DATES: 

Exhibition: Nov. 30, 2022, through Jan. 26, 2023

Note: Gallery is closed Dec. 20 to Jan. 8 for AACC's winter break.

Dec. 7, 5 to 7 p.m., public reception and juror talk

JUROR: Sarah Jesse, director, Academy Art Museum, Easton

ARTISTS: Tyler Brumfield, Alex Clark, Jo Cosme, Rose DeSloover, Lucy Julia Hale, Jason Lee, Andrew Liang, Danielle Schwesinger, Jackson Wrede    

PUBLIC RECEPTION AND JUROR TALK: Dec. 7, 5-7 p.m.

VISIT THE GALLERY: Monday through Thursday, 8:30 a.m. to 4:30 p.m.  

About the Exhibit: Artists have long used comedy as a tool to critique society and an art establishment that takes itself too seriously. From the playful irreverence of Marcel Duchamp, Maurizio Cattelan and Sarah Lucas to the dark satire of Francisco Goya, Honoré Daumier and Martine Syms, artists have employed diverse forms of humor to elicit laughter while revealing cutting truths. Through a national open call, "Tell it Slant: Art with Wit" brings together work that responds to contemporary issues using one of the most potent yet disrespected weapons in the artist’s arsenal.

About the Juror: Sarah Jesse is the director of the Academy Art Museum in Easton. Before arriving on the Eastern Shore in 2021, she was interim director and CEO of the Orange County Museum of Art, associate vice president of education at the Los Angeles County Museum of Art, director of education at the Philbrook Museum of Art in Tulsa, Okla., and worked at the Museum of Contemporary Art in Chicago. She is a graduate of the Museum Leadership Institute, received her Master of Arts in art history from the University of Illinois at Chicago, and her Bachelor of Arts from Oberlin College.

ABOUT THE GALLERY: The Cade Center for Fine Arts Gallery is on the western side of AACC’s Arnold campus, 101 College Parkway. Located on the main floor of the Cade Building on West Campus, the Cade Art Gallery at Anne Arundel Community College features six exhibits a year. The span of exhibiting artists is broad, yet each exhibit is focused by theme or medium. You can encounter an installation project juried by a museum curator, or the latest painting by an AACC student. Since March 2020 the Cade Gallery Instagram account, @cadegalleryaacc, has supported the gallery's mission with content throughout the year.     

INFORMATION: Email Teddy Johnson, director, Cade Art Gallery, at tjjohnson9@aacc.edu  

Pérez García's evocative sculptural forms and prints in this exhibit address gender violence, especially the troubling increase in violence against women during the pandemic.

DATES

Oct. 11 through Nov. 10

EXHIBIT RECEPTION

Oct. 19, 5 to 7 p.m.

VISITING ARTIST EVENTS

Oct. 19, Noon to 4 p.m.
Noon – Tea and conversation
1 p.m. – Artist Talk and discussion of her prints
2 p.m. – Discussion of collaborative process on monumental Linocut

VISIT THE GALLERY

Monday through Thursday, 8:30 a.m. to 4:30 p.m.

ABOUT THE ARTIST

Originally from Arecibo, Puerto Rico, Pérez García (1965) was trained as a printmaker at the Tyler School of Art and Architecture at Temple University in Philadelphia, where she received her MFA. Her artworks are in collections such as the Museo de Arte de Puerto Rico, Museo de Arte Contemporáneo de Puerto Rico, the Library of Congress and The Phillips Collection in Washington, D.C., among others. After moving to Washington in 2008, Peréz García has been a yearly recipient of artist fellowships from the DC Commission on the Arts and Humanities since 2010. She was awarded Public Art Building Communities grant in 2018 for "I’m Gonna Get You - Si te cojo," a large mixed-media installation on gender violence exhibited at the Reeves Center. Recently, Pérez García started to experiment with structural papermaking, which resulted in her exhibit, "Restos – Tracesas," part of the 2022 Intersections Series of the Phillips Collection.

ABOUT THE WORK

Artist statement, Rotura-Rupture, 2022

My work is centered on finding ways to bridge art and social activism. My recent pieces created during the pandemic address the troubling yet hardly discussed issue of women victims of gender violence having to “shelter in place” with their aggressor as stay-at-home orders were implemented to try to curb the devastations of the pandemic.

That led to the creation of a large-scaled linocut where I featured the names of women who were killed in Puerto Rico during the first year of the pandemic. Every week I was stunned to have to add two or three new names. Thanks to a collaboration with AACC’s faculty and students, this print is now exhibited for the first time.

I thought of all the women we had lost; the women who were no longer here, and who no longer had a voice or a physical presence. My traditional two-dimensional woodcut prints could no longer fill that void, so I turned to exploring the physicality of sculptural paper making.

I have worked with survivors of gender violence before while organizing workshops and creating dolls that symbolize their stories and their resilience. The dolls were exhibited as part of a large public installation in DC as well as in Puerto Rico.

My new life-size pieces are inspired by the stories of these women. The sculptural form enables me to express their physical presence so that they are not forgotten. I also want their experience to serve us so that in these sculpted torsos we also see our own lives. As a community, we have a duty to not forget. Their stories are our common story.

Through both the woodcut prints and this new body of works, I also try to initiate a dialogue in which the public is led to experiment in an aesthetically impactful way the chaotic nature of the human condition from fragility and vulnerability to strength and survival.

ABOUT THE GALLERY

The Cade Center for Fine Arts Gallery is on the western side of AACC’s Arnold campus, 101 College Parkway. Located on the main floor of the Cade Building, the gallery features six exhibits a year. The span of exhibiting artists is broad, yet each exhibit is focused by theme or medium. You can encounter an installation project juried by a museum curator or the latest painting by an AACC student. Since March 2020, the Cade Gallery Instagram account, @cadegalleryaacc, has supported the gallery's mission with content throughout the year.

INFORMATION: Contact Teddy Johnson, director, Cade Art Gallery, at tjjohnson9@aacc.edu.

IMAGE:
Artist: Marta Pérez García
Title: Nameless

EXHIBITION ON VIEW 

The exhibit is open Aug. 11, 2022 through Sept. 23, 2022.  

ABOUT THE EXHIBIT 

This exhibit highlights recent works and collaborations by Anne Arundel Community College’s visual arts faculty. The exhibit will include works in photography,  sculpture, painting, ceramics,  printmaking, drawing, design, video and more. 

Exhibit Reception: Sept. 8, 5-7 p.m.  

VISIT THE GALLERY 

Monday-Thursday
8:30 a.m.–4:30 p.m.  

ABOUT THE GALLERY
The Cade Center for Fine Arts Gallery (CADE) is on the western side of AACC’s Arnold campus at 101 College Parkway. The Cade Art Gallery features seven exhibits a year. The span of exhibiting artists is broad, yet each exhibit is focused by theme or medium. You can encounter an installation project juried by a museum curator, or the latest painting by an AACC student. Since March 2020, the Cade Gallery Instagram account, @cadegalleryaacc, has supported the gallery's mission with content throughout the year.

Questions? Contact Teddy Johnson, director, Cade Art Gallery, at tjjohnson9@aacc.edu. 

About the Exhibit: Second Sight features three multimedia artists who explore the psychological and spiritual ability to see things that escape immediate perception. 

Curated By: Shana Cooperstein 

Artists: Julia Staples, Sharon Koelblinger and Maria Dumlao

Exhibit Information: This year’s exhibit will be in the Cade Gallery from June 20, 2022 to July 20, 2022. Exhibit reception is June 23 from 5 to 7 p.m.    

Artist Talks: Noon-1 p.m.

VISIT THE GALLERY:
Tuesdays, Wednesdays and Thursdays from 9 a.m. to 2 p.m.
Cade Center for Fine Arts, AACC, 101 College Parkway, Arnold

About The Curator: Shana Cooperstein was appointed assistant professor of art history in the Visual Arts department at AACC in fall 2021. In addition to her robust training in art historical research and teaching, she brings to this institution a salient range of curatorial experiences. While writing her doctoral dissertation at McGill University, she organized two exhibitions at the Osler Library of the History of Medicine. Her background in curating was strengthened by a two-year tenure as Max Stern Museum Fellow at McGill's Visual Arts Collection and internships at major institutions including The Montreal Museum of Fine Arts and The Museum of Modern Art.

About the Artists: 

Maria Dumlao works with combined media including film, video, animation, sound, photography, embroidery and installation. Her work explores individual and collective history as mediated experience. Her work, "History in RGB," combines images of history, popular culture, mythic folklore, landscapes and creatures to propose alternatives to the systemic representations ordered by colonial narratives. Born in the Philippines, Maria immigrated to the U.S. mainland, where she lives and works in the traditional territory of the Lenni-Lenape (Philadelphia area). She received a Bachelor of Arts in studio art and art history from Rutgers College and a Master of Fine Arts in studio art at Hunter College-CUNY. Her work has been exhibited, screened and performed in the U.S. and internationally. Most recently she completed a commissioned installation for Auckland Museum and Smithsonian Asian Pacific American Center in Aotearoa New Zealand. Dumalo was awarded the Center for Emerging Visual Artist Fellowship and the Leeway Transformation Award. A selection of prints was exhibited at Pearlstein Gallery in Philadelphia in April and May, and Michener Art Museum in Doylestown (through Aug. 15).

Sharon Koelblinger works in photography and sculpture to bring awareness to our own perceptual limitations. Through presenting photographs in sculptural formats, she aims to disrupt traditional presentation methods and propose new ways of viewing images. She has most recently exhibited her work in a solo exhibition at Common Grounds Gallery at VisArts in Rockville and in group exhibitions at Torpedo Factory Art Center in Alexandria, ACRE Projects in Chicago, and The Sculpture Center in Cleveland. She has recently been awarded residencies at I-Park in Connecticut, Kimmel Harding Nelson in Nebraska and ACRE in Wisconsin. Koelblinger holds a Master of Fine Arts in photography from the Tyler School of Art and a Bachelor of Fine Arts in sculpture from the Minneapolis College of Art and Design. She was awarded an Ohio Arts Council Individual Excellence Award for FY 2021.

Julia Staples is a Philadelphia-based artist, educator and organizer, working with installations incorporating photography, sculpture, video and performance. Her work explores the intersection of self-help and spirituality. Staples has exhibited in and around Philadelphia as well as in Iceland, Spain, New York City and Los Angeles. She has been awarded residencies at Kimmel Nelson Harding, Ox-Bow, The Vermont Studio Center and Polli Talu in Estonia. Her recent achievements include a public art installation at the Philadelphia Free Library, and solo exhibitions at The Arlington Arts Center, Vox Populi and at the Art Association of Harrisburg. In Philadelphia she is an adjunct professor teaching courses in photography, video, studio practice, professional development and photo history. Staples holds a Master of Fine Arts from Tyler School of Art and a Bachelor of Fine Arts from Parsons School of Design. She is a recent member of the artist collective Vox Populi.  

About the gallery: The Cade Center for Fine Arts Gallery is on the western side of AACC’s campus in Arnold, 101 College Parkway. Located on the main floor of the Cade Building, the gallery features seven exhibits a year. The span of exhibiting artists is broad, yet each exhibit is focused by theme or medium. You can encounter an installation project juried by a museum curator or the latest painting by an AACC student. Since March 2020, the Cade Gallery Instagram account, @cadegalleryaacc, has supported the gallery's mission with content throughout the year. 

Information: Email Cade Art Gallery Director Teddy Johnson at tjjohnson9@aacc.edu. 

Juried By: Eric Briscoe

Exhibit Information: This year’s exhibit is in the Cade Gallery from May 10, 2022 to June 10, 2022. 

Reception: May 11, 5-7 p.m. 

About the Exhibit: The exhibit features works by AACC students in a variety of 2D and 3D media, including drawing, painting, sculpture, ceramics, printmaking, photo, design and more. Our annual juried exhibition is an opportunity for students to go through a selection process by an outside art professional and to learn about the jurying process. 

Juror: E. L. Briscoe was born in LaPlata. He attended Charles County public schools and continued on to study visual art at Charles County Community College (now the College of Southern Maryland), Morgan State University, (1995) Bachelor of Arts, Howard University, (1998) M.F.A. Briscoe is the coordinator of the Visual Arts program at Morgan State University and has artworks in The James E. Lewis Museum of Art collection The Jean and Robert Steele Collection of African American Prints, David Driskell Center at the University of Maryland, College Park, and has exhibited at the African American Museum in Dallas, SoWeBo Gallery in  Baltimore, The Creative Alliance, National Black Art Show, SOHO, NY, Art-O-Matic in Washington, D.C., The Nina Simone Experience in Atlanta as well as others. Briscoe has also curated exhibitions such as The Evolution of Depression; revisited, drawings by Larry Scott at the James E. Lewis Museum of Art, Energies and Entities, paintings by Doris C. Kennedy and Baltimore City Arts: Turning the Corner.

About the Gallery: The Cade Center for Fine Arts Gallery is on the western side of AACC’s campus in Arnold , 101 College Parkway. Located on the main floor of the Cade Building, the gallery features seven exhibits a year. The span of exhibiting artists is broad, yet each exhibit is focused by theme or medium. You can encounter an installation project juried by a museum curator or the latest painting by an AACC student. Since March 2020 the Cade Gallery Instagram account, @cadegalleryaacc, has supported the gallery's mission with content throughout the year. 

Information: Email Cade Art Gallery Director Teddy Johnson at tjjohnson9@aacc.edu. 

Press Artwork: 
Artist: Eleanor Woodbury
Medium: Digital Collage
Title: Error Code

Curated by Cheryl D. Edwards 

Dates:

April 1–25, 2022 - Exhibit Run
Public Reception - April 6, 5-7 p.m.  

Artists:

Irene Clouthier, Curlee Raven Holton, Henrick Sundqvist, Michelle Talibah, Sue Wrbican.

Visitation Protocol:

Masks are required. If you are not currently a student, please fill out a health attestation prior to entering the gallery. Attestations and a drop box will be available outside the gallery door. 

About the Curator:

Cheryl D. Edwards is an African American artist and was born in Miami Beach, Florida. In the 1980's she studied drawing and painting under Ernest Crichlow at the Art Student League in New York City. In the art-making practice of Edwards, creative investigative inquiry is inspired by familiar sources: human and political condition, spirituality and mythology, cultural custom and patterns and places. In the absence of the former (manifestations of energy), the physical aspects of place remain. Her medium is painting, mixed media and printmaking. She is currently represented by Gaby Mizes Fine Art.

Exhibition Dates
Dec. 2, 2021-Jan. 28, 2022
(Gallery is closed Dec. 20-Jan. 7 for AACC's winter break)

Public Reception and Juror Talk
Dec. 9, 5-7 p.m.

EXHIBIT THEME
Inequality has been so pervasive, it has generated so much suffering, disadvantage and injustice, that equality can no longer be the goal. Humanity has reached a point where we all need to strive for equity and guarantee that there is no disparity in the opportunities some are afforded over others. Only by “leveling the playing field,” by allowing everyone access to education, housing, health care and decent salaries, will we be able to survive as a fair, productive and, yes, egalitarian society.

JURIED BY
Ix-Nic Iruegas, executive director of the Mexican Cultural Institute of Washington, D.C. 

ARTISTS
John Affolter, Jenny Balisle, Amy Bumpus, Matthew Coté, Jesse Egner, David Finck, Joan E. Gardner, Hope Gereghty, Nicolei Gupit, Daniel Horowitz, Sunyoung Lee, George Lorio, Samantha Resendez, Gary Rubin, Jose Trejo-Maya, Ila Van, Susan West, Tina Ybarra

ABOUT THE JUROR
Ix-Nic Iruegas (Mexico City, 1970) is a member of the Mexican National Art Creators System (SNCA). A translator and cultural manager, she was raised and educated in different countries and languages due to the diplomatic activities of her parents. She holds a Bachelor of Arts in communication from the Universidad Iberoamericana in Mexico City. She has worked in radio and television and has been a style corrector and researcher for nonfiction books. Since 2001 she started working in the production of cultural and corporative events. She was a technical secretary at the Centro Cultural Universitario Tlatelolco, where she was in charge of the operation of the virtual reality installation Carne y Arena, by Mexican film director, Alejandro G. Iñárritu., as well as the commemoration of the 50th anniversary of the 1968 student movement in Mexico. She was director of the Casa Universitaria del Libro, where she coordinated more than 150 activities. She worked at the Cervantino International Festival as PR manager and at the Centro Cultural Roberto Cantoral. As a translator, she worked for PR agencies, law firms, museums and NGOs. In 2012 she conducted her first literary translator for the Fondo de Cultura Económica. Since then, she has translated more than 30 books for the FCE and other editorials, including El niño que nadaba con pirañas, by David Almond, which obtained recognition from the Banco del Libro in Venezuela as the best translation in a children book in 2014; Miedo, by Kevin Brooks; Paisaje con mano invisible, by M. T. Anderson; El árbol de las mentiras, by Frances Harindge; Los hijos del Rey, by Sonya Harnett; Curaduría, by Michael Bahskar, and the anniversary translation of Alice in Wonderland, Lewis Carroll, in collaboration with Mexican writer, Ignacio Padilla, selected by the Banco del Libro in Venezuela as one of The Best Books (Los Mejores) of 2018. She has recently published a translation of Gastronomía e Imperio: La cocina en la historia del mundo, by Rachel Laudan, and a A través del Espejo y lo que Alicia encontró ahí, de Lewis Carroll (forthcoming), as part of her work as member of the SNCA. Executive Director of the Mexican Cultural Institute of Washington, D.C., since 2020.

About the Works
In this presentation, the overlaps between each series highlight the artist’s ongoing questions about figuration: how representations of bodies, even when abstracted, matter. In "The Latter to the Former," it’s the space between physical objects and their 2-dimensional representations, drawn and printed images, legibility and abstraction, and historical accuracy and personal narratives that have generated a broad range of dynamic content. The title comes from Frederick Douglass' 1852 Fourth of July speech excerpted below.

“The fact is, ladies and gentlemen, the distance between this platform and the slave plantation, from which I escaped, is considerable – and the difficulties to be overcome in getting from the latter to the former, are by no means slight. That I am here today is, to me, a matter of astonishment as well as of gratitude. You will not, therefore, be surprised, if in what I have to say, I evince no elaborate preparation, nor grace my speech with any high sounding exordium. With little experience and with less learning, I have been able to throw my thoughts hastily and imperfectly together; and trusting to your patient and generous indulgence, I will proceed to lay them before you.” 

About the Artist
Zoë Charlton makes large scale figure drawings, primarily of women adorned with culturally loaded objects and covered in densely collaged landscapes. She works in sculpture, animation, and collaborates with other artists to make installations and videos. She grew up in the military, primarily in northern Maine. She received an MFA degree from the University of Texas, Austin (1999) and a Bachelor of Fine Arts from Florida State University (1993). In 2001, she attended the Skowhegan School of Painting and Sculpture. Since 2003, Charlton has been teaching full time at American University (Washington, D.C.) and received tenure in 2009. She served as chair for the Department of Art from 2015-2018 and is the first Black American tenured, full professor in the department. Charlton holds a seat on the Maryland State Arts Council, is a board member of the Washington Project for the Art, and is a co-founder of ‘sindikit, a collaborative art initiative, with her colleague Tim Doud. They created the ‘sindikit project to engage their overlapping creative research in gender, sexuality, race, and the economies of things. Her work has been presented in national and international group exhibitions including in Crystal Bridges Museum of American Art, and the Zacheta National Gallery of Art, (Warsaw, Poland).

Details Regarding the Bodies of Work Featured
C.O.O. (Country of Origin, 2017-2020) are casts of masks from different countries and regions in Africa. From 2013-2018, the artist was making drawings and paintings of women wearing African masks as commentaries on personal identity, womanhood, external generalizations of race/ethnicity in tourist markets, and the commodification of Blackness and Africanness. Not knowing the history of the masks or their country of origin further mystified, fetishized and objectified the artist’s relationship to them as objects. As objects that were ostensibly made by artists from particular countries for outsiders – for the tourist market – Charlton reflected on her connection to them, as a Black American and a consumer of culture that is part of her ancestry. 

There are six distinct styles of masks from the Fang, Bembe, Luba and Lega, representing three countries – Republic of Cameroon, Democratic Republic of the Congo and Gabon (Gabonese Republic). The masks are hand cast replicas of the original and painted in bright colors. The significance of the material – plastic – is complicated. It simultaneously comments upon labor, something cheaply made, commodity, malleability and resilience (difficult to dispose). 

The small works on paper in the Luster series that hang in the small gallery are made with glitter, a disposable, yet playful material. They are silhouettes of African statues from art history books. In some, the reference is recognizable. In others, the images look like abstract shapes that have little to do with their source.

Rendition (Sib No. 1-6) is inspired by a 60-inch statue of a pregnant woman attributed to the Bangwa in Cameroon that was purchased in 2014 from an antique store north of Baltimore. The original African statue mirrors the artist’s height and general size, even though its body is an abstraction/distortion of a real body. Each Sib is an attempt at making a replica, of duplicating a body that because of the conditions of hand, chance, process and opportunity, the ‘genetic’ coding generated variations that resulted in individuality. There are six versions of Sib, each one black and blue. Though they are products from the same mold, they are not identical. 

Two large scale drawings from the Compromise Series flank the sculptural work. The drawings are in homage to her grandmother who began purchasing land in the early 1940s in the Florida panhandle. The woman’s body in the artwork is drawn and painted. The collaged landscapes and masks may be familiar images as they are sourced from scrapbook materials used in craft projects and online sources. The familiarity (of the images) makes them accessible, playful and curious.