The Intermedia and Digital Art (IMDA) graduate program at the University of Maryland, Baltimore County (UMBC) facilitates students’ engagement with emerging artistic practices to address conceptual and social challenges. With studios in Baltimore’s progressive art community, the IMDA graduate program provides opportunities to work closely with engaged faculty in the Visual Arts and in other Departments at UMBC, with access to research centers, and opportunities for interdisciplinary collaboration, teaching, career development, and exhibitions. IMDA student work encompasses a wide array of media and approaches, including video, sound art, community engagement, generative art, bio-art, virtual and augmented reality, photography, print media, and installation.
IMDA graduates acquire the practice and commitment to propel adventurous and personal artistic practices to a high level. IMDA alumni present their work at distinguished museums, galleries, festivals, and conferences around the world and have garnered support from prestigious granting sources. IMDA alumni have gallery representation, run their own artists’ spaces, work in the production industry, and have teaching positions at some of the most respected art academies and universities in the field.
Visiting artists give one-on-one feedback to graduate students. Past lecturers include Janine Antoni, Zoe Beloff, Paul Chan, Annica Cuppetelli and Cristobal Mendoza, Paul DeMarinis, Toni Dove, Hasan Elahi, eteam, Karen Finley, Guillermo Gómez-Peña, Barbara Hammer, Dana Hoey, Nina Katchadourian, Larry Miller, Alison Knowles, @rtMark, Guerrilla Girls, Keith Piper, William Pope.L, Michael Rakowitz, David Rokeby, Paul Rucker, Francesc Torres, Mark Tribe, Ted Victoria, Matmos, Fred Wilson, Martha Wilson, Krzysztof Wodiczko, Karen Yasinsky, the Yes Men, and Black Lunch Table (Heather Hart and Jina Valentine).
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.