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Mary Mark Munday

Mary Mark Munday

Early on, my studio education and artist's instinct turned a series of diverse jobs in three different areas of the country, into a journey of discovery and distillation; it was a grand time. Two decades later a distinct desire to be of service to the arts and the inner compass still strong, I entered the MAT program at MICA, the very one I teach for now.

I love working in most media, which suits teaching perfectly. My personal artwork references ancient and archetypal ideas. Many of my aesthetic influences are from growing up on a farm in Pennsylvania. I began to appreciate things like the way someone might use wire or other materials to quickly mend a fence and how it weathered years later, catching tufts of animal hair. Unusual combinations of materials are still a primary way of teaching and making art. At a time when it was uncommon, my sculpture looked like artifacts, metaphoric adornment, and accoutrements. "Romancing" sites such as Stonehenge with a series of large wood-fired plates, or Tibet, with fashioned collections and installations of "relics", I was conjuring places and cultures through pieces that instinctively invoked genuine attributes (as I found out later after actually visiting those sites). It follows that I began to study archaeology, do field work and research, briefly in England, and now in Russia, Mongolia, and Iran. Photography became the primary medium for documenting travels and creating work for publication and display. Travel continues to knit together Eurasian culture and history. Within this vast puzzle new pieces beckon: the Caucasus, Kyrgyzstan, the Gorno Altai, promising the remarkable. History and culture are made visible through art. It is the lens for viewing life contextually and valuing differences.

This propensity for antiquity led to work on two monumental sculpture projects: I assisted sculptor Alan LeQuire for the first three years on the full-scale construction phase of the 41-foot 10-inch tall statue of Athena Parthenos in the Parthenon, Nashville Tennessee. The fiberglass-reinforced gypsum statue, which stands gilded today, is considered (aside from modern materials) a reasonably accurate reconstruction of the original wood and chryselephantine original, and it is the western hemisphere's tallest indoor freestanding statue.

When visiting Japanese sculptors constructed a monumental wood statue on the Maryland Institute campus in 1990, I researched, designed curriculum, and helped develop a school tour program during the statue's unique construction period. With Graduate Art Education Dean, Dr. Karen Carroll, we co-authored the curriculum guide, Fudo Myoh-Oh, Japanese Sculpture Project.

Experience reinforces my teaching philosophy that the arts are essential to knowing, expressing, and solving problems in ways that constitute a whole education, a whole life. In addition to continuing at MICA, I retired from 23 years teaching Elementary Public School Art to develop a PreK - 9th grade art program for the Montessori School of Westminster, MD.

The joy of teaching is in the shared wonder of discovery and play-as- learning for both MICA's Young People's Studio Programs and Montessori. The directness and purity of children's visual expressions keep me aesthetically fulfilled and freshly challenged in my own art making. Working with such brilliant Art Education majors at MICA allows me to share current perspectives as an art teacher and, in turn, MICA's emerging artist/teachers further my professional development by pursuing cutting-edge ideas and continual mindfulness toward crafting best practices in art education. Designing art problems, testing ideas, and seeing the resultant artwork and its transformative effects on young artists is, for me, a work in progress - making choices, and articulating ideas into form.

Awards and Recognition


Award Recipient, Research/Remix Project, Johns Hopkins University

2015; 2005 - 2011

Outstanding Teacher Nominee, Carroll County, MD Public Schools.


MSDE Institute, University of Maryland: Crossing Borders / Breaking Boundaries, The Arts of India 1566 - 1658.
MICA OS/YPS Recognition of 16 Years Program Contributions


Recipient of a Marcella Brenner Faculty Development Grant.


MSDE Institute, University of Maryland: Crossing Borders / Breaking Boundaries, The Cultural Influence of Islam on the Arts of the Renaissance


Recipient of a Marcella Brenner Faculty Development Grant.

Eurasian Studies and Expeditions

2002 - 2003, 2005 & 2007

Horseback expeditions, Islamic Republic of Iran.


Scholarship, Moscow Institute for Advanced Studies, Russia.
Internship in Archaeological Drawing: State History Museum, Moscow.

1993 - 1995 & 2001

Archaeological excavations, Pokrovka, Russia.


Ethno/Archaeological survey, Bayan Olgiy, Mongolia.

Selected Publications and Presentations


Catalog cover for Photography as Fine Art Pennsylvania Biennial Exhibition.


Aetoi. Perspectives of Eurasian Culture and History in Image, Text, and Verse, Artist's Edition of 10.

2000 - 2001

Maryland State Visual Arts Standards Content Team.


Fudo Myoh-Oh Japanese Sculpture Teacher Resource, co-authored with Dr. Karen Carroll, MICA.

1990 Video Commentary and Narration, Athena, The Goddess Awakens, Athena Fund Foundation, Nashville.

Most Recent Solo Exhibitions


Talar - Views of Iran, Exhibition of photographs, Orchard Market Persian Restaurant, Baltimore, MD


Guests of the Wind, Exhibition of photographs and artifacts, Bottle Works Ethnic Arts Center, Johnstown, PA.

2007, 2005

The Photograph as Fine Art, Biennial Juried Exhibition, Susquehanna Art Museum, Harrisburg, PA. Catalog cover, 2005


Stories at Hand, When Children's Clay Grows Up, Pedagological Exhibition in conjunction with NCECA conference, MICA.


Traveling Light, Photographs, Artifacts, Records of Ancient Nomad Lands, Pinkard Gallery, MICA.

This page was last updated on 04/24/2017.