It’s a common misconception that museums and galleries are intimidating. If you don’t have a degree in art history, there’s something a little off-putting about walking into a roomful of Chardonnay-sipping hipsters praising the brilliance of a canvas painted entirely white.

To be fair, this does happen. But not at the University of Maine Museum of Art.

The current exhibition, “A Legacy of Collecting: 1983-present,” illustrates that in grand fashion. Yes, the show includes works of academic importance – most notably Kara Walker’s black-and-white print “Cotton,” which shows a silhouette of a black woman falling, headfirst, into a giant bowl of cotton bolls. But it also features a fresco of a Husqvarna chain saw by Maine’s own Barbara Sullivan and a bold Andy Warhol print of Mick Jagger.

In other words, serious art can be fun. And interesting. And not even a little bit intimidating.

“It reflects the eclectic nature of the collection,” said Laurie Hicks, the museum’s interim director.

“It reflects the breadth of the collection,” added Hicks “The type of pieces held here represent such a broad sweep of what art is.”

The museum, which in December celebrated the fifth anniversary of its move to downtown Bangor, has worked hard in recent months to increase its presence and accessibility in the community at large. A gift from Machias Savings Bank has ensured free admission through the end of 2008, and a slate of art classes – digital photography, drawing and bookmaking – is in the works (see sidebar), as is a lunchtime art talk.

“We’re trying to reach out even more to the people and businesses of downtown,” Hicks said. “One of the next steps is to establish a little bit more of a connection to the broader community. This is both an academic museum and a community museum.”

As the university searches for a permanent director to replace Wally Mason, who left in November to direct the art museum at Marquette University in Milwaukee, Wis., that dual role is of increasing importance, Hicks says.

“I think that person is going to have to reach to the community and reach back to the university,” Hicks said. “If that can happen, I think there is tremendous potential for what this museum can do.”

In some ways, the museum is returning to its roots – albeit in a state-of-the-art, off-campus facility. UMMA’s founder, the late Vincent Hartgen, made it his life’s work to bring art to the masses by hanging significant works in public places on campus and sending others to Maine classrooms through the Museums by Mail program, which continues today.

Hartgen started the collection on a shoestring, with a focus on contemporary works on paper – a relatively affordable way to acquire first-rate art. A 2007 exhibition focused on his contributions to the museum’s permanent collection. The current exhibit picks up where Hartgen left off, with works collected by Mason and his predecessors David Ebitz and Charles Shepard. With prints by Warhol, Claes Oldenburg, Picasso and John Marin, the exhibit feels like a “greatest hits” show.

“Most of the collection has been shaped by what’s been given [as much as by what’s been intentionally] solicited,” said Steve Ringle, the museum’s preparator, who has a 27-year history at the museum. “Wally [Mason] certainly exercised what purchasing power we had to collect great photographs. We have some interesting stuff now because of that.”

A pivotal donation by UM alumnus Robert Venn Carr Jr., a 1938 UM alumnus, took place during Ebitz’s tenure. Carr collected works on paper by German, American and English artists, and in 1988, he gave 305 works to the museum. In addition, Sophie Gropper gave 43 works by her husband, the American artist William Gropper.

That tradition of giving continues today. In December, UM professor Jon Ippolito donated eight large-scale paintings by his father, the renowned abstract expressionist painter Angelo Ippolito. An exhibit of those paintings is expected within the year. In addition, photographer Stella Johnson plans to donate all of the works in her upcoming exhibit, which opens July 18, to the museum.

Though the search is still in the preliminary stages, the tradition of collecting will continue, as well, once a new director takes the helm at the museum.

“We’re trying to make sure we get the absolute best fit for the museum, to move the museum from where Wally has taken it to its next step,” Hicks said.

What is the next step? Only the new director will know. But one thing’s for certain: It will include the community and the university in equal – accessible – measure.

Workshops

The University of Maine Museum of Art has three art classes, which will be open to the public, in the works. For information, to register or to put your name on a waiting list, call 561-3350.

. Drawing with Ed Nadeau, March 15 and 29 (two-day workshop).

. Digital photography with Gina Platt, April, dates to be determined, call to get your name on the list.

. Bookmaking with Walter Tisdale, dates to be determined, call to get your name on the list.

“A Legacy of Collecting: 1983-Present”

Where: University of Maine Museum of Art, 40 Harlow St., Bangor

When: through April 5

Contact: 561-3350

On the Web: www.umma.umaine.edu

Hours: 9 a.m.-5 p.m. Monday-Saturday

Admission: Free