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Fall 2021

"New Works"
AACC Visual Arts Faculty Show

Exhibit Dates 
Aug. 30-Sept. 24 (Closed Labor Day)

Wednesday, Sept. 15, 5-7 p.m.

About the Exhibit
This exhibit will highlight recent works by Anne Arundel Community College’s visual arts faculty. “New Works” includes works created in the past few years by the vibrant artists teaching in AACC’s Visual Arts department. The works will include photography,  sculpture, painting, ceramics, design, video and more.

Marybeth Chew, Erik Dunham, James Fitzsimmons, Zoe Friedman,Teddy Johnson, Brian Kelley, Matt Klos, Jin Lee, Abigail McBride, Lindsay McCulloch, Chris Mona, Matthew Moore, Sara Allen Prigodich, Wilfredo Valladares and Joe Yablonsky

Masks are required. If you are not a current AACC student, just fill out a health attestation prior to entering the gallery. Attestations and a dropbox will be available outside the gallery door.

Zoë Charlton: "The Latter to the Former"

Exhibition Dates
Oct. 12-Nov. 12

Oct. 14, 5-7 p.m.

Visitation Protocol
Masks are required. If you are not currently a student, be sure to fill out a health attestation form prior to entering the gallery. Attestations and a dropbox will be available outside the gallery door.

About the Exhibit
The exhibit is curated by Wilfredo Valladares in conjunction with Teddy Johnson, Cade Gallery director, and the artist.

"The Latter to the Former" is a solo exhibition of sculptures, large scale drawings with collage, and small works on paper by Zoë Charlton. This unique grouping unites pieces from four different bodies of work created over the last three years. An artist, educator and curator of note, Charlton is a prominent member of the region's arts community with both a national and international reputation. Her work brings together vital questions regarding representation, race, figuration and history, with a vigorous exploration of material and form.

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 to-day 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.

The Route Toward Equity

Exhibition Dates
Dec. 2-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.

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.

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

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

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

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 (fortcoming), as part of her work as member of the SNCA. Executive Director of the Mexican Cultural Institute of Washington, D.C., since 2020.

Parallax Effect:
Shifting Perspectives on the Climate Crisis

Exhibition: Feb. 15-March 15
Curated by Matthew Moore

An international collection of artists grapple with global warming through video, performance, photography and other media.

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

Krista Caballero
Liz Donadio
Todd Forsgren
Hope Ginsburg
Maureen Gruben
Avelino Sala (Courtesy of RoFa Projects)
Santiago Velez (Courtesy of RoFa Projects)

Matthew Moore is an explorer of places, both real and imagined. His photographic process blends research and cartography to create bodies of work that investigate the way history and collective memory are influenced through interventions in the landscape. Moore's most recent project, Post-Socialist Landscapes, was the focus of a solo exhibition at the Academy Art Museum in Easton in 2019, and will be exhibited at Blue Sky Gallery in Portland, Ore., in 2022. Past residencies include the Nida Art Colony in Nida, Lithuania, and the Joshua Tree Highlands AIR program in Joshua Tree, Calif. Moore also received Maryland State Arts Council Individual Artist Awards in 2015 and 2018. He earned his MFA from Georgia State University in Atlanta in 2009, and a BFA from the College for Creative Studies in Detroit in 2000.



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