BGuthrie Photos: MD -- College Park -- University of Maryland -- Kibel Gallery Exhibit: Making The Holodomor Memorial:Context & Questions

MD -- College Park -- University of Maryland -- Kibel Gallery Exhibit: Making The Holodomor Memorial:Context & Questions:

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Description of Pictures: The Kibel Gallery Presents
Making The Holodomor Memorial:Context & Questions
On view February 12 - July 2020
University of Maryland alumna Larysa Kurylas’ Holodomor Memorial in Washington, D.C., is a tribute to the victims of the man-made famine engineered by Stalin’s regime in Soviet Ukraine in 1932-1933. In addition to documenting the process of design and fabrication of this memorial, this exhibit also poses larger questions about how we commemorate loss, the role memorials play in our society, the significance of setting aside space in Washington, D.C., and the tragic impact that manipulating the truth can hav

Same Event: Wait! There's more! Because I took too many pictures, photos from this event were divided among the following pages: [Display ALL photos on one page]:

2020_MD_UMd_HolodomorP_200212: MD -- College Park -- University of Maryland -- Architecture School Event: Larysa Kurylas and the National Holodomor Memorial -- Lecture & Reception (205 photos from 2020)
2020_MD_UMd_Holodomor: MD -- College Park -- University of Maryland -- Kibel Gallery Exhibit: Making The Holodomor Memorial:Context & Questions (115 photos from 2020)

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. HOLOD_200212_001.JPG: Making the Holodomor Memorial Context & Questions From 1932 to 1933, Josef Stalin's communist government engineered and exploited a wheat shortage to starve millions of Ukrainians to death as the regime swept away small farms for a system of collectivist agriculture. The genocide was denied by the Soviet Union and largely overlooked in the West as Ukrainians struggled to make it part of accepted history. Finally, in 2015, the Holodomor Memorial, a tribute to the victims designed by University of Maryland MAPP alumna Larysa Kurylas, was unveiled in downtown Washington. This exhibit explores how the memorial came to be and how to interpret its significance. The perimeter walls trace its development from design competition to construction -- the interplay between Ukrainian-Americans who pressed for a memorial, architects and engineers who designed it, government staffers who reviewed it, and artisans who built it. Nooks in the gallery's center provide space to reflect on the tragedy itself and on the broader questions of propaganda, official lies, the role of memorials in contesting historical truth and commemorating loss, and the significance of building memorials in Washington, DC.
2. HOLOD_200212_008.JPG: They were finishing up on installing the exhibit before the official opening.
3. HOLOD_200212_019.JPG: From Wheat to Pattern: Material & Form Design evolution and reviews did not end with the building permit. As the focus shifted to the memorials' materiality and production, artisans provided necessary expertise to realize the work. Trained as an architect, not a sculptor, Kurylas partnered with Lawrence Welker IV, owner of Laran Bronze Foundry in Chester, Pennsylvania, to create the Field of Wheat bas-relief. The collaboration was exciting for both parties. Ideas that made sense on paper were tested, and in some cases discarded. To transform the harvested wheat into a foam pattern, they experimented with virtual modeling software, which the foundry had never used on a project of this scale. Together they explored different production methods and refined the memorial's design.
4. HOLOD_200212_030.JPG: A Memorial Realized: Experience & Meaning "Everyone realizes the wheat's symbolism, but not all recognize why it disappears. Some read the Memorial right to left, seeing Ukraine's resurgence from near extinction. A few understand the loss expressed in the sculpture's negative space. Everybody finds something in the memorial. And that, I believe, is its strength." -- Larysa Kurylas, January 2020 By design, memorials invite us to step out of our daily routine -- to pause, reflect, and consider our present actions in light of the past. The Holodomor Memorial provides space for personal reflection, public gathering, and annual commemoration of the genocide-famine. Field of Wheat encourages tactile engagement: visitors nestle candles and flowers within the large letters. Public and intimate, restrained and elegant, the work successfully navigates its urban context, contributing to the cultural and political landscape of our nation's capitol. Its presence, and the story it tells, engages a larger context and questions -- Whose truth? How to mark loss? and Why DC?
5. HOLOD_200212_036.JPG: Groundbreaking shovel This shovel was used in the groundbreaking ceremony on December 4, 2013. Blue and yellow ribbons -- the colors of the Ukrainian flag -- were added to the chrome-plated shovels provided by Forrester Construction. [Temporary set-up during installation]
6. HOLOD_200212_041.JPG: Building Place: Fabrication & Installation On-site construction, supervised by Forrester Construction, began in May 2014. In addition to building the sculpture's foundations, vertical surface, and stormwater system, contractors readied the plaza's other visible elements -- the patterned granite, redbud trees, and bench. With the Field of Wheat design finalized, patterns were made from the virtual model to produce molds. The work was then cast in sections, assembled and furnished at the foundry. The 30-foot long bronze bas-relief, an angled inscription panel at its end, wouldn't be delivered until August 2015, ten months later than planned and only three months before the dedication ceremony. The sculpture traveled from the foundry on a flatbed truck. Given its odd center of gravity, it required special rigging to swing into place. On November 7, 2015, the memorial was dedicated and open to the public.
7. HOLOD_200212_047.JPG: Casting
8. HOLOD_200212_048.JPG: Assembly
9. HOLOD_200212_051.JPG: Delivery
10. HOLOD_200212_054.JPG: Construction
11. HOLOD_200212_057.JPG: Groundbreaking on December 4, 2013
12. HOLOD_200212_062.JPG: The three gray sections shown here represent granite wall material. (1) Two pieces at far end. Rejected: Honed "Rhino black" granite wall material Honed "Rhino Black" granite was rejected for the memorial's walls because of its tendency to show fingerprints. (2) Three smaller pieces next to the gold thing Selected: Honed "Coldspring Black" granite was selected as the wall material due to its richer visual texture, greater availability, and ability to hide fingerprints. (3) The piece three from the far end of the table Approved: Honed "Coldspring" granite with etched pattern for south wall The etched geometric pattern used on the south wall was studied for legibility on a honed sample of "Coldspring Black" granite. Various sealant treatments were tested in the etched areas. (3)
13. HOLOD_200212_065.JPG: Model for one the mice embedded in the memorial.
14. HOLOD_200212_072.JPG: Borders of the Ukrainian Soviet Socialist Republic circa 1933. The 1921 Treaty of Riga placed much of Ukraine within the newly established western borders of the Union of Soviet Socialist Republics (USSR). The Ukrainian Soviet Socialist Republic joined other diverse republics united under a Soviet regime ideologically committed to erasing national differences. Ukraine, with its fertile black soil, became the Soviet breadbasket.
15. HOLOD_200212_075.JPG: A de-kulakized family forced out of their home in Udachne, Donetsk Oblast, Ukraine, 1930s. Soviet propaganda demonized kulaks, relatively prosperous land-owning farmers. Mandated collectivization forced them to leave their land to work as day laborers. With government mismanagement of newly collectivized farms, production declined and rations for urban workers were cut, spreading famine from the countryside to cities.
16. HOLOD_200212_078.JPG: A grain confiscation brigade displays unearthed food provisions for the camera as the family looks on in Odessa Oblast, Ukraine, 1932-33. With the Soviets intent on industrialization, Ukrainian farmers faced unrealistic grain quotas, imposed to help feed growing urban populations and export revenue. When quotas weren't met, search squads confiscated even seed grain. "Saboteurs" who hid grain were jailed and deported. Eventually, all foodstuffs and livestock were confiscated, leaving farmers and families with nothing to eat. Then the Soviet government took a step that doomed vast numbers of people: It closed the border, preventing Ukrainians from seeking food elsewhere. They were penned in to starve and die.
17. HOLOD_200212_082.JPG: The Holodomor: A Genocide-Famine The Ukrainian word "holodomor" translates loosely to "kill by hunger." In June 1933, at the height of the genocide-famine, the death rate in Ukraine reached 34,560 people a day, 1,440 people an hour, 24 people every minute. At least 3.9 million victims died of starvation and related causes. This manmade famine was part of a larger effort to destroy traditional Ukrainian cultural, national, and religious loyalties to make way for a new Soviet identity and allegiance to the USSR. As the famine decimated Ukraine, the Soviet regime dismantled the Ukrainian Church and exiled or executed the republic's intellectuals and politicians. To undercut rumors and a few chilling eyewitness reports of mass starvation, the Soviet government repeatedly dismissed famine claims as greatly exaggerated. Western journalists -- most notoriously Pulitzer Prize-winning New York Times reporter Walter Duranty -- spread this disinformation to their audiences, stifling calls for famine relief from outside the Soviet Union. Walter Duranty From Wikipedia, the free encyclopedia Walter Duranty (May 25, 1884 – October 3, 1957) was a Liverpool born Anglo-American journalist who served as the Moscow Bureau Chief of The New York Times for fourteen years (1922–1936) following the Bolshevik victory in the Russian Civil War (1918–1921). In 1932 Duranty received a Pulitzer Prize for a series of reports about the Soviet Union, eleven of which were published in June 1931. He was criticized for his subsequent denial of widespread famine (1932–1933) in the USSR, most particularly the famine in Ukraine. Years later, there were calls to revoke his Pulitzer. In 1990, The New York Times, which submitted his works for the prize in 1932, wrote that his later articles denying the famine constituted "some of the worst reporting to appear in this newspaper." ... Reporting the 1932–1933 famine In The New York Times on 31 March 1933, Walter Duranty denounced reports of a famine and, in particular, he attacked Gareth Jones, a British journalist who had witnessed the starving in Ukraine and issued a widely published press release about their plight two days earlier in Berlin. (Jones' release was itself immediately preceded by three unsigned articles describing the famine in the Manchester Guardian.) Under the title "Russians Hungry, But Not Starving" Duranty's article described the situation as follows: In the middle of the diplomatic duel between Great Britain and the Soviet Union over the accused British engineers, there appears from a British source a big scare story in the American press about famine in the Soviet Union, with "thousands already dead and millions menaced by death from starvation". The "diplomatic duel" was a reference to the arrest of engineers from the Metropolitan-Vickers company who were working in the USSR. Accused with Soviet citizens of "wrecking" (sabotaging) the plant they were building, they were the subjects of one in a series of show trials presided over by Andrey Vyshinsky during the First Five Year Plan. Five months later (23 August 1933), in another New York Times article, Duranty wrote: Any report of a famine in Russia is today an exaggeration or malignant propaganda. The food shortage, however, which has affected the whole population in the last year and particularly in the grain-producing provinces -- the Ukraine, North Caucasus [i.e. Kuban Region], and the Lower Volga -- has, however, caused heavy loss of life. Duranty concluded "it is conservative to suppose" that, in certain provinces with a total population of over 40 million, mortality had "at least trebled." The duel in the press over the famine stories did not damage esteem for Duranty. The Nation then described his reporting as "the most enlightened, dispassionate dispatches from a great nation in the making which appeared in any newspaper in the world." Following sensitive negotiations in November 1933 that resulted in the establishment of relations between the U.S. and the U.S.S.R., a dinner was given for Soviet Foreign Minister Maxim Litvinov in New York City's Waldorf-Astoria Hotel. Each of the attendees' names was read in turn, politely applauded by the guests, until Duranty's. Whereupon, Alexander Woollcott wrote, "the one really prolonged pandemonium was evoked ... Indeed, one quite got the impression that America, in a spasm of discernment, was recognizing both Russia and Walter Duranty." Sally J. Taylor, author of the critical Duranty biography Stalin's Apologist, argues that his reporting from the USSR was a key factor in U.S. President Franklin D. Roosevelt's 1933 decision to grant official recognition to the Soviet Union.
18. HOLOD_200212_088.JPG: "I want people to know not the history written by those in power -- but the truth."
19. HOLOD_200212_097.JPG: Whose Truth? In traditional monuments -- large, imposing, built to last -- the powers-that-be project a top-down version of history. The massive, segregation-era bas-relief of Confederate generals at Stone Mountain, Georgia, for instance, frames the Civil War South in terms of bravery and glory, not slave-holding shame. But as political power shifts, so does the power to define the past In Montgomery, Alabama, the former heart of the Confederacy, the National Museum for Peace and Justice documents post-Civil War lynchings perpetrated by whites to terrorize and subjugate African Americans. Visitors to the Vietnam War and other memorials leave gifts and messages for the dead that are as much a part of the memorial as its original structure. At the Tel Aviv site of Israeli Prime Minister Yitzhak Rabin's assassination in 1995, tens of thousands expressed grief in graffiti-style messages that covered the walls of surrounding buildings. Shifts in power also made the Holodomor Memorial possible. Soviet denial of the genocide gave way to the truth only after Ukraine broke free as an independent country.
20. HOLOD_200212_102.JPG: Not even photos of the dead and dying smuggled to the West had much impact. Austrian chemical engineer Alexander Wienerberger, who was working in a Kharkiv factory, documented the famine with a Leica camera. He took about 100 shots and presented 25 especially shocking ones to Austrian Cardinal Theodor Innitzer in 1933. Nine of these are exhibited here. Although Wienberger's photos appeared in a pamphlet and several books, they were not widely reprinted at first, and it took years for the severity of the famine to sink in outside Ukraine.
21. HOLOD_200212_108.JPG: The Hunger Tragedy in South Russia (i.e. Ukraine), 1933
22. HOLOD_200212_110.JPG: Hungry farmers leave the village to find help in the city.
23. HOLOD_200212_116.JPG: Even the animals are starving.
24. HOLOD_200212_118.JPG: Snaking line for black bread.
25. HOLOD_200212_124.JPG: Worker's child in Kharkiv. This photograph has become the most recognizable image of the Holodomor in Ukraine. An interpretation, in statue form, is the centerpiece of Kyiv's Holodomor Memorial.
26. HOLOD_200212_126.JPG: Even childhood was not spared.
27. HOLOD_200212_129.JPG: In all stages of starvation.
28. HOLOD_200212_132.JPG: Burial of the dead is strictly forbidden here!!!
29. HOLOD_200212_135.JPG: Mass graves for the victims of starvation.
30. HOLOD_200212_137.JPG: "Bow to articulate a void without filling it? How to formalize loss without seeming to repair it?"
31. HOLOD_200212_143.JPG: How to Mark Loss? The dead leave a void behind them, so creators of memorials face a perennial challenge: finding the physical expression of emptiness. Some designers meet this challenge with symbols of everlasting life -- for instance, the eternal flame at President Kennedy's gravesite. Memorial markers also employ symbols of renewal such as poppies, which in the First World War sprouted in the mud of no man's land between the trenches. The 9/11 Memorial includes acre-size pools where each of the trade towers stood. Although they are fed by waterfalls -- generally symbols of replenishment -- the pools never fill. They represent "absence made visible," says the architect, Michael Arad. Spontaneous memorials that spring up after tragedies are created for the crestfallen by those preoccupied with grief. Then time passes, memories fade. The message of more permanent monuments like the Holodomor Memorial is "lest we forget."
32. HOLOD_200212_146.JPG: "Washington's plans and monuments aspire to represent the essential American, but as they take shape on the ground, they become enmeshed in the complex realities of a living America."
33. HOLOD_200212_151.JPG: Why DC? Monuments have a special status in Washington, DC, capital of the modern world's first democratic republic. Proposed new monuments face an onerous permission process that can confer a kind of official blessing. With monuments we enshrine heroes like Washington and Lincoln, celebrate triumphs, reflect on failures such as Vietnam. Memorials create and revise collective memory, proclaim our values, signal sympathy with our allies. The Holodomor Memorial reminds us what horrors can result when a powerful aggressor subdues a weaker neighbor. Because the memorial is on American soil and was sanctioned by Congress, it can be seen as a call for US solidarity with Ukraine today as it again faces Russian aggression.
34. HOLOD_200212_152.JPG: "Oral History Project of the United States Commission on the Ukraine Famine," vols. 1-3, published in 1990. In 1983, 20,000 Ukrainian-Americans gathered at the Washington Monument to mark the 50th anniversary of the Holodomor. Ukrainian-American activists harnessed the political power of this gathering to lobby Congress to create a Famine Commission, which collected eyewitness accounts from survivors. The report, issued in 1990, contained approximately 200 interviews, some from anonymous sources who feared reprisals against family left behind in Soviet Ukraine. [Temporary sign during installation.]
35. HOLOD_200212_168.JPG: "With submissions due in five weeks, on Thanksgiving Day, I didn't want to risk mailing in my drawings and model. Through my network of Ukrainian girlfriends, I was able to find a Ukrainian woman attending a conference in DC who would be returning to Kyiv two days before the deadline. I drove her to Dulles Airport and walked the box of competition materials to the security line. The next morning, I woke up to an email saying that the materials had been delivered safe and sound."
36. HOLOD_200212_171.JPG: Competition entry box Plywood Kurylas' competition submission materials -- model, drawings, and design statement -- traveled to Kyiv, Ukraine in this special box fabricated by Steve Lann to meet airline carry-on specifications. Competition entry model Plexiglass MAPP alumnus Tom Eichbaum built this competition model out of plexiglass. The model was subsequently altered to reflect design changes.
37. HOLOD_200212_182.JPG: The Competition: 52 Proposals A memorial's sponsor has seven years to identify a site, select a design, and secure a building permit. In October 2009, three years into this window, the Ukrainian Minister of Culture and Tourism launched an international design competition. Guidelines, released in Ukrainian, included a reminder that the use of dominant religious symbols violated US anti-discrimination laws. By December, with President Yushchenko certain to lose re-election in January, a jury selected five finalists from 52 submissions. After the election and resulting delays, diaspora activists pressured the Ukrainian government to resurrect the project. The Embassy hired Hartman-Cox Architects to vet the finalists with the Commission on Fine Arts, DC Historic Preservation Office, National Capital Planning Commission, and National Park Service. After an initial round of comments and design changes, Larysa Kurylas's submission was selected.
38. HOLOD_200212_211.JPG: Rushnyk (Ritual Cloth) by Borys Danyluk
39. HOLOD_200212_213.JPG: Krapli Sliz na Pshenychnomu Poli (Teardrops on a Wheat Field) by Lulii and Lev Synkevych
40. HOLOD_200212_218.JPG: Zruynovana Kulya (Destroyed Sphere) by Oleksandr Diachenko
41. HOLOD_200212_219.JPG: Rostochok (Shooting Hands) by Igor and Liudmyla Grechanyk
42. HOLOD_200212_221.JPG: Pole Pshenytsi (Field of Wheat) by Larysa Kurylas
43. HOLOD_200212_234.JPG: Whose Truth? How to Mark Loss? Why DC?
44. HOLOD_200212_237.JPG: An Act of Congress: Establishing a Memorial Ukrainian-Americans had for years been urging Congress to create a memorial to Holodomor victims. Two events in the early 2000s helped make the tribute a reality. First, in 2003, the 7oth anniversary of the manmade famine, United Nations delegations issued a joint statement commemorating the tragedy and stating without equivocation that the Soviet regime was guilty of killing millions of Ukrainians. Then, in 2004-2005, a popular uprising, the Orange revolution, swept away the pro-Russian Ukrainian regime, drawing support from the United States Congress. The country's new President, Viktor Yushchenko, stressing that the world must never forget the Holodomor, vowed that his government would fund and maintain a DC memorial to the tragedy if Congress approved its creation. The time was ripe, and in 2006, Congress authorized "the Government of Ukraine to establish a memorial on Federal land in the District of Columbia to honor the victims of the manmade famine that occurred in Ukraine in 1932-33."
45. HOLOD_200212_242.JPG: Dr. Raphael Lemkin, who coined the term "genocide." In 1953, Ukrainian-Americans gathered in New York City to commemorate the 20th anniversary of the Holodomor. Raphael Lemkin, who coined the term "genocide" in 1944 to describe the Holocaust, was invited to speak. Lemkin asserted that the manmade famine was not only "mass murder," but a "case of genocide, of destruction, not of individuals only, but of a culture and a nation." This characterization remains the subject of both scholarly debate and political positioning.
46. HOLOD_200212_244.JPG: View of United Nations General Assembly hall during the 58th session of the General Assembly. Although the 2003 UN Joint Statement shied away from labeling the Holodomor as genocide, it was an important recognition of Ukrainian and other victims of the Soviet regime. It was signed by 24 countries including the Russian Federation. The statement ended with the hope that "exposing violations of human rights, preserving historical records and restoring the dignity of victims through acknowledgement of their suffering, [would] guide future societies and help to avoid similar catastrophes in the future."
47. HOLOD_200212_247.JPG: Field of Wheat: Kurylas Design Selected Larysa Kurylas's proposal offered an intentional space to support both personal reflection and public remembrance of the Holodomor. "Field of Wheat," a 30-foot bronze bas-relief, faces the plaza, which is etched with a pattern inspired by Ukrainian textiles. The memorial's iconography conveys the confiscation of food that led to mass starvation and the purposeful destruction of Ukrainian culture; the use of bronze and granite suggests permanence and resilience. The design enables a broader meditation on the use of hunger as a weapon; the memorial's inscription, however, is unequivocal in labeling the Holodomor a genocide and identifying Stalin's totalitarian regime as responsible. Reviewers noted the "engaging quality of fading wheat" and the "accessible concept." They praised the "intimate" and "restrained" design, the "elegant site plan," and "appropriate primary and secondary sides" -- features that were carefully protected and honed in the journey from concept to built form.
48. HOLOD_200212_249.JPG: "As a Ukrainian-American architect, I felt duty-bound to participate in the competition and to get the message of this memorial right." -- Larysa Kurylas, 2020
49. HOLOD_200212_255.JPG: Design Evolution: The Review Process This timeline follows the iterative rhythm of presentations, comments, and response required for final approval of the memorial. The Kurylas Studio partnered with Hartman-Cox, a larger firm who became architect of record. Between agency reviews, marked here by vertical bands, Kurylas studied design options and Hartman-Cox developed new presentation drawings. Horizontal bands trace the evolution of five elements -- scrutiny around one inevitably affected others. A clear vision, strong parti, and valuable feedback enriched the work. Detailed documentation offers a window into the team's successful navigation of this complex and often unseen process. [Noun. parti (plural partis) The basic, central, or main concept, drawing, or scheme of an architectural design. (dated) Someone (especially a man) who is considered to be a good choice for marriage, because of wealth, status etc.]
50. HOLOD_200212_257.JPG: Wall Paving Planting Stormwater Furniture
51. HOLOD_200212_267.JPG: From Wheat to Pattern: Material & Form Design evolution and reviews did not end with the building permit. As the focus shifted to the memorials' materiality and production, artisans provided necessary expertise to realize the work. Trained as an architect, not a sculptor, Kurylas partnered with Lawrence Welker IV, owner of Laran Bronze Foundry in Chester, Pennsylvania, to create the Field of Wheat bas-relief. The collaboration was exciting for both parties. Ideas that made sense on paper were tested, and in some cases discarded. To transform the harvested wheat into a foam pattern, they experimented with virtual modeling software, which the foundry had never used on a project of this scale. Together they explored different production methods and refined the memorial's design.
52. HOLOD_200212_297.JPG: This was in the side room during the installation.
53. HOLOD_200212_301.JPG: Exhibition Team
54. HOLOD_200212_304.JPG: Making the Holodomor Memorial Context & Questions
55. HOLOD_200212_308.JPG: Famine-Genocide in Ukraine: In memory of the millions of innocent victims of a man-made famine in Ukraine engineered and implemented by Stalin's totalitarian regime. Memorial inscription pattern carved foam Full-size foam pattern of the dedication panel's English portion, used in sandcasting.
56. HOLOD_200212_327.JPG: Wheat panel This wheat, harvested by Kurylas' uncle Michael Kaminsky in Beausejour, Canada, was glued to a panel, painted white, and scanned to create the virtual model for the sculpture. The 3 ft tall x 7-1/2 ft. long array was enlarged approximately 100% and doubled in length for the final sculpture.
57. HOLOD_200212_341.JPG: Test patterns carved foam Full-size 12" wide foam patterns were presented to CFA Staff during the course of design development. The earlier high relief pattern of wheat on the left -- which was rejected for lack of definition and an insufficient proportion of wheat stalk to head -- was included for comparison. The middle pattern, showing wheat in mid-relief, was rejected because the thinness of the stalks caused breakage. The subtle definition of wheat in the low relief pattern on the right was approved, but the waviness of the vertical edge defining the negative space was considered distracting.
58. HOLOD_200212_364.JPG: Fifth-scale model carved foam To present the overall sweep of the final design to CFA Staff, this one-fifth size foam model was produced of the "Field of Wheat" sculpture, including bookends and base.
59. HOLOD_200212_373.JPG: Wheat harvested by hand in Beausejour, Manitoba, Canada in August 2012 drying in sun before being bundled in sheaves for storage.
60. HOLOD_200212_376.JPG: Drawing of original concept, in which the sculpture's right half would be the negative image of its left. Over 30 ft., the wheat transitions from 8" of projection (positive rendering) to 8" of void depth (negative rendering). The face of the text "Holodomor 1932-1933" remains parallel to the datum plane that frames the bas-relief.
61. HOLOD_200212_380.JPG: Preliminary layout discussion between Lawrence Welker IV and Kurylas at Laran Bronze Foundry in Chester, PA in September 2013.
62. HOLOD_200212_381.JPG: The first digital model, generated October 29, 2013, had too obvious a symmetry, the result of "flipping" the wheat image at the sculpture's centerline. Other initial thoughts were to lengthen the stalks to create a better impression of a field, to stretch the text across two-thirds of the sculpture's length, and to wide the frame.
63. HOLOD_200212_385.JPG: The selected wheat, arranged by Lawrence Welker IV, glued to a panel and painted white for ease of scanning.
64. HOLOD_200212_387.JPG: After December 18, 2013 corrections to the digital model, the text was shortened in height and moved to the left to create more breathing space near the right edge of the frame. While the effect of wheat stalks interwoven with leaves was pleasing, extremely diagonal wheat stalks seemed distracting and were eliminated.
65. HOLOD_200212_391.JPG: Final wheat panel layout, which was photographed with a digital camera in 6" squares frontally and at a 45 degree angle. Kurylas and Lawrence Welker IV view the developing digital model.
66. HOLOD_200212_394.JPG: Final digital model of 6 January 2014 before carving patterns for presentation to CFA Staff. The wheat at the center of the sculpture had been made taller.
67. HOLOD_200212_396.JPG: Lawrence Welker IV stitching together wheat scans to create a digital model of the sculpture using Geomagic TOUCH X software by 3D systems and a haptic device.
68. HOLOD_200212_399.JPG: Left: Three 12" wide pattern sections showing the transition from positive to negative rendering. High points in the right-most pattern were later shaved down in a failed attempt to make the wheat more recognizable. Right: Computer Numeric Cutter (CNC) carving a new foam pattern of the sculpture's deepest point.
69. HOLOD_200212_402.JPG: The idea of wheat changing gradually from high relief at the left to no relief on the right was embraced. Negative space, as a willful sculptural act, was retained to underscore the political deliberateness of the famine. As the wheat gradually fades away and negative space grows in size, "Holodomor 1932-1933" emerged.
70. HOLOD_200212_405.JPG: Instructions to modify the digital model to make the left projecting corner of the wheat field more crisp and to almost completely straighten out the right edge of the negative space.
71. HOLOD_200212_407.JPG: Study of the idea having the wheat totally disappear 3 feet before the end of the sculpture, in a flat-lining effect.
72. HOLOD_200212_409.JPG: Recessed reveals are studied at all conditions of contact between bronze and stone: top, front, and back.
73. HOLOD_200212_411.JPG: Study of the idea having the wheat totally disappear 5-1/2 feet before the end of the sculpture, in a flat-lining effect.
74. HOLOD_200212_413.JPG: Bronze cap is designed as a separate piece which hooks under the top edge of the sculpture, spans the space of the steel internal structure, and rests on top of the back stone panels. The cap's angle exposes the full module of the etched stone pattern at the top.
75. HOLOD_200212_416.JPG: A less severe vertical edge is requested at the right end of the sculpture, in combination with adding more "ghosted" wheat texture in the negative space of the sculpture.
76. HOLOD_200212_421.JPG: Digital model for the creation of a 1/5 scale model. The 1/5 scale model is visible from the gallery lobby.
77. HOLOD_200212_423.JPG: Final digital model of 21 April 2014 before carving out three foam patterns, again, for presentation to the CFA Staff.
78. HOLOD_200212_426.JPG: Model incorporates the final form of the stone bookends and shows the "draping effect" of the bronze sculpture. Dedication text is composed and formatted.
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Wikipedia Description: University of Maryland, College Park
From Wikipedia, the free encyclopedia

The University of Maryland, College Park (often referred to as The University of Maryland, Maryland, UM, UMD, or UMCP) is a public research university located in the city of College Park in Prince George's County, Maryland, approximately 8 miles (13 km) from Washington, D.C. Founded in 1856, the University of Maryland is the flagship institution of the University System of Maryland. It is considered a Public Ivy institution, meaning it is a public university with a quality of education comparable to those of the private Ivy League. With a fall 2010 enrollment of more than 37,000 students, over 100 undergraduate majors, and 120 graduate programs, Maryland is the largest university in the state and the largest in the Washington Metropolitan Area. It is a member of the Association of American Universities and competes athletically as a member of the Big Ten Conference.

The University of Maryland's proximity to the nation's capital has resulted in strong research partnerships with the Federal government. Many members of the faculty receive research funding and institutional support from agencies such as the National Institutes of Health, the National Aeronautics and Space Administration (NASA), the National Institute of Standards and Technology, and the Department of Homeland Security.

The operating budget of the University of Maryland in fiscal year 2009 was projected to be approximately US$1.531 billion. For the same fiscal year, the University of Maryland received a total of $518 million in research funding, surpassing its 2008 mark by $118 million. As of May 11, 2012, the university's "Great Expectations" campaign had exceeded $950 million in private donations.
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2020 photos: Well, that was a year, wasn't it? The COVID-19 pandemic cut off most events here in DC after March 11. The child president's handling of the pandemic was a series of disastrous missteps and lies, encouraging his minions to not wear masks and dramatically increasing infections and deaths here.The BLM protests started in June, made all the worse by the child president's inability to have any empathy for anyone other than himself. Then of course he tried to steal the election in November. What a year! Trips: Because of COVID, the farthest distance I traveled after that was about 40 miles. I only visited sites in four states -- Maryland, Virginia, West Virginia and DC -- and didn't do any overnight travel anywhere. That was the least amount of travel I had done since 1995. Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Number of photos taken this year: about 246,000, the fewest number of photos I had taken in any year since 2007.
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