GADSDEN ARTS CENTER & MUSEUM MARK MESSERSMITH WHEN NO ONE IS WATCHING

CARRIE ANN BAADE A FORESHADOWING OF EVENTS

FLORIDA STATE UNIVERSITY BFA & MFA STUDENTS

GADSDEN ARTS CENTER & MUSEUM SEPTEMBER 28–DECEMBER 15, 2018

PRESENTED BY

MEDIA PRESENTING SPONSOR

CONTRIBUTING SPONSOR

Funding for this program was provided through a grant from the Florida Humanities Council with funds from the National Endowment for the Humanities. Any views, fndings, conclusions or recommendations expressed in this publication do not necessarily represent those of the Florida Humanities Council or the National Endowment for the Humanities.

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, and the Florida Council on Arts and Culture

Published by the Gadsden Arts Center & Museum 13 N. Madison St., Quincy, FL 32351 www.gadsdenarts.org

COVER. Mark Messersmith, Out in the Grove detail, 2017, oil on canvas, mixed media FORWARD BY GRACE ROBINSON

ESSAYS BY ANGIE BARRY

EDITED BY ANISSA FORD

GADSDEN ARTS CENTER & MUSEUM QUINCY, FLORIDA IMAGE 1. Mark Messersmith, Tarpon Hunter, 2017, oil on canvas, mixed media Contents

6 FORWARD Grace Robinson

8 INTRODUCTION Angie Barry

10 MARK MESSERSMITH: ANXIETY SERIES UNDERCURRENT OF OPPOSITES Angie Barry

22 CARRIE ANN BAADE: A FORESHADOWING OF EVENTS WHILE THE WORLD SLEEPS Angie Barry

34 FLORIDA STATE UNIVERSITY: BFA & MFA STUDENTS

42 ABOUT THE ARTIST: MARK MESSERSMITH

43 ABOUT THE ARTIST: CARRIE ANN BAADE

44 EXHIBITION CHECKLIST

46 ENDNOTES

47 REFERENCES 6 Art as Social Commentary styles thatpresent surreal, sometimes Both artistshaverealistic, colorfulpainting work inover100exhibitions worldwide. an award-winning artistwhohasexhibited Texas, andLouisiana.Carrie Annisalso recently hadmuseumexhibitionsinFlorida, awardsinternational forpaintingandhas Mark haswonstate,national,and & Museumtohostexhibitionsoftheirwork. truly anhonorfortheGadsdenArtsCenter uniquely expressive bodiesofwork.Itis Ann are highlyaccomplishedartists,with and CarrieAnnBaade.Mark experience intheworkofMarkMessersmith region –andthatisdefnitelywhatyouwill best ofthecreative workproduced inour role asanartmuseumistocelebratethe present thisgroup ofexhibitions.Partour Arts Center&Museum,Iamthrilledto As theExecutiveDirector oftheGadsden EXECUTIVE DIRECTOR BY GRACE B. ROBINSON FORWARD untold numbersofviewers. be rolled intoaworkofartthattouches observations, emotions,andopinionscan meaning inwhatitconveys–theartist’s culture, andoftenincorporateslayersof Art crosses barriersoftime,language,and and infuencepeople. educate, inform, existence hasbeenapowerfultoolto Art isuniquelyhuman,andsinceitsearly sometimes, drivethoughtandaction. the powerofarttoconveyideas,and museum istodevelopappreciation of Another aspectofourworkasanart and discuss. their work,willgiveyoualottothinkabout emotional response. Bothartists,through chaotic compositionsthatevokeastrong Art as Social Commentary 7

Art as Social Commentary Grace Robinson Executive Director Gadsden Arts Center & Museum regarding a variety of emotionally charged a variety of emotionally charged regarding a challenging experience subjects, offering them. for everyone who interacts with is a lot to see, think about, and There in this work. I hope your appreciate experience with will be a memorable one. exhibition in the Sara May Love Gallery. Gallery. May Love in the Sara exhibition group of group When No One is Watching When No One is

. Mark Messersmith’s Mark Messersmith’s .

Art as Social Commentary

infuence upon their work. All three of these infuence upon their work. All three compelling images exhibitions present Florida State University, showing the artists’ Florida State University, Mark Messersmith and Carrie Ann Baade at undergraduate students who work with undergraduate The exhibitions includes work by graduate and Arts, and all museums, is education. Finally, an important purpose for Gadsden Finally, and Carrie Ann Baade. images from the work of Mark Messersmith images from these exhibitions, you will undoubtedly be remember touched, and you may forever once we view them. As you experience others are indelibly written into our memory indelibly written into our memory others are infuence us without our being aware; aware; infuence us without our being commercial art, journalistic photography, art, journalisticcommercial photography, images public art, and fne art. Some and today surrounds us in many forms—and today surrounds Art as social commentary is powerful, Art as social commentary is powerful, IMAGE 2 IMAGE 8 Art as Social Commentary from traditional,representational painting, artists whohavedistanced themselves In starkcontrasttomany contemporary sociological, economic, andsocialclimate. and relationship with,theenvironmental, work thatchallengehumanity’s impacton, Carrie AnnBaadehavecreated bodiesof the world,artistsMarkMessersmithand everything. Inresponse tothesocialillsof in day. Inthecaseofartistsexhibiting emotions they’vefeltinfuenceartistsevery things theysee,literature they’vewritten,or to theiraudience.People,places,and life, artistsare tryingtoconveyandconnect interesting compilationofobjectsinastill humans, apretty landscape,orthe themselves, theirenvironment, other commentary. Whethercommentingon One couldargue thatallartissocial Art asSocialCommentary CURATOR OFEXHIBITIONS&COLLECTIONS BY ANGIE L. BARRY INTRODUCTION , it’s abitof Florida’s environmental ruin. Baade’s his paintingsare flledwiththetalesof instead ofcommemorating JesusChrist, reminiscent ofChristianaltarpieces,but a sacred space.Messersmith’s piecesare with theseartists’workisakintoentering of oilpaint.Steppingintoagalleryflled not shyingfrom thepowerandinfuence utilizing pigmenttoitsmosteffectiveness, Messersmith andBaadeare colorists, painting. a distinctnarrativeforeachindividual an overallthemebuttakingpainstodefne and bothworkinseries,workingthrough imagery andthemes,recalling earlierworks, and Baroque painting.Bothartistsrepeat symbolism rooted inMedieval,Renaissance, traditional techniques,iconography, and detailed oilpaintingsthatincorporate Messersmith andBaadecreate richly Art as Social Commentary 9

think the artist is

you Angie L. Barry Curator of Exhibitions & Collections Gadsden Arts Center & Museum feel? What do exhibition in the Munroe Family Community Gallery. Gallery. Community Family in the Munroe exhibition

While the subject matters and styles are styles are While the subject matters and of the underlying expression different, unique thought and ideas comes through, to each artist. to the audio As you view these works, listen and text panels, the catalog and read tour, I invite you to have a dialogue with the paintings – how do these paintings make you you hearing that trying to tell you? And are While message? Or something else entirely? as a viewer you have a art is a commentary, voice, and art can be a two-way discussion between yourself and the artist. A Foreshadowing of Events Foreshadowing A . Carrie Ann Baade’s Ann Baade’s Carrie . Zoe Golloway Gallery and portray the next own art as social commentary. generation’s Ardizzone, Elton Burgest, Kelly Hanning, Elton Burgest, Ardizzone, Manuel, and Brian Holcombe, Caroline Michelle Wilcox, to exhibit in the adjoining professors of studio art at Florida State professors invited their students, Toni University, In keeping with the overall theme, Mark Messersmith and Carrie Ann Baade, and self-expression. These artists share a These artists share and self-expression. duality to their work: the subject matter is beautiful yet disturbing. moments and bring a contemporary voice politics, to the ageless issues of morality, her personal considerations. Each painting her personal considerations. Each taking the viewer dream, is a surrealist’s continents and centuries to reclaim across paintings include the actual symbols seen paintings include the actual symbols flled with in historical paintings and are thoughts with allegories connecting ancient IMAGE 3 IMAGE Mark Messersmih

IMAGE 4. Mark Messersmith, Vigil, 2017, oil on canvas, mixed media

OVERLEAF. Mark Messersmith, Victims of a Silence, 2018, oil on canvas, mixed media Mark Messersmith 13 Florida is a varied, beautiful, wild environment Florida is a varied, beautiful, wild environment 1 CURATOR OF EXHIBITIONS & COLLECTIONS OF CURATOR MARK MESSERSMITH: ANXIETY SERIES ANXIETY MESSERSMITH: MARK OF OPPOSITES UNDERCURRENT BARRY ANGIE L. BY The artist captures this never-ending confict between man and nature using rich colors, confict between man and nature this never-ending The artist captures he is capturing what is and dizzying perspectives. Messersmith says dramatic light sources, that has really only been inhabited by large numbers of people for a century and a half. In numbers of people for a century only been inhabited by large that has really yet, as depicted of its natural resources; that time, the state has been almost stripped bare fnd a way to survive. of the area compositions, the animals and plants in Messersmith’s Messersmith came from the Midwest, where he says nature had all been paved over, had all been paved over, he says nature the Midwest, where Messersmith came from and blue jays. leaving only a few squirrels constant tension of the state’s natural world butting heads with residential and commercial and commercial heads with residential natural world butting constant tension of the state’s development. dark, death and survival, destruction and resurrection, illusion and truth, runs throughout throughout illusion and truth, runs dark, death and survival, destruction and resurrection, artist was struck a sense of unease for his viewers. The assemblage pieces creating his large and witnessed frst hand the with this anxiety when he came to Florida over 30 years ago frenetic energy of Florida’s native fora and fauna mixed with logging trucks, oil refneries, fauna mixed with logging trucks, oil refneries, native fora and of Florida’s energy frenetic light and of opposites featuring and apocalyptic still life meets landscape. This undercurrent Although a quiet and relaxed man himself, Mark Messersmith’s oil paintings contain a Mark Messersmith’s man himself, Although a quiet and relaxed 14 Mark Messersmith featured itsownscene,acontainedsingle on alarge scale.Originallyeachpainting and didnotintendon recreating them pieces asasmall,two by twofootpainting Messersmith startedouteachofthese we canallunderstandandrelate to. on athemeofshared anxiety—concerns previous maximalistworks,thisseriestakes Anxiety Series of theworksinMarkMessersmith’s new When NoOneisWatching developments. the naturalworld,withhintsofencroaching Wal-Mart stores, thescenesofwhatisleft happening “just”beyondthesuburbsand oil oncanvas, mixed media IMAGE 6 . MarkMessersmith, . Slightlysmallerthanhis 2

mirror, mixed media IMAGE 5 . MarkMessersmith, Night Fishing isanexhibition 3

, 2017, Above andBelow What causedtheartist toincludethese? particular elementsof thecomposition. in variouscolorsandsizes, highlighting work are theever-present circles, painted Series A fascinatingnewfeature ofthe of anxieties. narrative, collectivelytheyconveythisseries of theseassemblagesissaself-contained Additionally, hediscovered thatwhileeach to continuethestoryoutsideofcanvas. embellishments asMessersmithcallsthem) andaddadditionalsculpturesformat, (or needed tocapture thepaintingsinalarger narrative. Eventually, theartistfelthe , neverbefore seeninMessersmith’s vas, mixed media Dark Water IMAGE 7 , 2018, wood, acrylic, . MarkMessersmith, , 2018, oiloncan Anxiety - Mark Messersmith 15 , 2017, oil on canvas, mixed media mixed oil on canvas, 2017, , Good Night Going Badly . Mark Messersmith, Mark Messersmith, . IMAGE 8 IMAGE IMAGE 9. Mark Messersmith, The Philosophaster, 2017, oil on canvas, mixed media Mark Messersmith 17 , from , from The Philosophaster have been lost to time. The boat in the another, completing the food chain in an completing another, but not overtly violent manner. aggressive, For instance, energetic 2017, is a highly detailed and red- painting with twelve carved wooden fying in a clockwise row wing black birds the perimeter of the canvas outside around almost identical, are of the frame. The birds green, with slight head variations and outside of glittery skeletons drawn on the echo the birds their bodies. These birds varied are depicted in the painting who fying, some in their stances: some are in with wings aloft, but all are perched are acts as the proudly vulture motion. A large the six black birds orchestrating maestro, the canvas in their varying who encircle on a broken poses. The scavenger perches the sculpture: piece of an ancient Greek head of a goddess whose eyes and mind birds and moths (or do they emanate from from and moths (or do they emanate birds and animals devour one these creatures?), , 2018, wood, acrylic, mirror, mixed media mixed mirror, acrylic, wood, 2018, , 5 Night He Returned He further 4 interpretations of a interpretations his

midway between hope and despair. . Mark Messersmith, Mark Messersmith, .

IMAGE 10 IMAGE Messersith’s paintings are of a time and place, are recognizable, there is an apocalyptic there recognizable, are rain down on the Fireballs undercurrent. of characters give the viewer a feeling that while some elements of this scene viewer that these are viewer that these are perspectives, unnatural landscape. Extreme color choices, and a collage-like ensemble Despite the fact that the wildlife, plants, and Despite the fact that the wildlife, scenarios, probable all are depicts he scenes to show the Messersmith makes an effort the fatness of the canvas, so it’s cancelling it’s the fatness of the canvas, so going on.” out any of the illusionistic things that the circles show that the painting is just show that the painting that the circles “reinforce paint on a canvas, and that they contain certain spaces. The real existence existence contain certain spaces. The real the may be that they break of the circles likes illusion of the painting. Messersmith speculates that the circles echo light speculates that the circles to emulate sound waves, or act sources, Messersmith refects, “I don’t know exactly “I don’t Messersmith refects, but I know that I miss them what they are not there.” when they’re And why now? When pressed, Mark And why now? When pressed, 18 Mark Messersmith look at decades. Aninteresting comparisonisto but hehasbeendepicting thesescenesfor recent work,created inthelast twoyears, One IsWatching The twisters. of theforeboding destructiontypicalof –instead implying lightnessandcarnival and orangespinksacross theskyand candy machine,whippingbrightblues the skyabovemimicsawhimsicalcotton and reigning vulture.in Eventhetornado the ominousnature oftheskeletonbirds and rainbowcolorsintheskycontradict all mostlikelyare dead. and excitedthebunchare andhownow the artistsawandwasstruckbyhowhopeful passengers from the1950s,apicture that background holdsagroup of“snowbird” Museum Permanent Collection acrylic paint, mixed media, Gadsden Arts Center & IMAGE 11 Anxiety Series Nightwatcher . MarkMessersmith, isMarkMessersmith’s most exhibitedin , a1994assemblage 6 Thebrightsun Nightwatcher, When No 1994, to thepedimentat top,beginningto drying hiswingsinthe heat.Thefre spreads majestic anhingaperches abovethefames, to spread totherest oftheforest, whilea and itsbranchesare onfre, threatening is ominous;norainbowsinsight.Atree than worksinthe Nightwatcher optimism andoftenendsinapocalypse. painting, butalsotellatalethatbeginswith that notonlycontinuethenarrativeof boxes flledwithfgurinesandobjects the workisapredella, arow ofindividual Renaissance. Situatedalongthebottomof and illuminatedmanuscriptsoftheHigh animals, harkeningbacktoaltarpieces topped bypedimentsofcarvedwooden This isoneofhisclassicmaximalistworks, Collection. Center &MuseumPermanent piece byMessersmithintheGadsdenArts IMAGE 12 oil oncanvas, mixed media . MarkMessersmith, hasanoveralldarkertone Anxiety Series Wayfarer . Thesky , 2018, IMAGE 13. Mark Messersmith, False Rhythms 2018, oil on canvas with mixed media 20 Mark Messersmith painting, creating confusionastowhatis These attachmentsecho imageryinthe life sizedogsinfront ofthepaintings. wooden fowers,sticks, insects,andeven to theframe’s edges,and hangingcarved viewer’s physicalspace, attaching sculptures Messersmith will sometimes encroach on the Much likedevelopersinFlorida, indication ofhope. Nightwatcher midways betweenhopeanddespair,” but paintings “are really ofatimeandplace, Messersmith hasbeenquotedassayinghis small citytuckedintheupperrightcorner. take overtheforest andultimately, the doesnotgivemuchofan 7 an emptybottlehaving thepowertokeep liked theideaofsomething asinnocuous never heard ofthatpracticebefore and keep awayevilspirits.Messersmithhad traditionthoughtto painting, aSouthern painted onthebranchesoftrees inthe an illusion.Thebluebottleechoesthose the bobcatbehindbrassfenceisjust with thesceneandreminding youthat painting, breaking theviewer’s connection This feature isplaceddirectly infront ofthe stick designedtolooklikeatapemeasure. blue bottlefrom woodandattachedittoa Dream real andwhatisanillusion.In canvas, mixed media Toward theMorning IMAGE 14 , 2018,Messersmithcarvedalarge . MarkMessersmith, , 2018, oilon Hot Autumn Mark Messersmith 21 , 2018, oil 2018, , Hot Autumn Dream Hot . Mark Messersmith, Mark Messersmith, . the artist” and its importance, while also us of the power of the quietly reminding and human hand upon the environment drive to survive nonetheless. nature’s dimension spaces beyond. He is inspired by is inspired dimension spaces beyond. He everything he sees, but especially Florida’s ecosystem of animals and plants that refuse to die. Each assemblage is a riot of color and imagery that pulls a viewer in to explore and decipher its many components. His an element that flled with fre, works are Messersmith but also resurrect. can destroy is determined us that his works to remind just paintings, showing us the “hand of are IMAGE 16 IMAGE media mixed on canvas, He is an artist 8 , 2017, 2017, , . Mark Messersmith, Mark Messersmith, . who is compelled to create, to fll up the who is compelled to create, empty spaces of the canvas and the three- minds or call people to action. Messersmith has said he would paint his paintings even if no one saw them. this artist isn’t telling the viewer what to this artist isn’t to change think. His work is not out there Like many contemporary artists, Mark Messersmith is commenting on his with his own unique style, but environment especially concer ning event for south Florida. mimics the larger one in the painting that mimics the larger may be documenting the rising tide, an away malevolent forces. The tape measure The tape measure away malevolent forces. IMAGE 15 IMAGE Night Camp Inness’s George media mixed oil on canvas, 22 Carrie Ann Baade Carrie AnnBaade Carrie Ann Baade 23

Carrie Ann Baade 25 , relies on the artist’s ability to on the artist’s , relies She starts each creation with a vision, She starts each creation 9 , 2017, oil on linen 2017, , , 2018, oil on linen 2018, , , which she often physically depicts in her painting as an A Foreshadowing of Events A Foreshadowing Unspeakable Babel mind’s eye mind’s . Carrie Ann Baade, Ann Baade, Carrie . . Carrie Ann Baade, Ann Baade, Carrie . CURATOR OF EXHIBITIONS & COLLECTIONS OF CURATOR CARRIEANN BAADE: A FORESHADOWING OF EVENTS WORLD SLEEPS THE WHILE BARRY ANGIE L. BY IMAGE 17 IMAGE OVERLEAF something from her something from delves into her eye cut out and pasted onto her self-portraits. The artist then enlarged emotional and gripping works by European masters created in oil 500-700 years ago. She in oil 500-700 masters created emotional and gripping works by European portals that connect create was desperate to keep the spirit of these paintings alive, to another time. her paintings to other paintings from climate the world has adopted due to religious and sexist dynamics. climate the world has adopted due to religious a small child, especially the Carrie Ann Baade has been fascinated with art since she was decades worth of historical paintings in Baade’s archive—people, angels, fre, and animals angels, fre, archive—people, decades worth of historical paintings in Baade’s the apocalyptic metanarratives detailing her view of into imaginative, surreal all confgured way to maintain the material connection to the cultural past and to help viewers feel at way to maintain the material connection to the cultural past subject and books. The artist’s home with the traditional oil paintings known in museums two other world, containing a cacophony of images culled from is a whole however, matter, realistically describe the world, imitate it, and then subvert and distort it to show the viewer describe the world, imitate it, and then subvert and distort realistically old master techniques as a executed using paintings are her distinctive visions. Baade’s Carrie Ann Baade’s exhibition, exhibition, Carrie Ann Baade’s 26 Carrie Ann Baade in 2012andfnallycompleting in2017.She that Baadeworkedon foryears,beginning ofBadGovernment Allegory One oftheolderpieces intheexhibition, collage? Oristhisapainting? is oftendisconcertingtotheviewer. Isthisa between images,atrompe l’oeileffect that element andpaintingthedelineations of thecollage,usuallykeeping“collage” dreams. the rawenergy produced through others’ gathering andemploying,asshesays, at night,usuallyuntilthesuncomesup, of hervision,makingitreal. catalog ofimagesandcreates acollage IMAGE 18 11 . Carrie Ann Baade, Sometimes,Baadepaintsareplica Allegory of BadGovernment Allegory of 10 , isapainting Shepaints sin isrepresented atthetable, actingout each intheirownworld ofchaos.Each of characterssurround anoff-kilter table, party in of structured madness.Similartothetea this visionanddrawsviewersintoascene by thesevendeadlysins.Baadereinterprets leaders toremain justwhilebeingenticed Lorenzetti’s originalintentionwastoremind is housedintheCityHallofSienna,Italy. Ambrodio Lorenzetti from the1330s that inspired byafresco ofthesamenameby will keeprepainting them. sometimes theyneedtimetoripen,soshe often exhibitsherworks“green,” saying , 2017, oilonlinen Alice inWonderlandAlice 12 Thispiecewas , arowdy cast Carrie Ann Baade 27 Manufacturing , multiple towers of Babel are , multiple towers of Babel are people of the world speak such diverse languages. In the book, all the people of the earth worked together to try and heaven and God, build a tower to reach but the deity was not happy with this plan revisit this composition, and this time she this composition, and this time revisit scale. In fact, imagined it on a much larger painting at 5 x 7 feet, this is the largest Baade has ever painted. In of Tears afame, and a windmill kicks debris to fuel that is engulfng the crying fgures the fre the composition. The tower of throughout the Book of Babel is an origin story from Genesis in the Bible meant to explain why , 2018, oil on linen 2018, , 13 , 2017, oil on linen 2017, , Manufacturing ofTears Hell Mouth is a painting that . Carrie Ann Baade, Ann Baade, Carrie . . Carrie Ann Baade, Ann Baade, Carrie . OVERLEAF IMAGE 19 IMAGE so fast she never felt it was quite complete. For the last 8 years, she has felt a need to Carrie Ann Baade began developing over the collage 10 years ago. She frst created and painted this scene in 2010, but it sold to use our energy and our time creatively.” to use our energy Manufacturing of Tears people “should aspire to states of internalpeople “should aspire governance to mobilize our human initiative internal states of the mind. Baade is on not only what a governmentrefecting can mean to its people, but how we as signifcant meeting. The artist also interprets signifcant meeting. The artist also interprets the disturbances as intentionally sabotaging their bad behavioral traits to disrupt the their bad behavioral traits to

30 Carrie Ann Baade there appearstobesomethingorsomeone painful aspectsofexistence,” and“that painting isametaphor of“thefutileand their ownfre. According tothe artist,this one personcancryenoughtoputout suffering eachmustparticipate,sinceno many menacingfres. To endoneperson’s enough watertoextinguishoneofthe who iscryinginaneffort toprovide each supportingaweepyfemalefgure Baade reimagines Babelasthree towers, they couldnotworktogetheragain. giving themdifferent languagestospeakso dispersing humansallovertheglobeand and disruptedtheworkontowerby oil onlinen IMAGE 20 . Carrie Ann Baade, Anti-Vanitas , 2018, an elementutilizedthroughout theyearsin symbolize theinevitability ofdeath,andis collection of still-life objects in paintings that part ofthelarger of thefnalfuture allhumansface. “remember youmustdie”asareminder mori all touchingonsimilarthemesof as aVisionary Vanitas is acollectionofthree paintings, A completelynewseriesinthisexhibition death.” we participate.To denyparticipationis higher thanourselvesthatdemands oil onlinen IMAGE 21 . The term literally translates to . Theterm , 14 Memento Mori

. Carrie Ann Baade,

, allcompletedthisyear, and memento mori , and Momento Mori Self-Portrait Self-Portrait motif,isa Anti- memento Vanitas , 2018, , Carrie Ann Baade 31 - After exhibiting 15 Self-portrait as Vision as Self-portrait . Carrie Ann Baade, Ann Baade, Carrie . , 2018, oil on linen 2018, , around in her head for years. While her around earlier work burst with imagery and vibrant colors and narratives, this series is quieter, settled. That is not to say muted, more conveying a message, but she is Baade isn’t IMAGE 22 IMAGE ary turning scenes. The artist said herself that and this series this is a time to “go inward,” of that. may be a refection the globe for the last ten years, across Baade has taken the last year to concentrate the multitudes on just painting, discharging of paintings that have been swimming to offer a to offer paintings do memento mori Manufacturing of Tears “to deny participation is death” “to deny participation compositions to catch her viewer’s attention compositions to catch her viewer’s with shiny details, bright colors, and head- her palette, a larger canvas, and a letting her palette, a larger go of extemporaneous elements. It seems that Baade is no longer tied to flling up her take a turn from previous work by showing take a turn previous from a loosening of brushwork, a darkening of glimpse of the foreboding future. glimpse of the foreboding These latest Baade’s work. For example, she includes a Baade’s and a distant human skull in the foreground missile in 32 Carrie Ann Baade century painting, Baade saysshewasinspired bythe17th rainbow thatpoursinto heroffering hand. third handappears,holdingamonochrome symbolizing thecyclicalnature oflife.A its owntail—foatsintheupperleftcorner, while an her forehead, shadowingherclosedeyes, “mind’s eye”isplacedupside downon with wingsoutstretched. Afragmentofthe a vulture whoisperched onhershoulder lifeless snakedanglingfrom themouthof hip andonehandout,poisedtocatcha the artiststandswithonehandonher Anti-Vanitas one thatisevidentintheselatestworks. she sayshasreached “amaturation,” darkness toreceive herfables.Atage44, in, lookcloser, andstare intothedepthsof whispering it,challengingtheviewertolean ouroboros isaself-portrait,inwhich Allegory ofHumanLife Allegory —a snakedevouring Museum, CA. 17th century, oiloncanvas, theCrocker Collection of Art IMAGE 24. GuidoCagnacci,

16

Allegory of HumanLife Allegory of and rainbowiscurious. Theartistshows Baade’s incorporationoftheouroboros country. demonstrating herpowerandwilloverthe sun.” Scholarsinterpret thisasthequeen sol iris and catching,reads theinscription monochrome rainbowsheisalsoholding she wasinhersixties)andabovethe is depictedyoungandstrong (although the QueenElizabethportrait,ruler ouroboros hourglass, andfowers—whilethesame sky, surrounded by nude from thewaistup,gazesoff intothe In theoriginalCagnacci,afemalefgure, Elizabeth I,alsofrom the17thcentury. the by ItalianpainterGuidoCagnacciand Rainbow Portrait , orthere is“norainbowwithoutthe hoversinthebackground. In , memento mori , aportraitofQueen —a skull, non sine Carrie Ann Baade 33 -

, c. 1600–02, 1600–02, c. , work is clear throughout the paintings, no the paintings, work is clear throughout It is matter the subject matter or theme. can this fantastical eye that Baade through her visions with her audience, bringing share the viewer on her journey to explore historical, and her personal, revelations. The Rainbow Portrait Rainbow The .

17 to remind her of to remind IMAGE 23 IMAGE Collec Younger, the Gheeraerts Marcus to attributed England. tion of House, Hatfeld , confrms that the artist memento mori Anti-Vanitas touching on our deepest fears, desires, and touching on our deepest fears, desires, feel of her The surrealist introspections. Carrie Ann Baade’s paintings are flled paintings are Carrie Ann Baade’s with rich stories commenting on issues that can have multiple interpretations mysterious, less defned, and could even been seen as an opportunity. presence of presence death. In fact, Baade says that death is more at peace with the reminder of death. The at peace with the reminder title, need shadowy she doesn’t scared; isn’t the snake and her connectedness to her eye suggests she is in power and mind’s symbol of death, is also sacred in many in many symbol of death, is also sacred as it kills nothing, only devours cultures of gone. Her acceptance what is already herself strong, with shoulders back and with shoulders back and herself strong, with wing- clothed in an elegant costume a while often like shoulders. The vulture, Florida State Universiy

BFA & MFA Students

36 Florida State University BFA & MFA contemplate theirresponsibility tothe Earthandtoeachother. her examinationofhuman behaviorandthelustforviolence,while askingtheviewerto heraggressive brushstrokesalluring. With anduseoftexture, Toni’s kineticpaintingsnarrate intersection thatunsettling, morose, andviolent imageryare disguisedas playfuland as aresidential fnearteducationandurbansensibilities. Itisatthis painterwithformal Toni’s paintingsembodyferocity andvigor. Herworkcombinesseveral years ofexperience Toni resides inTallahassee while pursuingherMastersofFineArtatFloridaStateUniversity. Toni Artdizzonereceived herBachelorofFineArts from IndianaUniversity in2006.Currently, OVERLEAF. IMAGE 25. Toni Ardizzone, Toni Ardizzone, Toni Ardizzone Toni Universal Truth All FleshisGrass , 2018, acryliconfabric , 2018, mixed media Florida State University BFA & MFA 37 , 2018, digital painting printed on 2018, , Links Elton Burgest Elton Burgest, Elton Burgest, IMAGE 26. IMAGE canvas biases. Burgest often uses red as a layered commentary about control. In his work, the color In his work, the color commentary about control. as a layered often uses red biases. Burgest and us to stop, contemplate, alerts us, angers us, infuences us, and ultimately urges red about these injustices. care artworks focus on the recurring social issues specifcally faced by the black community. black community. social issues specifcally faced by the artworks focus on the recurring colorism, immigration, and racial Common themes in his artworks include police brutality, Elton Burgest is a Bachelor in Fine Arts candidate from Florida State University. Inspired by Inspired Florida State University. is a Bachelor in Fine Arts candidate from Elton Burgest digitally crafted Burgest’s both personal experiences and the injustices he has witnessed, 38 Florida State University BFA & MFA refect thelevelsofcorruptionovertimewithin the society. on thetext,Dada Manifesto. Eachpaintingcontainsprogressively more obscured textto pieces showtheevolution ofanewsocietythatbuildstheirreligion based andgovernment society, people. Thefour inwhichtext isoftentakenoutofcontextandusedto misinform a BachelorofFineArtsatFloridaStateUniversity. Kelly’s workisa commentaryoncurrent Kelly HanningisaTallahassee-based fgure andlandscape artist,currently workingtowards IMAGE 27. Kelly Hanning, Herd of theCosmosHerd (Pt. of 3) Kelly Hanning , 2018, oiloncanvasroll Florida State University BFA & MFA 39 , 2017, acrylic on canvas 2017, , Target 1b Target Brian Holcombe, Brian Holcombe, Brian Holcombe IMAGE 28. IMAGE overlaid with lines similar to a graphical user interface (GUI) of a drone or a video game. The of a drone overlaid with lines similar to a graphical user interface (GUI) sight. GUI serves as an imitation of the human gaze or intangible would later become Founder and Director of SALTWORKS in Atlanta. His work examines of SALTWORKS would later become Founder and Director and abstraction by depicting abstracted landscapes between representation relationships Brian Holcombe is a current Master of Fine Arts candidate at Florida State University. He State University. Master of Fine Arts candidate at Florida Brian Holcombe is a current of Chicago. Brian the School of the Art Institute completed his Bachelors of Fine Art from 40 Florida State University BFA & MFA and detachment, past andpresent. the bridgesbetweennature andhumans,mind andbody, youthandadulthood,connection inspiration intheurban andforested landscapes. Herrichlysaturatedpaintingscommenton and theintangible,psychic realm surrounding it.AsaNorthFloridanative, Caroline fnds Bachelor ofFineArtsinDecember2018. Much ofherworkexplores thephysicalworld, Caroline ManuelisasenioratFloridaStateUniversitywhere shewillbegraduatingwitha IMAGE 29. Caroline Manuel, Caroline Manuel Refections , 2017, oiloncanvas Florida State University BFA & MFA 41 Michelle Wilcox Michelle Wilcox, untitled, 2018, oil on board 2018, untitled, Wilcox, Michelle IMAGE 30. IMAGE the traditional role of symbolic still life painting with broad brushstrokes and a soft palette and a soft palette brushstrokes of symbolic still life painting with broad the traditional role infusing objects such as to challenge the association between femininity and weakness, delicate teacups and petite oranges with a voice of strength. Master of Fine Arts. In painting ordinary objects from direct observation, Michelle hopes observation, Michelle hopes direct objects from Master of Fine Arts. In painting ordinary items. She combines on the beauty and curiosity of everyday viewers will pause and refect Michelle Wilcox is an oil painter living in Tallahassee Florida. She received her Bachelor Florida. She received Michelle Wilcox is an oil painter living in Tallahassee to pursue her Florida State University and has returned to Tallahassee of Art in 2013 from 42 Mark Messersmith 2010-2011, Catalogue. Encounters Exhibition Louisiana, 2012 Southern Art,Ogden Museumof NewOrleans, Mark Messersmith, MaximalistandNaturalist Artist Series, 2012 Phillip Frost Art Museum. Miami, Florida, The Florida Mark Messersmith:Fragile Nature Miami, Florida, 2013 Where havealltheBirds Gone? House Gallery, Dallas, Texas, 2013 Mark Messersmith:SouthernObsessions Culture Center, Lake Charles, Louisiana, 2014 Southern Mythology SELECTED SOLO EXHIBITIONS Ford Foundation Artist Fellowships, 1980and1979. Emerging Visual Artists, 1994and1988. Federation, Regional Fellowship Awards for National Endowmentforthe Arts/Southern Arts 1999-1993-1987. Affairs, Individual Artist Fellowship Awards, 2008- State,Florida Department Cultural of Divisionof (Purchase award). la Peinture, Cagnes -sur-Mer, France, July 2001 Le Grand Prix, XXXIII Festival International de Joan MitchellFoundation Painting Award 2006 SELECTED AWARDS Missouri, 1977, Painting. Fine Bachelor of Arts, Fontbonne College, St. Louis, Painting. Indiana University, Bloomington, Indiana, 1980, EDUCATION , Lake Charles Arts and , Art HuntsvilleMuseum of , Zadok Gallery. , The Patricia & , Valley , IMAGE 31. France. delaPeinture,International Cagnes-sur-Mer, from theLeGrandePrix,XXXIIIFestival Artist Fellowships;and apurchase award Emerging Artists;Ford Visual Foundation for theArts,RegionalFellowshipAwards for Fellowships; andtwoNationalEndowment Division ofCulturalAffairs IndividualArtist Mitchell FoundationPaintingAward; Florida Museum ofArt.Awards include:theJoan Texas; AppletonMuseum ofArt;andPolk Art Museum;MuseumofSoutheast Art;FrostOgden MuseumofSouthern include: HuntsvilleMuseumofArt; Recent selectedsolomuseumexhibitions exhibited inCanada,Italy, andFrance. the southeastandhashadhispaintings Messersmith hasshownextensivelyin teaching atFloridaStateUniversity, Mark In his30yearsoflivinginFloridaand www.markmessersmith.com MarkMessersmith, ARTIST WEBSITE Self-Portrait Carrie Ann Baade 43 , Rosenfeld Gallery, Gallery, Rosenfeld , , La Luz de Jesus, Los Los Jesus, de La Luz , , Lublin, Poland, 2015, 2015, Poland, Lublin, , , Jung Center, Houston, TX, 2018 TX, Houston, Jung Center, , , Delaware Center for Center Delaware , , Averitt Center for the Arts, Arts, for the Center Averitt , , Museum of Contemporary Art, Art, Museum of Contemporary , Tales of Passion and Woe and of Passion Tales 2010 PA, Philadelphia, Vices and Virtues and Ningbo DE, Wilmington, Art, Contemporary 2007 China, Ningbo, Museum ofArt, Delaware Division of the Arts Fellowship for Fellowship Division ofArts Delaware the (2005–2006). in Painting Artist Established Magness University of Calloway Delaware (2001–2003). Fellowship EXHIBITIONS SOLO SELECTED Apocalyptic Orgasm The 2018 CA, Angeles, Gospel of Sophia ofPieces Pieces 2016 GA, Statesboro, Biura Galeria “Stara” Wody, Burza w Szklance WystawArtystycznych Catalogue Solar Midnight 2012 FL, Jacksonville, EDUCATION 2003 of University Delaware, MFA, 1997 Institute of School ofArt Chicago, The the BFA, AWARDS SELECTED FSU (2013, Support, Research ofCommittee Faculty 2009). Center, Art Thomasville “Flaunt”, 2nd Prize, (2011). GA Thomasville, Individual Affairs Division of Florida State Cultural (2009–2010). Fellowship Artist (2008). Award Assistant Professor Year First 2006). (2007, Nominee Award Artists United States ARTIST WEBSITE ARTIST Photograph of Carrie Ann Baade of Photograph Carrie www.carrieannbaade.com China, the Museum of Contemporary Art in Jacksonville, Florida, and the Galeria Stara in Lublin, Poland. Gallery in Philadelphia, Billy Shire Fine Arts Gallery in Philadelphia, Billy Shire in Los Angeles, the Ningbo Art Museum in and galleries nationally and internationally, and galleries nationally and internationally, including solo exhibitions: the Delaware Center for Contemporary Art, the Rosenfeld in 2006 and the Joan Mitchell Grant in 2012. Her work has been exhibited in museums of the Arts Fellowship for Established of the Arts Fellowship for Established for the Artist in 2005, and was nominated United States Artist Fellowship prestigious Carrie Ann Baade was awarded the Florida the Florida Carrie Ann Baade was awarded Individual Artist Division of Cultural Affairs Division Fellowship in 2010, the Delaware IMAGE 32. IMAGE 44 Exhibition Checklist x 962inches 2018, wood,acrylic,mirror, mixedmedia,10 Mark Messersmith, 3 inches 2017, oiloncanvas,mixedmedia,72x56 Mark Messersmith, inches 2018, oiloncanvas,mixedmedia,50x71 Mark Messersmith, x 73inches Badly Mark Messersmith, x 56inches Camp Mark Messersmith, x 8inches wood, acrylic,mirror, mixedmedia,47x17 Mark Messersmith, on canvas,mixedmedia,67x65inches Mark Messersmith, inches each acrylic, mirror, mixedmedia,12x10311 Mark Messersmith, inches each acrylic, mirror, mixedmedia,10x84 Mark Messersmith, canvas, mixedmedia,70x503inches Mark Messersmith, x 74inches Heron Mark Messersmith, x 7inches wood, acrylic,mirror, mixedmedia,45x14 Mark Messersmith, MARK MESSERSMITH , 2017,oiloncanvas,mixedmedia,50 , 2017,oiloncanvas,mixedmedia,69 , 2018, oil on canvas, mixed media, 50 Good NightGoing George Inness’s Night For M.J.Heade False Rhythms Eventfall Dayspring Dark Water Black-crowned Night Above andBelow Inelegance ofSummer Nightscape Illuminated Hot AutumnDream , 2017,wood, , 2016,wood, , 2018,oilon , 2018,oil , 2018, , 2018, , , , (totem series),2018,wood,acrylic,mirror, Mark Messersmith, oil oncanvas,mixedmedia,62x50inches Mark Messersmith, on canvas,mixedmedia,56x59inches Mark Messersmith, x 179inches 2018, wood,acrylic,mirror, mixedmedia,50 Mark Messersmith, on canvas,mixedmedia,59x63inches Mark Messersmith, x 8inches wood, acrylic,mirror, mixedmedia,47x17 Mark Messersmith, on canvas,mixedmedia, 64x503inches Mark Messersmith, canvas, mixedmedia, 50 x62inches Mark Messersmith, canvas, mixedmedia,74x553inches Mark Messersmith, inches 2018, oiloncanvas,mixedmedia,50x70 Mark Messersmith, media, 50x703inches Moonlight Mark Messersmith, inches 2018, oiloncanvas,mixedmedia,50x76 Mark Messersmith, inches 2017, oiloncanvas,mixedmedia,64x Mark Messersmith, on canvas,mixedmedia,62x50inches Mark Messersmith, mixed media,48x9incheseach , 2017,oiloncanvas,mixed Six Hours of the Day Six Hoursofthe GroveOut inthe Night Hunting Night HeReturned Night Fishing Lost Arcadia Wild asAngels Wayfarer Vigil Victims ofaSilence U.S. Routeby Toward Morning the The Philosophaster Tarpon Hunter , 2017,oilon , 2018,oilon , 2018, , 2017,oil , 2017,oil , 2017,oil , 2018,oil , 2017, , , , ,

Exhibition Checklist 45 , , 2018, , 2016, oil , 2018, acrylic , 2017, oil on , 2018, digital , 2017, acrylic on , 2018, digital painting Refections Looking Glass Target 1b Target All is Grass Flesh Universal Truth Herd of the Cosmos (Pt. 1-4) Herd By Standards Links Kelly Hanning, 60 x 20 inches 2018, oil on canvas roll, Michelle Wilcox, 2018, oil on untitled, 16 x 16 inches board, Michelle Wilcox, 2018, oil on untitled, 12 x 9 inches board, Manuel, Caroline canvas, 48 x 30 inches Manuel, Caroline on canvas, 36 x 48 inches FSU BFA & MFA & BFA FSU Ardizzone, Toni x 61 inches mixed media, 58 Ardizzone, Toni 32 inches on fabric, 35 x Elton Burgest, on aluminum, 18 x 12 painting printed inches Elton Burgest, printed on canvas, 24 x 36 inches Brian Holcombe, canvas, 24 x 36 inches , , , 2018, oil , 2017, oil , 2018, oil on , 2017, oil on , 2018, oil on linen, , 2018, oil on linen, Unspeakable Hell Mouth Manufacturing of Tears Momento Mori Self-portrait as Visionary Allegory of Bad Anti-Vanitas Babel , 2017, oil on linen, 36 x 48 , 2017, oil on linen,

on linen, 48 x 36 inches 2018, oil on linen, 48 x 36 inches Carrie Ann Baade, on linen, 36 x 48 inches Carrie Ann Baade, 2018, oi on linen, 60 x 84 inches Carrie Ann Baade, linen, 36 x 48 inches Carrie Ann Baade, 48 x 36 inches Carrie Ann Baade, linen, 48 x 36 inches Carrie Ann Baade, inches Carrie Ann Baade, Carrie Ann Baade, Carrie Ann Government CARRIE ANN BAADE ANN CARRIE 46 Endnotes 11 10 9 8 7 6 5 4 3 2 1

Mark Messersmith,“Interviewat Ibid. Tom AndersonandBarryFraser. Nathan Spoor, “Carrie AnnBaade: Selena Chambers,“Paintingwith Carrie AnnBaade.“Myth&Majesty.” Mark Messersmith,May14,2018 Carrie AnnBaade,RayBurggraf, Ibid. Ibid. Ibid. 2018. Ann Baade.” Blasphemy: AnInterviewwithCarrie Miroir Magazine Fine ArtsPress, 2015),p.46. Florida StateUniversity, Museumof and MableRinglingMuseumofArt, Thinking inPaint and JudithRushin, Lilian Garcia-Roig, MarkMessersmith, Anissa S.Ford, May14,2018. Florida,” interviewbyAngieL.Barry& the Artist’s Residence,Tallahassee, watch?v=Fu36dk4z3hM 2014. Messersmith Sense ofPlace:APortraitMark (2009). The IntemperateZone.” https://beautifulbizarre.net https://www.youtube.com/ . Youtube. February12, Beautiful/Bizarre. . 2018,98. (Tallahassee: John Back and Forth: Back andForth: Hi-Fructose July24, A , 16 15 14 13 12 17

Carrie AnnBaade,“Interviewatthe David Molesky, “CarrieAnnBaade: Carrie AnnBaade,2018. Carrie AnnBaadeetal., Chambers, Carrie AnnBaade,“Interviewatthe Ford, June20,2018. interview byAngieL.Barry&AnissaS. Artist’s Residence,Havana,Florida,” poetsandartists.com Artists Overview andInterview.” Forth Ford, September13,2018. interview byAngieL.Barry&AnissaS. Artist’s Residence,Havana,Florida,” , (2015),19. . July20,2018. Beautiful/Bizarre https://www. Back and Poets and . Bibliography 47 . . July 20, , 2009. Poets and Artists Hi-Fructose . 2018, pg 98. (Tallahassee: John and Mable Ringling Museum of John and Mable Ringling (Tallahassee: https://beautifulbizarre.net Miroir Magazine Miroir https://www.youtube.com/watch?v=Fu36dk4z3hM A Sense of Place: A Portrait of Mark Messersmith of Mark of Place: A Portrait A Sense July 24, 2018. https://www.poetsandartists.com 2018. Beautiful/Bizarre. 2018. May 14, Angie L. Barry & Anissa S. Ford, L. Barry & Anissa S. Ford, June 20, 2018. S. Ford, L. Barry & Anissa September 13, 2018. S. Ford, L. Barry & Anissa Back and Forth: Thinking in Paint 2015). Museum of Fine Arts Press, University, Art, Florida State Youtube. February 12, 2014. February 12, Youtube. Spoor, Nathan. “Carrie Ann Baade: The Intemperate Zone.” Nathan. Spoor, Molesky, David. “Carrie Ann Baade: Overview and Interview.” “Carrie Ann Baade: Overview and Interview.” David. Molesky, Messersmith, Mark. “Interview at the Artist’s Residence, Tallahassee, Florida,” interview by Residence, Tallahassee, Messersmith,“Interview at the Artist’s Mark. Chambers, Selena. “Painting with Blasphemy: An Interview with Carrie Ann Baade.” Chambers, Selena. “Painting Baade, Carrie Ann. “Interview at the Artist’s Residence, Havana, Florida,” interview by Angie Residence, Havana, Florida,” “Interview at the Artist’s Baade, Carrie Ann. Baade, Carrie Ann. “Interview at the Artist’s Residence, Havana, Florida,” interview by Angie Residence, Havana, Florida,” “Interview at the Artist’s Baade, Carrie Ann. Baade, Carrie Ann. “Myth & Majesty.” “Myth & Majesty.” Baade, Carrie Ann. Baade, Carrie Ann, Ray Burggraf, Lilian Garcia-Roig, Mark Messersmith, and Judith Rushin. and Judith Messersmith, Mark Lilian Garcia-Roig, Burggraf, Carrie Ann, Ray Baade, Anderson, Tom and Barry Fraser. and Barry Fraser. Tom Anderson, The Gadsden Arts Center & Museum presents Art as Social Commentary, a trio of solo exhibitions centered on art as a catalyst for conversations about social change. In response to the social ills of the world, artists Mark Messersmith and Carrie Ann Baade have created bodies of work that challenge humanity’s impact, and relationship with, the environmental, sociological, economic, and social climate. In stark contrast to many contemporary artists who have distanced themselves from traditional, representational painting, Messersmith and Baade create richly detailed oil paintings that incorporate traditional techniques, iconography, and symbolism rooted in Medieval, Renaissance, and Baroque painting. As professors at Florida State University, Messersmith and Baade encouraged MFA and BFA students to create their own interpretations of “art as social commentary” or “art for social change.” Working in a range of media, six students were juried into the student exhibition: Toni Ardizzone, Elton Burgest, Kelly Hanning, Brian Holcombe, Caroline Manuel, and Michelle Wilcox. Catalog published by the Gadsden Arts Center & Museum Quincy, Florida • 2018 Exhibition on View September 28–December 15, 2018

GADSDEN ARTS CENTER & MUSEUM 13 N. MADISON ST., QUINCY FL, 32351 (850) 875-4866 • WWW.GADSDENARTS.ORG