Tony Hungerford Memorial Art Gallery

Tony Hungerford Memorial Art Gallery

See the work of various local and national artists in the Tony Hungerford Memorial Art Gallery.

The gallery was established in 2000 in memory of Southern Maryland artist Tony Hungerford, the son of Vincent and Evelyn Hungerford.

The gallery is at the La Plata Campus, Fine Arts 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-mail.

2018-2019 Schedule of Gallery Exhibits

ONeilRest Area

Rob O'Neil | September 4 - October 4

Artist Lecture: October 4, 2018, 2:30 p.m.
Reception to follow

Like a draftsman’s line across a white sheet of paper, highways and interstates paint sweeping arcs and pin-straight lines across the landscape. Multiple midpoints exist on these lines; they’re called rest areas, travel plazas, picnic areas, pit stops, or welcome

After my undergraduate degree, I took a job working for some friends with their
importing business. Part of my job was driving a box truck around the eastern United
States. Chicago, New York, Atlanta, High Point, Brimfield, Boston – these were
destinations two or three times a year. I got to know the interstates. Rest areas were a
vital part of my driving. They are efficient. They are utilitarian. This was before the
ubiquity of cell phones; they had pay phones. I find these places interesting for many
reasons including their banality, their need, their glamour or dinginess, their desire to
please and yet their cold utility. Highways sterilize our experience of the landscape, but
the rest areas seal the deal on our un-infringed-upon travel.

On a base level they all share the same goal – “…off-road spaces with provisions for
emergency stopping and resting by motorists for short periods” (A Policy on Safety Rest
Areas for the National System of Interstate and Defense Highways, 1958 ) – but they
vary in size and amenities. There are monumental welcome centers that have themes,
state propaganda, “History Happened Here” displays, and rows and rows of sunglasses
for sale. They give us a sense of community on the road. Newer designs feel like a
shopping mall or ‘lifestyle center’, with peaceful settings and your choice of gourmet
food. It’s family friendly! Others are simply pull-offs with nothing more than a trashcan
and a picnic bench. But the rest areas are places we share.

These places have beauty! Gardens are tended, views are contemplated, and pets are
given their own places of solitude. Even with the constant drone of traffic, these are areas
of comfort and serenity. There is a structure and plan that makes sense; we breathe and
our weary bodies relax a little bit. These places are interesting and useful physically,
sociologically, and emotionally. We need them.

GrowerProof Perfect

Reni Gower | October 15 - November 8

Artist Lecture: November 8, 2018, 2:30 p.m.
Reception to follow

Since ancient times geometric perfection (circle, square, and triangle) has been thought to convey sacred and universal truths by reflecting the fractal interconnections of the natural world.  One finds these similarities across cultures embedded in many diverse ethnic patterns. Incorporating these traditional designs into contemporary artwork promotes a collective perspective that strengthens cross-cultural bonds.  Given our troubled times, my work speaks to the shared legacy between the West and the Middle East with hope and optimism. Viewer response worldwide has confirmed the prevalent yet profound spiritual and emotional qualities of color, light, and pattern central to my art. As such, it is a perfect conduit for conversations that embrace cultural diversity through mindfulness and mutual respect.

Both meditative and prayerlike, my process incorporates slow work made by hand to counter visual skimming and to encourage a reflective response from the viewer.  Inspired by sacred geometry, I create interlocking stencils based upon Celtic knotwork and Islamic ornamental tiles.  These stencils are tiled into nine-square grids and cut out of Mylar.    For the papercuts, the design is hand cut into painted paper.  From behind, the color reflects through the cutwork.  For the pulped paintings, the stencils are used to mask the patterns onto handmade paper using pulp painting techniques.  For the GPS prints, acrylic paint is applied through the stencils onto a soft Gelli plate.  Burnishing transfers the shapes to paper.  Some of these works may be overprinted, hand painted or hand cut.  To create immersive installations, multiple units are installed 4” – 7” apart in large grid formations.     

Reni Gower is a Professor in the Painting and Printmaking Department at Virginia Commonwealth University.  In 2017, she was recognized with SECAC’s Award for Outstanding Artistic Achievement. In 2014, she was also honored to receive the College Art Association’s Distinguished Teacher of Art Award, as well as Virginia Commonwealth University’s and VCUarts’ Distinguished Teaching Awards. She is the recipient of a NEA / SECCA Southeastern Artist Fellowship and several Virginia Commission for the Arts Project Grants.  In addition to her painting practice, she curates award winning traveling exhibitions that include Papercuts, FABRICation, Geometric Aljamía: a Cultural Transliteration, and Pulped Under Pressure: The Art of Handmade Paper.

Her art work is represented in many prestigious collections and has been exhibited at international and national venues for over 40 years, including the American Embassy in Vatican City, Rome, Italy; Total Gallery, Dubai, UAE; Landford120 Gallery, Melbourne, Australia; Galeria ICPNA Miraflores, Lima, Peru; Kimball Art Center, Park City, UT; Tinney Contemporary, Nashville, TN; Taubman Museum, Roanoke, VA; Noyes Museum, Hammonton, NJ; Villa Terrace Museum, Milwaukee, WI; Hunter Museum, Chattanooga, TN; and The Painting Center, New York, NY.  She holds a Master of Fine Arts degree from Syracuse University, a Master of Arts degree from University of Minnesota-Duluth, and a Bachelor of Science degree from the University of Wisconsin-Madison. 

TroutmanTime and Line: Drawing and Narrative

Chris Troutman | November 19 - December 13

Note: there is no artist lecture for this exhibition. 

I focus on drawing as the primary means of expression of my studio research.  Typically, I collect source materials from direct observation or photographs, which I synthesize in compositional exercises as sketches that lead to final works.  Alternatively, without preparatory compositional sketches, I begin drawings as marks and line from which I identify and develop representational subjects.  Figures and environments in individual compositions present singular moments within a suggested narrative, which I enhance by dividing images into sections to tell stories in multipart works.  Additionally, I use multiple sections in drawings to juxtapose imagery from the US and Japan, the two places I live each year.

My subjects are human figures in contemporary urban settings presented from unexpected vantage points in order to reveal the latent interested of everyday visual experiences.  Influences on my work are artists that focused on composition and the relationship of the human figure and their surrounding urban space, which includes artists Edgar Degas, Edward Hopper, and Robert Birmelin.  Also, graphic novels and comic books have had a large influence on my work.  For instance, I work largely from my imagination after putting imagery to memory from sketching.  When my imagination proves insufficient while drawing, I return to support images that initiated my research.  As a medium, the immediacy of drawing, specifically using charcoal or ink, facilitates a strong connection between thinking and putting marks on paper, recording ideas and facilitating their development.  Lastly, the use of deep space from foreshortening and linear perspective, as well as dynamic point so view and storytelling, in graphic novels has had a significant influence on my work.

Finally, my drawings are large-scale, which I hang unmediated by frames and glass, bringing the artwork into the audience’s immediate space and making the process each drawing has undergone directly visible.  The scale of the drawings, the figures within them, as well as composition and point of view, place the audience in unexpected, and sometimes overwhelming, spaces, enabling the resonant experiences from which the drawings are inspired achieve a similar resonance with viewers.



Sukjin Choi | February 4 - March 14

Artist Lecture: March 14 | 2:30 p.m., Community Education Building (CE Building), Room 101
Reception to follow in the Tony Hungerford Memorial Gallery 

We cannot stop our journey here in life. When we wake, we cannot deny having another morning and then another night. And we cannot deny our memories. The wheel also, then, is who we are, our identity cycling like the oceans caught in the tidal dance between the moon of memory and the earth of our living day. 



Annual Juried Student Exhibition

April 22 - May 8

Award Presentation: April 30, 2019

Important Dates:

April 8 | Works must be submitted by 5 p.m. to a faculty member
April 9 | Jury will select exhibition works
April 10-13 | Works not accepted must be picked up. See a faculty member during this period to confirm whether your work is available for pick up.

Spring 2019 Juried Student Exhibition Prospectus

Untitled CyanotypePaintings 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.


Thanks to Our Artists

"The Yellow School Bus" 14"x11
"The Yellow School Bus" 14"x11

A Gift from Artist Jan Clayton Pagratis

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 thank Ms. Pagratis for her gift and show our appreciation for her work.

 Juniper II, 2004
" Juniper II, 2004" Larry Chappelear

A Gift from the Chappelear Family

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, Mr. Chappelear 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 Mr. Chappelear 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.