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Mary Munday

Mary Mark Munday

Early on, my studio education and artist's instinct turned a series of perse 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. I realized many of my aesthetic influences are from growing up on a farm in Pennsylvania. when, in art school, 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 unfashionable, my sculpture looked like artifacts, metaphoric adornment, 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 that instinctively invoked their genuine attributes (as I found out later after actually visiting 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 is 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' 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 structural 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. Children's directness and purity of visual expression 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 & RECOGNITION

2015; 2005 - 2011

Outstanding Teacher Nominee, Carroll County, MD Public Schools.

2008

MSDE Institute, University of Maryland: Crossing Borders / Breaking Boundaries, The Arts of India 1566 – 1658.

MICA SPCS/YPS Recognition of 16 Years Program Contributions

2007

Recipient of a Marcella Brenner Faculty Development Grant.

2004

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

2003

Recipient of a Marcella Brenner Faculty Development Grant.

EURASIAN STUDIES & EXPEDITIONS

2002 - 2003, 2005 & 2007

Horseback expeditions, Islamic Republic of Iran.

2000

Scholarship, Moscow Institute for Advanced Studies, Russia.

Internship in Archaeological Drawing: StateHistory Museum, Moscow.

1993 - 1995 & 2001

Archaeological excavations, Pokrovka, Russia.

1996

Ethno/Archaeological survey, Bayan Olgiy, Mongolia.

SELECTED PUBLICATIONS & PRESENTATIONS

2005

Catalog cover for Photography as Fine Art Pennsylvania Biennial Exhibition.

2001

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.

1990

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

2009

Talar – Views of Iran, exhibition of photographs, Orchard Market Persian Restaurant, Baltimore, MD

2008

Guests of the Wind, exhibition of photographs and artifacts, Bottle WorksEthnic ArtsCenter, Johnstown, PA.

2007

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

2005

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

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

1999

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

FACULTY – MASTER OF ARTS IN TEACHING (MAT) & YOUNG PEOPLE'S STUDIO COURSES

This page was last updated on 07/06/2016.