Depth of Field: Acquisitions to UMBC’s Photography Collection, 2008-2018

Todd Forsgren
Adelaide’s Warbler (Setophaga adelaidae), 2009
From the series Ornithological Photographs
Inkjet print
Accession no. P2016-07-001
© Todd Forsgren, used with permission

August 29 – December 19, 2018

Depth of Field presents approximately one-hundred images acquired over the last ten years by UMBC’s Photography Collections through generous gifts from donors and artists. The photographs on view highlight the breadth and depth of the collection and illustrate the range of forms, technology, and artists that historically shaped the medium and are presently impacting its ongoing evolution.

Artists included:

Laurie Brown, Kristin Capp, Clarence Carvell, William Eggleston, Donna Ferrato, Robert Fichter, Todd Forsgren, Peggy Fox, Sally Gall, Ralph Gibson, Penny Harris, Sam Holden, Irina Ionesco, Walter Ioos, N. Jay Jaffee, Brian Jones, Nate Larson, Alen MacWeeney, Mary Ellen Mark, Dorothy Norman, David Seltzer, David Seymour, Steve Szabo, Barbara Traub, Peter Turnley, Robert Von Sternberg.

two women in subway
N. Jay Jaffee
Woman and Young Girl in Subway, 1951
Gelatin silver print
selenium toned Accession no. P2012-17-012
© The N. Jay Jaffee Trust, used with permission
young man standing
Studio of R. Yamamoto, Yokohama, Japan
U.S. Sailor Earnest Estens, of the U.S.S. South Dakota, early 20th Century Cabinet card,
Accession no. P2016-01-014

Barbara Traub
Free Cloud, 1995
Gelatin silver print
Accession no. 2013-02-016
© Barbara Traub, used with permission
portrait of a young woman
Lotte Jacobi
Marlene Dietrich, 1929
Accession no. P2013-31-014
© Lotte Jacobi Collection, UMBC
Abandoned house in the field
Steve Szabo
Goat House, Wolf Trap Creek, 1976
From the series Eastern Shore
Platinum print Collection 254
© Steve Szabo, used with permission of the artist’s estate
interior of an abandoned building
Steve Szabo
Interior, Christ M. E. Church, 1976
From the series Eastern Shore
Platinum print
Collection 254
© Steve Szabo, used with permission
portrait with flowers and bird
Robert Fichter
Dürer with Red Flowers, from the series Florida Photogenesia
1984 Silver-dye bleach print
Collection 132
© Robert Fichter, used with permission

bird stuck in web
Todd Forsgren
Puerto Rican Tody (Todus mexicanus), 2009
From the series Ornithological Photographs
Inkjet print
Accession no. P2016-07-006
© Todd Forsgren, used with permission

Installation Views


Aftermath: War is Only Half the Story

April 2 – May 25, 2018

The end of war does not mean peace. It is simply the end of death and destruction. Every story of war includes a chapter that almost always goes untold – the story of the aftermath, which day by day becomes the prologue to the future.

This exhibition presents images by over fifty photographers and is a ten-year retrospective of the work of the groundbreaking program The Aftermath Project, founded to help change the way media covers conflict.

Justyna Mielnikiewicz
Justyna Mielnikiewicz
A Ukraine Runs Through It
Two Gypsy sisters, Ruslana, 16, and Milana, 19, take an evening stroll along the Dnieper River. Dniepropetrovsk, Ukraine. April 2014.
Juan Arrendondo
Juan Arrendondo
Everybody Needs a Good Neighbor
Angél, 14, and Daniel (right), 16, members of the ELN Che Guevara Front pose for a picture at their camp in Chocó. The Che Guevara Front operates on the Pacific coast of Colombia patrolling important corridors to allow the export of cocaine to the Pacific Ocean and into Mexico. February 17, 2004.
Philippe Dudouit
Philippe Dudouit
Sahel—The Dynamics of Dust
(From left to right) Bibi, Al Hussein, Mohamed and Akli are part of a Tuareg rebels music band, founded by the Niger Movement for Justice, a primarily Tuareg militant group, to spread their message all over the Sahel region. In the 1990s, as the first rebellion took place, another Tuareg band became famous as far away as Europe. Northern Niger, 2008.

Public Program

4:00 p.m.
Thursday, April 19, 2018

War Is Only Half the Story:

Sara Terry, photojournalist & founder of The Aftermath Project

Photojournalist Sara Terry will discuss the constellation of issues facing communities following the “resolution” of armed conflict, focusing on the work of The Aftermath Project. A groundbreaking non-profit organization founded by Terry, The Aftermath Project seeks to change the way media covers conflict through grants awarded to working photographers, exhibitions, and educational outreach.

Free & open to the public

Support for the presentation of this exhibition at UMBC is provided by the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts, the Friends of the Library & Gallery, the Libby Kuhn Endowment, and individual contributors.

War Is Only Half the Story is originated by The Aftermath Project, Los Angeles, and toured by Curatorial Assistance Traveling Exhibitions, Pasadena, California.


Our People, Our Land, Our Images

Laguna Pueblo (b. 1925)
Lee Marmon
Laguna Pueblo (b. 1925)
Laguna Eagle Dancers, 1962
Black-and-white print

January 29 – March 18, 2018

Opportunities to view indigenous peoples through the eyes of indigenous photographers are rare and recent. This photographic exhibition features the work of indigenous artists from North America, Peru, Iraq, and New Zealand. Distinctive in its historical reach, the exhibition includes newly discovered 19th-century trailblazers, members of the next generation of emerging photographers, and well established contemporary practitioners.

Our People, Our Land, Our Images has been carefully constructed as a first person, indigenous account. Reflecting contemporary trends, the photographers and their subjects vary in style, from straightforward documentary accounts to aesthetically altered images combining overlays and collage. The variety found in the exhibition conveys the plurality of the indigenous voices and their concerns. The photographs are united, however, in how they convey their makers’ connections to the land, community, and traditions.

Ultimately, the multiplicity of perspectives represented by the exhibition and its texts sustains an open-ended experience that will actively engage audiences as they analyze how “the camera, in the hands of indigenous visionaries, becomes a tool or weapon that possesses the power to confront and deconstruct stereotypes, politics, and histories.” Our People, Our Land, Our Images provides insight into the variations in and history of bicultural identity. Further, the exhibition demonstrates the longevity and continuing vitality of native traditions of photography and answers the overdue and continuing need to expand the knowledge of indigenous self-presentation in photography.

Peña Bonita
Apache/Seminole (b. 1948)
Skywalker, 2006
Color print
Sama Alshaibi
Iraqi/Palestinian (b. 1973)
Olives from Gaza: The Bitter Dream, 2004
Digital print
Erica Lord
Athabaskan/Inupiaq (b. 1978)
Untitled (I Tan to Look More Native)
from the series Tanning Project, 2006
Inkjet C-print
Shan Goshorn
Cherokee (b. 1957)
Pawnee Woman in Field from the series Earth Renewal, c. 2002
Hand-tinted, double exposed, black-and-white photographs

Public Program

6:00 p.m.
Tuesday, March 6, 2018

Artist’s Talk: Shelley Niro

Niro, who received her MFA from the University of Western Ontario, is an award-winning multi-disciplinary artist and member of the Six Nations Reserve, Turtle Clan, Bay of Quinte Mohawk.

Installation views


Man, Idea, Image: Photographs of Men from the Mark Rice Collection

Anderson & Low
Y, 1994
Gelatin silver print
©Anderson & Low, courtesy the artist

August 30 – December 21, 2017

This exhibition presents images of the male body in contemporary photographs from the Mark Rice Collection. Engaging the complicated dynamics of looking at the male form, the myriad meanings, narratives, metaphors, mythologies, fears and celebrations of the male body are contemplated in the context of the history of art broadly, and post-Stonewall culture and the AIDS crisis specifically.

Frank Yamrus
R.J. Bronze, 1994
Gelatin silver print
©Frank Yamrus, courtesy the artist
Vincent Cianni
Chris, Shelter Island, c. 1990s
Gelatin silver print
©Vincent Cianni, courtesy the artist
Bobby Coleman
Allegory, 1996
Gelatin silver print
©Bobby Coleman, courtesy the artist
David Teplica
Untitled (from Rapture series), 1992
Gelatin silver print
©David Teplica, courtesy the artist

Public Program

4:00 p.m.
Thursday, December 7, 2017

Exhibition Talk: Dr. James Smalls, Professor, Visual Arts, UMBC

Dr. James Smalls will speak on The Mark Rice Collection and the Homoerotics of Photography after Stonewall.

Exibition Views


The Korshak Collection: Illustrations of Imaginative Literature

Fictional Flying Creatures
José Segrelles
War of the Worlds, c. 1930
Mixed media

April 10 –May 16, 2017

Truly a vision of the fantastic, this exhibition is an amazing exploration of both illustrative art and the evolution of the visual landscape of science fiction and fantasy literature. Featuring work by both American and European artists and spanning more than a century, these vivid illustrations bring to life adventures, beings, and worlds conjured in novels such as Don Quixote, Alice’s Adventures in Wonderland and Tarzan, and pulp magazines including Amazing Stories, Weird Tales, Fantastic Adventures, and Wonder Stories. Accomplishing far more than simply guiding readers in their explorations of new and sometimes bizarre realms, the range and impact of these illustrations are far-reaching. The exhibition will also include books, pulp magazines, and other items drawn from UMBC’s Rosenfeld Collection, revealing how the illustrations in the Korshak Collection were meant to appear when encountered as artifacts of material culture.

Public Program

Artist’sTalk: Donato Giancola

5:00 p.m.Thursday, May 4, 2017

Award-winning illustrator Donato Giancola, best known for his endlessly creative and exquisitely rendered science fiction and fantasy illustrations, will discuss his broad range of illustrative work. Giancola’s diverse clients include DC Comics; Sci-Fi Channel; Wizards of the Coast (Magic: The Gathering); Tor Books; National Geographic, Milton Bradley; Microsoft; Penguin; Random House; Hasbro; Scholastic; Simon & Schuster; The Village Voice; CNN; United Nations; U.S. Postal Service.

Donato Giancola’s website:

About the Collection

The illustrations featured in this exhibition are treasured pieces of the Korshak Collection, owned by Stephen Korshak. The love of both literature and art of the science fiction and fantasy genres is a passion Stephen Korshak shared with his father Erle Korshak, a founder of the imprint Shasta Publishers, which specialized in science fiction books. Shasta played a key role in ushering in the transition that saw important science fiction literature move from the pages of magazines printed on cheap pulp paper to hardcover, library-quality books. Much of the illustration art for Shasta publications hung in the Korshak family home and the company office where, as young man, Stephen Korshak encountered it–a fact the now collector cites as inspiring in him a sense of wonder, and a passion for the illustrations of the genre.

Korshak Collection website:

Installation Views


Altered State: Painting Myanmar in a Time of Transition

Painting of a woman with a tiger
Aung Khaing
Maung Photu Nat, 2014
Crowded Bus
Nay Aung Shu
Crowded Life, 2013

January 30, 2017 – March 26, 2017

Altered State: Painting Myanmar in a Time of Transition presents paintings by 36 contemporary artists from Myanmar, the Southeast Asian nation formerly known as Burma. Created following the transition period of 2011, when a military-backed civilian government replaced oppressive rule by military junta and the country once famous for its seclusion re-entered the world stage, the paintings illustrate current artistic practice in Myanmar and present a series of creative viewpoints on a rapidly changing society.Paintings included in Altered State: Painting Myanmar in a Time of Transition are from the collection of contemporary Myanmar paintings of Ian Holliday, the Vice President and Pro-Vice-Chancellor (Teaching and Learning) at the University of Hong Kong. Presentation of the exhibition at UMBC is supported in part by an arts program grant from the Maryland State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts. Additional support comes from the Friends of the Library & Gallery, the Libby Kuhn Endowment, and individual contributions.

Public Program

4:00 p.m. Wednesday, February 1, 2017

Myanmar: Perspectives on a Society in Transition

Christina Fink, Professor of Practice of International Affairs, George Washington University

Myanmar has been undergoing profound political, economic, and social change. Throughout this process, the military leadership and political parties have both cooperated and competed in their efforts to impose their vision for the future. Meanwhile, citizens have sought to take advantage of greater freedoms and opportunities, while also re-imagining their country’s identity and place in the world.

Professor Christina Fink is a cultural anthropologist who has combined teaching, research, and development work throughout her career. Her areas of expertise are Burma/Myanmar in particular and Southeast Asia more broadly, equitable development, gender and development, civil society in ethnically diverse states. She received her B.A. in International Relations from Stanford University and her M.A. and Ph.D. in Social/Cultural Anthropology from the University of California at Berkeley. She has taught at the Elliot School for International Affairs at George Washington University since 2011. She served as a visiting lecturer at the Pacific and Asian Studies Department at the University of Victoria in 1995, and from 2001-2010, she was a lecturer and program associate at the International Sustainable Development Studies Institute in Thailand.

Installation Views


Sharing the Past, Building the Future: UMBC at 50

architects talking next to a ground digging crane
Albin O. Kuhn, Homer Schamp, and Guy Chisholm On-Site

September 15 – December 16, 2016

All of the forces that contributed to making UMBC– from emerging as a need triggered by the post-World War II baby boom to becoming a higher education ideal conceptualized by Chancellor Albin O. Kuhn– converged on September 19, 1966, with the commencement of the first classes. This exhibition tells some of the many stories of the university’s exciting beginning and continuing development through items selected from UMBC’s University Archives including photographs, documents, objects, books and ephemera.

This exhibition tells some of the many stories of the university’s exciting beginning and continuing development through items selected from UMBC’s University Archives including photographs, documents, objects, books and ephemera.

Public Program

Monday, 3:30 p.m.

September 19, 2016

Exhibition Tour​: Chief Curator Tom Beck & Archivist Lindsey Loeper

UMBC Rathskeller
By Photo Service UMCP, 1971

Places where students could socialize were limited during the early years of the campus. One popular location in 1971 was the Rathskeller, which was located in the basement of Hillcrest Building. The Ratt, as it was affectionately nicknamed, was a popular location that served alcohol on campus, since the minimum age for drinking beer and wine in Maryland was then 18.
Pioneering African-American Studies Faculty Members
By William Boyd
Photograph, 1973
people and horses work in a farm upon a hill with a few trees
Baltimore Manual Labor School Orchards
ca. 1900
Photograph, printed ca. 1984
Chess Master Larry Kaufman
By William “Skip” Boyd
September 20, 1972

Installation Views


The Glass Knife

Illustration from the Keith Porter Archive

April 25 – June 30, 2016

The Albin O. Kuhn Library Gallery presents ​The Glass Knife​, curated by artists Stephen Bradley and Kathy Marmor, on display April 25 through June 30. The exhibition reflects on the work of Keith Porter, known as the “father of cell biology,” the title referring to the sharp wedged-shaped glass tool used by Porter to prepare tissue samples. Dr. Keith Porter was the chair of the UMBC Department of Biology from 1984 to 1988, and was one of the first scientists to study whole cells with the electron microscope. At the RockefellerInstitute, he produced the first image of an intact cell, made possible by his development of an innovative slicing technique and specimen preparation for viewing and photographing with the electron microscope. His in-depth experience in experimental embryology and histology, along with his talent to interpret these highly magnified images, enabled him to infer the functional activities of cell organelles such as the endoplasmic reticulum (which he discovered and named)and microtubules. Porter was awarded the National Medal of Science in 1977.

Public Program

4:00 p.m.

Monday, May 2, 2016

Artist’s Talk​: Stephen Bradley and Kathy Marmor

Media artists Bradley and Marmor have structured their installation to illuminate Keith Porter’s life-long relationship with the micro world of cells. ​The Glass Knife​ integrates select elements from Porter’s archive to build a unified series of sculptures that allude to Porter’s workstation that “sees” the cell and its organelles and the potential applications that Porter imagined. With The Glass Knife​, Bradley and Marmor propose a model of imagination that embraces a vision mediated by technology that extends our seeing. The artists as curators offer metaphoric insight into Porter’s scientific inquiry made possible with his ground-breaking use of the electron microscope that changed the world of cellular science. “He had an almost uncanny ability to look at static electron monographs of cells and ‘see’ what the cell was doing, or at least what it was equipped to do.” – Dr. Lee D. Peachey


Sound composition created from recoding the electromagnetic signals emitted by an operational electron microscope that Keith Porter used while he was at UMBC in the 1980s. Presented as a multi-channel sound installation in the Glass Knife, comprised of 3 DIY parabolic speakers, mp3 players, amplifier.

Installation Views


Sounding Botany Bay

Coast Splash Zone Yenna Gap
A mosaic produced at Yenna Gap of the tannin-rich waters of the spalsh zone and bog.

February 8 – March 31, 2016

The inter-media exhibition Sounding Botany Bay presents documentary photographs, audio compositions, and videos of Botany Bay – one of Australia’s most significant cultural and natural sites – made by artist and 2006 Fullbright Senior Scholar, Timothy Nohe. The rich voices, sounds, and sights of the bay are blended into an aural and visual landscape that heightens and contrasts what is and has been, so that the visitor may experience the past and contemporary complexity of Botany Bay while reflecting on its future, and that of other shifting landscapes around the globe, near and far.


Clapping In Maria Nugent
Tangled Pipes
Oyster Depot

This 2009 image reflects a significant reimagining of the national park at Kurnell to view the site as the meeting place between two cultures, that of the indigenous people of the bay and the mission of Cook. Under the management of National Parks and Wildlife Service, historian Dr. Maria Nugent, and Aboriginal elders much design and interpretation work was done to balance the Aboriginal and European historical and cultural interpretation of the place. This is evidenced in the renaming of the park as Kamay Botany Bay National Park and transforming the longstanding Commemoration Day ceremony as the Meeting of Cultures ceremony. Over the course of the documentary, and continuing now Aboriginal people are integral to planning, stewardship and interpretation of this site with a fraught history.

Man from the La Perouse community holding an Eastern Fiddler Ray after a storm. Image made during the repatriation of aboriginal remains at a place of safe-keeping, Towra.

Public Program

4:00 p.m. Tuesday

February 16, 2016

Artist’s Talk​: Timothy Nohe

Timothy Nohe​ is an artist and educator engaging traditional and electronic media in daily life and public places. His artwork has been focused on sustainability and place, intermedia works, and sound scores for dance and video. Nohe was the recipient of a 2006 Fulbright Senior Scholar Award from the Australian-American Fulbright Commission Fulbright Alumni InitiativeGrant in 2011. Four Maryland State Arts Council awards have supported his work in the area of music Composition, Non-Classical; Media; New Genre, and Installation/Sculpture. Nohe has also been recognized with a Creative Baltimore Award. In 2015 the Warnock Foundation recognized his interdisciplinary work in urban forests with a Social Innovator award. He is the founding director of the Center for Innovation, Research and Creativity in the Arts (CIRCA) and a tenured professor of Visual Arts at UMBC. Nohe has strong ties to Australia, where he serves as an adjunct Professor at La Trobe University, Faculty of Humanities and Social Sciences; as an artist in Residence at the Centre for Creative Arts at La Trobe University, and on the editorial board of the peer-reviewed journal Unlikely, based in Melbourne.

Installation Views

The presentation of this exhibition at UMBC is supported in part by an arts program grant fromthe Maryland State Arts Council, an agency funded by the State of Maryland and the NationalEndowment for the Arts. Additional support comes from Friends of the Library & Gallery, theLibby Kuhn Endowment, the Center for Innovation, Research and Creativity in the Arts (CIRCA),the Dresher Center for the Humanities and individual contributors.Support for the ongoing artistic research project ​Sounding Botany Bay​ comes from theAustralian-American Fulbright Commission, and the University of Wollongong.


They Fight With Cameras: Walter Rosenblum in World War II From D-Day to Dachau

group of young man in army dress holding cameras in a hill
They fight with cameras
Photograph by Walter Rosenblum
Normandy, France
June 27, 1944

So that all the world might have a photographic record of the invasion, these men, Signal Corps combat photographers, risk their lives on the front — their only weapons, a camera and a lot of nerve.

Collection of Rosenblum Photography Archive

August 26 – December 16, 2015

When the United States entered into World War II, it was with a sense of moral duty that many men entered the fight; Walter Rosenblum (1919-2006) was one of them. As a U.S. Army combat photographer Rosenblum landed on Omaha Beach on D-Day, then traveled throughout Europe with various combat units. Documenting the war under extremely dangerous conditions, he secured the surrender of 75 German troops, was wounded in combat, and took some of the first motion picture footage of the liberation of the Dachau concentration camp. Rosenblum was one of the most decorated WWII photographers, awarded the Silver Star, Bronze Star, five battle stars, the Purple Heart, and a Presidential Unit Citation.

Curated by Manuela Fugenzi, produced by Studio Zizola, Rome, and Daedalus Productions, Inc., New York.

Army medics evacuating a casualty
Photograph by Walter Rosenblum
St. Lo, France
July 20, 1944

Collection of Rosenblum Photography Archive
Omaha Beach rescue
Photograph by Walter Rosenblum
Normandy, France
June 7, 1944
Collection of Rosenblum Photography Archive
old id card, war photograph pass
War Photographers Press Pass of Walter Rosenblum
January 19, 1945

Collection of Rosenblum Photography Archive

Public Programs

12:00 noon
Film Screening
Walter Rosenblum: In Search of Pitt Street

6:00 p.m.
Nina Rosenblum

Film Producer, Daedalus Productions, Inc.

Installation Views