity examines the specific mechanisms through which an imperial patron could use architectural decoration to emphasize his sociopolitical position relative to the thousands of people who enjoyed his benefaction. The case studies addressed herein, ranging from architectural to freestanding sculpture and mosaic, demonstrate that sponsoring monumental baths was hardly an act of altruism. Rather, even while they provided recreation for elite and sub-altern Romans alike, such buildings were concerned primarily with dynastic legitimacy and imperial largess. The unified decorative program - and the messages of imperial power therein - adroitly articulated these themes.

Decoration was integral and vital to the Baths of Caracalla (inaugurated 216 CE). Polychrome marbles were to be found everywhere: in the mosaic pavements underfoot; in the freestanding sculpture adorning various niches; and in the revetment of the walls and ceiling vaults. This paper examines the subtext of this sumptuous display, addressing the visual experience of the baths for a wide range of viewers. From the most sophisticated senator to his client, thousands of people a day would have followed the visual cues embedded in the baths' polychrome decoration in order to navigate through them and to engage in an afternoon of recreation and relaxation. The case studies addressed in this chapter, encompassing mosaic, architectural, and freestanding sculpture, demonstrate that endowing monumental baths was a concern of dynastic legitimacy and imperial largess.

In a volume analyzing Classical New York, this paper uses the Baths of Caracalla (inaugurated 216 CE) to consider the role of monuments in the transmission of cultural memory and identity. Thus, the author investigates the Baths of Caracalla's architectural afterlife in America when used as the prototype for, among others, the Palace of Fine Arts, St. Louis (1904); Union Station, Washington DC (1907); Union Station, Chicago (1925); and, most importantly in the context of this study, Old Pennsylvania Station, New York (1910). This paper contrasts the lived experience of the recreated architectural spaces of the Baths of Caracalla in New York with their original design and queries the underlying ambitions of various patrons, whether the emperor Caracalla or Alexander Cassatt, the president of the Pennsylvania Railroad and driving force behind Old Pennsylvania Station. In so doing, it attests to the rich and varied adaptations of the Baths of Caracalla in modern America. This study emphasizes intercultural influences and stresses the value of cross- cultural comparisons to address issues of reception, projection, and appropriation. The author devotes special attention to primary sources that vividly illustrate the ways in which iconic Roman landmarks were promoted as physical embodiments of cultural memory. Newsreels and photographs, for instance, are evocative witnesses to this phase of the Baths' reuse as the model for Old Pennsylvania Station, and these and other sources reveal the ways in which Roman baths were fundamental to the reception of the Classical past in twentieth century New York.

The Paul Mellon and Ailsa Mellon Bruce Senior Fellowships are intended to support research in the history, theory, and criticism of the visual arts of any geographical area and of any period.

An ancient viewer exiting Herculaneum's Central Baths onto the Cardo IV Superiore could see, across the street, a house whose entrance opened onto a striking vista framed by the fauces and the line of sight offered by successive openings into the atrium, tablinum, and beyond - to a polychrome mosaic decorating the east wall of the house's rear courtyard. This mosaic, depicting Neptune and Amphitrite, gives the house its name and is the subject of this chapter. This essay seeks to use the decoration of the House of Neptune and Amphitrite at Herculaneum in order to explore the decorative program's multivalent strategies with which to engage the Roman viewer; and to articulate aspects of the patron's personal and family identity as revealed through decoration. Therefore, the polychrome mosaic featuring Neptune and Amphitrite is examined first within the space of the home, and then within its regional and cultural contexts.

The exhibition, The Poet's Brush: Chinese Ink Paintings by Lo Ch'ing, curated by UMD professor Jason Kuo, brings 30 artworks to the Center for Art, Design and Visual Culture, UMBC for the artist's first show in the US in ten years. Representing 4 decades of the artist's work, the selection ranges from his smaller, poetic compositions of the late 1960s all the way to his monumental, post-modern landscapes of 2015. Working in the millennia-old tradition of Chinese ink art, Lo's paintings include familiar landscape forms of the genre, such as mountains, clouds and river scenes, but he updates this hallowed pictorial language with his own idiosyncratic vocabulary - one that includes an array of modern symbols like airplanes, icons, asphalt and skyscrapers - and aerial views impossible in ancient times.

Advancing a Different Modernism analyzes a long-ignored but formative aspect of modern architecture and art. By examining selective buildings by the Catalan architect Lluís Domènech i Montaner (1850-1923) and by the Slovenian designer Jože Plecnik (1872-1957), the book reveals the fundamental political and ideological conservatism that helped shape modernism’s history and purpose. This study thus revises the dominant view of modernism as a union of progressive forms and progressive politics. Instead, this innovative volume promotes a nuanced and critical consideration of how architecture was creatively employed to advance radically new forms and methods, while simultaneously consolidating an essentially conservative nationalist self-image.

While mapping his biography from his childhood in Peru to his death in the Marquesas Islands, Paul Gauguin (1848-1903) examines his artistic development through the style and content of specific works at the intersection of his personal experiences and spiritual transformation. As it tracks the evolution of his career from a self-taught Sunday painter to a seminal force shaping the direction of modern art, it explores how his unorthodox approach to materials and techniques stimulated his radical innovations—mutually reinforced by his experiments as painter, sculptor, ceramist, draftsman, printmaker, and author.