Maryland visitors get in-depth view of Jones collection

Amalia Amaki, curator of the Paul R. Jones Collection, with noted African-American artist, scholar and collector David Driskell, Distinguished University Professor Emeritus of Art at the University of Maryland

4 p.m., April 18, 2005--UD’s Paul R. Jones Collection, which celebrates the diversity and artistic range of African-American art, has attracted attention nationwide and made waves in the worlds of both art and academia.

Earlier in the month, five delegates from the University of Maryland visited the campus for a behind-the-scenes tour of the collection and Mechanical Hall. They were interested in learning about the collection’s beginnings and growth as a part of cultural life at UD.

Among the visitors was noted African-American artist, scholar and collector David Driskell, Distinguished University Professor Emeritus of Art at the University of Maryland, whose work is included in the Jones collection. The David C. Driskell Center for the Study of the African Diaspora was established in his honor by the University of Maryland in 2001.

Other Maryland visitors included James F. Harris, dean of the College of Arts and Humanities; Robert E. Steel, executive director, and Scott Habes, associate director, both of the Driskell Center; and Larry Frazier, an attorney specializing in estate planning.

"The University of Maryland is considering relocating the Driskell Center," Janis Tomlinson, director of University Museums, said, "and was interested in the renovation of Mechanical Hall. We were interested in some of the grant programs and initiatives they have put in place at the Driskell Center. We exchanged ideas, and the meeting was mutually beneficial."

The Maryland delegation met with Provost Dan Rich; Tomlinson; Amalia Amaki, curator of the Paul R. Jones Collection; Ann Ardis, associate dean of arts and sciences; and was later joined by UD President David P. Roselle and Kevin McCullen, a director of University development.

Discussion topics included how the Paul Jones Collection is integrated with UD’s academic program; how the collection is managed; and the financial infrastructure needed to support the collection.

“The group viewed the Paul Jones Collection and the activities surrounding the collection as a model,” Amaki said. “The success of the book about the collection, the lectures associated with the collection and the attention the collection has attracted were of interest to the visitors.”

Article by Sue Moncure
Photo by Kathy F. Atkinson

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