College of Southern Maryland
Fine Arts Center Box Office
8730 Mitchell Rd
PO Box 910
La Plata, MD 20646-0910
240-725-5499, ext. 7828
443-550-6199, ext. 7828
301-870-2309, ext. 7828
Box Office Hours:
Monday & Friday: hours vary
Tuesday-Thursday: 12 - 5 p.m.
and one (1) hour prior to each performance
Hours vary during summer months
Checks payable to CSM
CSM's campuses are accessible to patrons with disabilities. Audio description for the visually impaired and sign language interpretation for the hearing impaired are available with a minimum two week advanced notice. If you are interested in these services, please contact the academic support or ADA coordinator at 301-934-7614.
The Tony Hungerford Memorial Art Gallery exhibits CSM’s art by various local and national artists. It was established in 2000 in memory of Southern Maryland artist Tony Hungerford, son of Vincent and Evelyn Hungerford.
The Tony Hungerford Memorial Art Gallery is located at the La Plata Campus, Fine Art Center and is open Monday - Friday from 9 a.m. to 9 p.m. and Saturday from 10 a.m. to 6 p.m. Please call 301-934-7828 to arrange for other hours if necessary. Gallery Talks are usually held on Tuesday afternoons and are free and open to the public.
Please watch this page for the exhibit updates, or join our e-news mailing list for information to be delivered directly to your e-mailbox.
September 12 – October 2
Gallery Talk and Reception: TBA
Christopher Scott Dolan's goal is to create work that will justify itself and assert its own logic based upon his own rather ill-defined criteria, which, if reduced to its simplest, would be “Does that feel right or wrong?” His working process consists of improvisational modes where one move dictates the next response, which dictates the next and so on, and more analytical modes where the validity of each move is questioned, leading to simplification, reduction and removal of any portion that does not assert itself as correct. An idea exists at the beginning of each painting about the intended course of the process and a vague notion about the shape that the whole will take at the end, but that plan is usually abandoned and returned to, modified and reasserted several times throughout the process of its creation.
Dolan's practice has two distinct currents; direct observation of the landscape made en plein-aire, the other developed in the studio, at a remove from the initial impulse that prompted the work involving both representational and non-representational languages. The studio paintings are the product of his involvement with the history of painting and form the smaller part of his output for the last several years. They begin as rapid drawings of master paintings, a practice he uses to study the underlying organizational structure, color space, movement, and rhythm of the compositions of previous painters. These studies form the foundation of the paintings, which tend be either largely improvisational or rehearsed through several iterations in various media and scales. Across all of the studio pieces, he intends for this work to be a visual space that encourages the viewer to enter and explore an environment that is simple in its constituent elements but complex when taken as a whole. These works are meant to unfold slowly, to be subtle in their insistencies and reveal themselves through prolonged and repeated interaction.
The other aspect of his practice has been marked by serious attention to landscape painting. Three years ago, sparked by a sense that he was missing something important by spending the season indoors and frustrated by the long duration of gestation and constant revision of his studio work, he set the challenge of producing one landscape every day for the period between Memorial Day weekend and Labor Day weekend. Each day, despite any other obligations, what the weather threatened, or how little time was available to him, he produced one landscape. The works were largely improvised, they were composed on the spot and their ultimate success or failure was mostly irrelevant to him. In comparison to the criterion applied to the studio work, very little time and effort was invested in each individual piece as another would be undertaken and completed the next day. This jettisoning of importance encouraged him to experiment and take risks in ways that he might not have in the studio. These two modes of production challenge and inform each other and allow him to continue progressing forward.
October 12 - November 6
Gallery Talk and Reception: TBA
“The map is not the territory’-Alfred Korzbyski
Marcia Wolfson Ray believes this quote reveals the physical motivation behind her involvement in making sculpture. The source of her ideas come from nature. Nature also provides the materials for the pieces themselves. She collects most of her materials herself. Dog fennel, phragmites, hibiscus, pine bark, bamboo and marsh elder are examples of some of the plants she uses to construct the sculptures. The collecting is done after the growing season is over, mainly in autumn, winter and early spring. The fields and marshes of the eastern shore of Maryland provide much of the material.
The geography of these places, the light, temperature and season all contribute to the form and appearance of the work. Many of the pieces were constructed outdoors. The environment is her silent collaborator. The wind whispers in her ear. The sun, rain, snow all manifest their influences on the pieces. What she hopes the viewer takes away from her work is the intense feelings the natural world stirs in her. Her materials are simple, and she treats the surfaces to seal them so that while the works may appear delicate or fragile they have a strength and durability that withstands years of moving from place to place.
Sometimes, she starts with a specific idea but most pieces continually evolve while she is working before they arrive at their final form. It is this unknowable aspect that draws her to the process of making sculpture. She takes a journey in a very physical sense every time she starts a piece with a destination that reveals itself step by step.
November 16 – December 11
Travel is no stranger to the history of photography in America. From the early photographs capturing the expanse of The West to Robert Frank’s two-year road trip across the country and to the even more recent work of Alec Soth’s scavenger hunt journeys, again and again photographers utilize the camera to capture their travel. But what happens when we focus less on the destinations and more on the actual act of journeying? How can photographers use the camera as a means of showing movement through landscape?
This exhibit brings together the work of four photographers, Caleb Charland (Maine), Candace Gaudiani (California), E. Brady Robinson (Washington, DC), and Alexandra Silverthorne (Washington, DC), to explore these questions. While each photographer tackles the journey through landscape with different constraints and styles, we are ultimately presented with a unified series that prompts us to consider our own movement whether through landscape or even activities of daily life.
|"Paddling Toward a Single Point After Sunset," Caleb Charland
||"0392," Candace Gaudiani
|"Birds and Sky," E. Brady Robinson
||"July 13, 2008," Alexandra Silverthorne
February 1 – March 11
Margaret Noel’s mixed-media paintings fuse collage with encaustic to portray landscapes that have been altered and abandoned by industry. Using layers of paper and wax to distort and fragment the original forms, the paintings juxtapose the sharp geometry of industrial architecture against the fluid lines of the surrounding landscape. In the finished pieces, some landscape elements are fully articulated: recognizable and concrete. Other parts become simplified, exaggerated, or transformed, allowing viewers to feel as if they have stumbled upon the record of a familiar but half-forgotten scene-- a blurred remembrance rather than a precise rendering.
April 11 – May 6
Artwork Submission Dates: TBA
Award Reception: TBA
Paintings in broad brush strokes, photos in captivating focus, and sculptures molded with playfulness are among the types of artwork showcased each spring as part of the College of Southern Maryland Annual Juried Student Exhibition presented in the Tony Hungerford Memorial Art Gallery, Fine Arts Center, La Plata Campus. The 2016 Annual Juried Student Exhibition takes place April 11-May 6, with an Award Reception to be announced.
Artist Jan Clayton Pagratis has made a gift to CSM of one of the paintings from her show: "The Yellow School Bus" 14"x11" Encaustic, Pencil Shavings, Rusty Metal and Wood, on Canvas.
Ms. Pagratis expressed her warm gratitude for the opportunity to show her work at CSM and a special appreciation for the interest expressed by the students. The painting she donated relates to students, and education in particular, and she felt CSM to be an appropriate home for the painting. CSM, the Division of Communication, Arts and Humanities and the Tony Hungerford Memorial Art Gallery would like to say thank you to Ms. Pagratis for her gift and show our appreciation for her work.
The family of painter and avid sportsman Professor Larry Chappelear, has made a wonderful gift to CSM of one of his abstract paintings, Juniper II, 2004, mixed media on panel, now hanging in the FA Theatre Lobby. From 1973 to his retirement in 2011, Larry was an advocate and coordinator for the Studio Arts program, promoted exhibits of visiting artists that led to the founding of the Tony Hungerford Art Gallery, became a popular professor who helped thousands of students acquire a greater appreciation of the arts and more skill in expressing their own artistry, and married potter and fellow faculty member Susan Chappelear. We missed Larry when he retired from the college family and came to miss him even more when he passed away in the early months of his retirement. Juniper II is all the more treasured as an addition to the college's art collection, for his work will serve as a lasting memory of his contributions to the college and his skill and creativity as a painter.