Phillips and University of Maryland Form Partnership


Collaboration includes new curriculum, experimental and community-focused education programs,launch of The University of Maryland Center for Art and Knowledge at The Phillips Collection, and a new gallery and open storage facility in Prince George’s County

The Phillips Collection’s Director Dorothy Kosinski and University of Maryland President Wallace D. Loh announced today a bold partnership between the two institutions with a shared vision to dramatically transform scholarship and innovation in the arts.

Layered with rich opportunities to collaborate, the agreement is ambitious, entrepreneurial, and risk-supportive, which are considered essential qualities in today’s competitive arts and academic environments. Together, The Phillips Collection will expand its education programs, reach new and diverse audiences, and pursue key initiatives that align with the museum’s strategic mission as an “experiment station” and institution for learning. At the same time, UMD will grow its established scholarship and academic programs within the arts, provide unparalleled research and education opportunities for UMD faculty and students, and expand its footprint in the nation’s capital.

“This is a pivotal moment in Phillips history. As we look toward the museum’s 100th anniversary in 2021, we intend to redefine its role within the cultural community locally and globally,” says Kosinski. “Together with the University of Maryland—one of the country’s leading institutions for research and innovation—we can reach new audiences, disrupt conventional thinking, and inspire new heights of achievement and impact.”

“This remarkable partnership fulfills a long-time dream for this campus,” said University of Maryland President Wallace D. Loh. “Not only does it provide access to this priceless collection, but it brings a new vigor to our arts education, and to the entire campus.  We are genuinely a STEAM university—Science-Technology-Engineering-Arts-Math.”


This partnership, rooted in shared values and a commitment to arts integration and innovation, will provide rich and meaningful opportunities for education, innovation, research, entertainment, interdisciplinary collaboration, and exploration.  University faculty and programming will complement the museum’s expertise in scholarship, exhibitions, and publications, and will serve as a partner in the exploration of topics related to the museum’s collections and programs.

With long-term goals in mind and a forward-looking entrepreneurial spirit, this six-year partnership—through investment from both institutions—will position the Phillips and UMD to achieve the goals articulated in their strategic plans while providing rich and meaningful opportunities for local and global audiences.

To increase greater public viewing to more of the museum’s exceptional 4000-piece collection, the Phillips and UMD plan to develop a new gallery and open storage facility in Prince George’s County. The new public facility will serve as a cutting-edge, modern and contemporary art center, hub for experimentation and innovation, and an artistic laboratory for a global community. This project would spark county and statewide economic development and dramatically expand outreach to students, faculty, the local community and a range of national and international visitors.

UMD will also now be the primary presenter of all Intersections exhibitions at The Phillips Collection. Intersections is the Phillips’s series of contemporary art exhibitions that invites artists of today to explore the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. This partnership builds on UMD’s already sterling reputation for building the future of the arts—from world-class performances at The Clarice Smith Performing Arts Center to cutting-edge training in arts management at the DeVos Institute.


The University of Maryland Center for Art and Knowledge at The Phillips Collection is the expansion of the Center for the Study of Modern Art—the museum’s nexus for academic work, scholarly exchange, and innovative interdisciplinary collaborations. Key collaborations under the newly named Center will include:

  • Expanding on and developing new arts curriculum and extended studies courses and seminars focused on art, art history, arts management, museum studies, cultural diplomacy, conservation and interdisciplinary studies.
  • Supporting two or more postdoctoral fellowships at the Phillips annually, with research conducted in the areas of modern art, conservation, music, and cultural diplomacy.
  • Partnering on the Phillips’s International Forum Weekend, which, since 2009, has brought together leading art collectors and committed philanthropists from around the world to engage with artists, art professionals, and diplomatic, Congressional, and Administration leaders to explore topics in modern and contemporary art in a global context.
  • Co-publishing the UMD-Phillips Book Prize, a biennial book prize for an unpublished manuscript presenting new research in modern or contemporary art from 1780 to the present.
  • Co-presenting a new music series at the Phillips, developed in partnership between the Phillips and UMD’s School of Music.
  • Enhancing programming for Creative Voices DC and other public programs, which includes expanding programming and academic offerings to UMD’s campus, including public lectures, college courses, symposia, interdisciplinary projects and artist talks.
  • Digitizing of the museum’s archives of 9,500 scholarly books, exhibition catalogues, and correspondence, to preserve the archives in perpetuity and make valuable educational resources easily accessible to scholars, researchers and students around the world.

“By providing new opportunities for sustained inquiry, this partnership will enable the Phillips to deepen its educational mission and become internationally recognized as the leading resource for the study and appreciation of modern and contemporary art, while also enhancing the University of Maryland’s reputation as a leading institution for the arts and a trailblazer for the STEM-to-STEAM movement nationally and globally,” says Board Chairman George Vradenburg. “Picasso purportedly said of computers, ‘They are useless.  They can only give you answers.’  Our increasing visual world demands that we add arts to STEM curriculum, so we can ask—and answer—the right questions. We believe this type of provocative and inclusive conversation can only arise from a collection of such specific and singular identity as the Phillips’s.”

As part of the new partnership, UMD students, faculty, staff and Alumni Association members will received free admission to the Phillips, and have access to the collection, facilities, and museum staff for research and educational purposes. The Phillips will also offer internships for UMD graduate and undergraduate students in interdisciplinary fields.

The partnership between The Phillips Collection and the University of Maryland will serve as a catalyst for an even more dynamic use of the museum’s permanent collection and for the development of new educational programs across disciplines and audiences.


The Phillips Collection is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to modern art by combining works of different nationalities and periods in displays that change frequently. Artists represented in the collection include Pierre-Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cézanne, Pablo Picasso, Honoré Daumier, Georgia O’Keeffe, Mark Rothko, Jacob Lawrence, and Richard Diebenkorn, among others. The Phillips Collection, America’s first museum of modern art, has an active collecting program and regularly organizes acclaimed special exhibitions, many of which travel internationally. The Phillips also produces award-winning education programs for K–12 teachers and students, as well as for adults. The museum’s Center for the Study of Modern Art explores new ways of thinking about art and the nature of creativity, through artist visits and lectures, and provides a forum for scholars through courses, post-doctoral fellowships, and internships. Since 1941, the museum has hosted Sunday Concerts in its wood-paneled Music Room. The Phillips Collection is a private, non-government museum, supported primarily by donations.


The University of Maryland is the state’s flagship university and one of the nation’s preeminent public research universities. A global leader in research, entrepreneurship and innovation, the university is home to more than 37,000 students, 9,000 faculty and staff, and 250 academic programs. Its faculty includes three Nobel laureates, three Pulitzer Prize winners, 47 members of the national academies and scores of Fulbright scholars. The institution has a $1.8 billion operating budget, secures $500 million annually in external research funding and recently completed a $1 billion fundraising campaign. For more information about the University of Maryland,

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NGA Acquires Bingham’s “The Jolly Flatboatmen”


George Caleb Bingham American (1811 – 1879) The Jolly Flatboatmen, 1846 oil on canvas 96.8 x 123.2 cm (38 1/8 x 48 ½ in.) National Gallery of Art, Washington Patrons’ Permanent Fund 2015.18.1

George Caleb Bingham’s masterpiece, The Jolly Flatboatmen (1846)—considered one of the greatest American genre paintings ever made—has entered the collection of the National Gallery of Art, Washington. Known as “the Missouri artist,” Bingham was fascinated with American frontier life and is particularly well known for his paintings of trappers and boatmen along the Mississippi and Missouri rivers. The purchase of the painting from the collection of the Richard and Jane Manoogian Foundation was made possible by the Gallery’s Patrons’ Permanent Fund.

The Jolly Flatboatmen is among the first distinctly American paintings that capture the allure of Western expansion during the mid-19th century,” said Earl A. Powell, III, director, National Gallery of Art. “The American masterpiece has had a regular presence at the Gallery since 1956, thanks to the generosity of its past owners, the Pell family and Richard Manoogian. It joins two other outstanding paintings—Mississippi Boatman (1850) and Cottage Scenery (1845)—and two works on paper by Bingham in the Gallery’s collection.”

The painting was also featured in two exhibitions: American Paintings from the Manoogian Collection at the National Gallery of Art in 1989, which traveled to San Francisco, New York, and Detroit, and George Caleb Bingham at the Saint Louis Museum of Art and the Gallery in 1990.

Born in Virginia in 1811 and raised in Missouri, Bingham began his career as a portrait painter and was largely self-taught. It was not until about 1845 that he began painting his most notable works—genre scenes featuring a wide range of colorful characters that lived and worked on the Mississippi and Missouri rivers. These lively compositions remain among the most important portrayals of life at the gateway to the Western frontier.

In The Jolly Flatboatmen, Bingham placed his central dancing figure at the apex of a triangular composition. On either side of the dancer, a fiddler plays a tune while another boatman keeps time on a frying pan and the rest of the men lounge on the deck as the boat floats downriver. In the foreground, Bingham included several remarkable still-life elements: a shirt drying in the sun, a coonskin, and a coiled rope. By 1846, when Bingham completed this painting, flatboats were quickly being replaced by steam-powered vessels that could haul freight at significantly faster speeds.

The American Art Union, based in New York City, was instrumental in Bingham’s artistic career. This organization provided artists not only exhibition space, but also helped to disseminate their art to a broader public. In 1846, the Union purchased The Jolly Flatboatmen and included the work in its annual raffle. The painting was awarded to Benjamin van Schaick, a grocer living in New York. Bingham’s spirited river scene became wildly popular through the circulation of printed reproductions, including 10,000 mezzotints of the painting distributed by The American Art Union to its members in 1847 and two lithographs produced by Currier & Ives in 1867 and 1870.

Hoping to profit from the original painting’s popularity, Bingham completed two additional versions on the theme. The first, Jolly Flatboatmen in Port (1857), now at the Saint Louis Art Museum, repeats the triangular composition with additional figures. The second version, The Jolly Flatboatmen (1877–78), currently in the collection of the Terra Foundation for American Art, Chicago, is a smaller painting with just seven figures. However, the original composition of The Jolly Flatboatmen remains Bingham’s best-known work.

After disappearing from view for more than a century, The Jolly Flatboatmen was purchased by William Pell sometime prior to 1954 when it was exhibited at the Saint Louis Art Museum. It remained in the collection of the Pell family and the Pell Family Trust until Richard A. Manoogian purchased the painting in 1986.

National Gallery of Art’s American Paintings Collection

Today the National Gallery of Art’s collection of some 1,400 American paintings from the 18th to the early 20th centuries represents the largest holding of any school in the Gallery and is among the top collections in the country. It includes works by nearly every important figure in American painting and many of these artists’ greatest masterpieces, from John Singleton Copley’s Watson and the Shark (1778), Rembrandt Peale’s Rubens Peale with a Geranium (1801), and Thomas Cole’s four-part allegory, The Voyage of Life (1842), to George Inness’s The Lackawanna Valley(c. 1856), Winslow Homer’s Breezing Up (A Fair Wind) (1873–1876), and George Bellows’s Both Members of This Club (1909).

The collection also includes George Catlin’s Indian paintings, donated by Paul Mellon, and American folk art from the collection of Edgar William and Bernice Chrysler Garbisch. Both gifts total more than 600 paintings, representing more than one-third of the American paintings collection. The recent acquisition of some 226 works from the collection of the former Corcoran Gallery of Art has further enhanced the Gallery’s holdings, with outstanding works such as Albert Bierstadt’s The Last of the Buffalo (1888), Frederic Edwin Church’s Niagara (1857), and Edward Hopper’s Ground Swell (1939), plus important works by African Americans, including Aaron Douglas’s Into Bondage (1936), genre paintings, and the Gallery’s first work by Cecilia Beaux.


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In Memory of Norman Parish, 1937-2013

Galleries magazine will greatly miss our longtime friend Norman Parish.

In Memory of Norman Parish

Tuesday, July 16, 2013
Posted by: Alumni Relations

Norman Parish (BFA 1960), a painter who opened an art gallery in Washington that spotlighted African American artists at a time when few other galleries concentrated on showing their work, died July 8 at his home in Germantown. He was 75.
He had a brain tumor, his son Norman Parish III said.
Early in his career, Mr. Parish was part of a politically active group of black artists in Chicago. He continued painting after coming to Washington in 1988 to take a job with an environmental company as a computer graphics designer.
With a new artistic focus on lush landscapes inspired by his travels through Western Maryland, Mr. Parish attempted to exhibit and sell his work in local galleries.
“While people generally seemed to like my paintings, no one would show them,” he told The Washington Post in 1996. “Finally, someone told me I should open my own gallery and exhibit my work. I rejected the idea at first. Then I decided it wasn’t so bad and went into business.”
He opened the Parish Gallery in Georgetown in 1991. It became one of the country’s best-known black-owned art galleries, with a focus on works by African Americans and other artists of what is known as the African diaspora.
Mr. Parish gave himself five years to make the gallery a success. Within that time, he was able to give up his day job in computers to devote himself to the gallery, which he operated with his wife, Gwen. After 22 years, the Parish Gallery is still open, now with an exhibition of Mr. Parish’s own paintings.
“At the time, it was unprecedented for an African American to have a gallery in Georgetown,” Juanita Hardy, executive director of the nonprofit arts promotion group Cultural D.C., told The Post last month.
Over the years, Mr. Parish showed the work of more than 170 artists, including such well-known figures as Sam Gilliam, Richard Mayhew, Lou Stovall, E.J. Montgomery and Wadsworth Jarrell.
“He was well-respected nationally,” Jarrell, who met Mr. Parish when they were students at the Art Institute of Chicago in the 1950s, said Tuesday in an interview. “There will definitely be a void for African American artists because of the number of artists he showed. He gave everybody a chance.”
Norman Parish Jr. was born Aug. 26, 1937, in New Orleans. He grew up in Chicago and was a 1960 graduate of the Art Institute of Chicago, where one of his teachers was painter and illustrator LeRoy Neiman, who died last year.
Mr. Parish occasionally painted abstract works, but more often he worked in what he called “stylized realism.” His paintings often have bold colors, with vivid greens, oranges and aquamarine blues. He uses impressionistic and collage-like qualities without abandoning the recognizable, three-dimensional world.
In 1967, Mr. Parish was one of several artists who contributed to the “Wall of Respect,” a mural on the South Side of Chicago that showed images of African American achievement. The building on which the mural was painted was razed in 1973.
In recent years, Mr. Parish turned to painting scenes drawn from his early childhood memories of New Orleans. His artwork is in museums in Chicago and Alabama and in many private and corporate collections.
His first marriage, to the former Shirley King, ended in divorce. Survivors include Gwen Burkett Parish, his longtime partner whom he married eight years ago, of Germantown; three children from his first marriage, Norman Parish III of Oak Park, Ill., Kimberley Parish Perkins of Arlington, Tex., and Malcolm Muhammad of Chicago; his 101-year-old mother, Vierian Parish of Homewood, Ill.; three sisters; one brother; and five grandchildren.
“I wanted to show high-quality art that had been overlooked,” Mr. Parish told The Post in 1996, describing his goal in opening the gallery. “I wanted to give solo shows to people who deserved one but had never had the opportunity.”
There will be a memorial in Chicago for Norman Parish from 3 p.m-6 p.m. on Aug.31 at the ETA theater, 7558 South Chicago.  Art Institute alums Richard Hunt (BAE 1957) and Wadsworth Jarrell (BFA 1958) are among the speakers at the event.

from mysaic, School of the Art Institute of Chicago.

His obituary is published in the Washington Post.


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For teens in and around Montgomery County, MD who are passionate about art, ARTS ON THE BLOCK is a place to learn about the world of art, the world of work, the community, and themselves. It is a place to make new friends, make art for real clients, and make plans for successful futures.

For lovers of art and others passionate about supporting the work of talented young people, ARTS ON THE BLOCK is a source of beautiful handcrafted artwork from small decorative objects to vast public installations in mosaic and other media.

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Arts on the Block achieves its mission by providing paid opportunities to work with established artists/mentors on commissioned artwork and entrepreneurial projects.

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Wheaton, MD  20902

Arts on the Block: where creative young people set their sights on bright futures!


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A History of Local Print Collecting from

Please visit the web address below for a brief history of local print collecting, and an assessment of current trends.

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Rent Touchstone Gallery Space

Rent our space for your next special event!

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Flooded with natural light  / 15 ft. ceilings with track lighting and fan
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