Carrie Ann Baade, an internationally recognized painter and art professor at Florida State University whose art “return(s) to the haunting moments in art history to reclaim them for our contemporary sensibilities,” has a show in Tallahassee at the Venvi Art Gallery.
“Carrie Ann Baade is a visionary artist,” author Ann VanderMeer has said of her work. “She is ferocious in her approach, not thinking about the casual observer but solely considering the resounding strength of the work before her.”
Baade has studied at the School of the Art Institute in Chicago, where she received her BFA, the University of Delaware, where she received her MFA and the Florence Academy of Art in Italy.
Baade’s upcoming show is called “Twilight Sleep,” named for the form of childbirth that was used in the 20th and 21st centuries, and a concept in which Baade has a personal connection to as well.
“It sounds pretty… but Twilight Sleep was considered a panacea for women. It was a solution to childbirth anesthesia that… was utilized in Europe… it was this idea that they were going to relieve women of the pain of childbirth but it didn’t quite work like that,” she said. “It worked like you were anesthetized but you actually were experiencing all the pain, you just didn’t remember it.”
Baade continued to explain that while “Twilight Sleep” mostly went away in the 1960s in America, she was born in 1974, and her mother was one of the last women to be given “Twilight Sleep.”
“Within this body of work are themes of female aberrations, the irreconcilable, the struggle of becoming conscious and the goddess being drowned,” Baade said. “The concepts behind this new work are informed by a lack of women’s voices in the past and their lack of agency. I could never understand why my mother would not or could not speak of my birth.”
Her mother eventually told her that she simply did not remember her birth, and was one of the last women to be given “Twilight Sleep.” Baade relates the use of “Twilight Sleep” with the “sleep of female genius during patriarchy.”
She continued to explain, “When men ruled the world and the home, women were repressed and their inability to have agency was incapacitating, some to the point of madness.”
Baade’s shows often occur around Halloween, which is a holiday she describes as “a time of dark art… we look at monstrosities.” She explained that “monstrum” means an omen or sign, coming from the root of “monere,” which means to warn.
“By painting monsters, these become a warning,” she said.
She described her work as “cathartic and dark,” explaining that with the paintings in this gallery she is “comparing the anesthesia of women to the rise of the patriarchy… one of the greatest horrors is women losing their intelligence, their genius, their agency and (being) unable to fulfill their creative destiny.”
Baade says that while not all of the work in the gallery is similar to this, a good portion of it is.
Baade’s show “Twilight Sleep,” which includes 27 paintings, will be on display from Nov. 6, 2021 through Jan. 9, 2022 at the Venvi Art Gallery in Tallahassee, Florida. The show opening will be on Nov. 6 from 5 p.m. to 8 p.m. Baade will also show at Tallahassee Community College in 2023.
Northern Arts Review: Why art is smart investment – Alaska Highway News
Hello, dear reader. This week, I will cover a big announcement from the BC Arts Council, as well as some ins and outs of the arts grant–writing system, and argue for stronger relationships between local governments and arts organizations for the betterment of the community.
On November 12th, the BC Arts Council announced its Arts Infrastructure Program, with awards up to $250,000, more than three times the usual amount made available through this program. The purpose of this funding is for arts organizations to acquire, construct, or renovate an arts space that will enhance the cultural capacity of the community. There are two other streams for funding as well, worth up to $25,000 for planning and research and $40,000 for acquiring specialized equipment. The deadline is 11:59 PM on Jan. 14, 2022.
The BC Arts Council will host a virtual information session for communities and organizations in the Peace-Liard Region about this program at noon on Dec. 2. This session will include insight on the AIP from Program Officers Erin Macklem and Sarah Todd, as well as a Q&A section.
This grant is a great opportunity that can make a major difference in the region. If successful, it could finance the new arts hub in Fort St. John, a permanent gallery space in Chetwynd, or much needed renovations for the Dawson Creek Art Gallery. This is the second year in a row that BCAC has released funding through this program. However, it is unclear whether it will be offered again, so it is important to seize this opportunity now.
The BC Arts Council has been working to serve rural communities better in recent years, which is why the grant qualifications are slightly relaxed for northern communities. This grant may be up to 90% of the total budget for projects based in rural and remote areas with a small population. As an example, for applicant organizations based in Dawson Creek or Fort St. John, only 10% of the budget needs to come from an additional source. Meaning $25,000 can become $250,000, which is a great investment. On the other hand, the grant can only make up to 75% of the project budget for organizations in communities that don’t qualify as rural or underserved.
These budget splits are often how arts funding works from granting bodies like the BC Arts Council, Canada Arts Council, First Peoples’ Cultural Council, and Creative BC, although the funding component is not usually as high as 90%. Grant-based awards typically cover between 50% to 75% of a project total, which is still incredibly generous. Even with a 50% split, an applicant can double their project budget. The purpose of these splits is to show that the project is feasible, and has support from more than one source. This is something that arts administrators know well, as navigating this grant system is a large part of what they do. However, this point is often lost on local governments, who don’t have close working relationships with these funding sources.
The drawback with opportunities like the the AIP is that it often requires cooperation from municipal governments, who are slow to respond. Often arts spaces are publicly owned, but operated by a non-profit. For example, the Dawson Creek Art Gallery building is owned by the City of Dawson Creek, meaning that the gallery cannot go ahead with an application like this without the city’s support. Historically, the arts have been a blind spot for our local leaders, and this oversight is leaving money on the table, to the detriment of the community.
Understandably, at any given time there are many other pressing needs demanding the attention of local politicians—the pandemic, for example. The cultural revitalization of our communities slips lower down the priority list. However, this needn’t be the case. What is needed to allocate funds efficiently is simply an understanding that the arts and its funding system is a complex industry with many opportunities that require specific expertise and knowledge to capitalize on. This is why local governments need to work closely with arts organizations, and be more responsive to them, so that when opportunities like the Arts Infrastructure Program arise, both parties are prepared to make the best of them. That way, we can bet small and win big for the communities we serve.
Do you have an artistic endeavour you would like to promote? Is there a topic you would like me to discuss? I would love to hear from you! Please email me at firstname.lastname@example.org.
44th annual Penticton Art Auction set for early December – Penticton Western News – Penticton Western News
After almost two years of adjusting on the fly and being forced to reschedule events, the Penticton Art Gallery is set to go ahead with the 44th annual art auction on Dec. 5.
The gallery is giving people the opportunity for a sneak peek on the evening of Dec. 3 so that they can explore all the art that is being sold.
The weekend-long event doesn’t have to wait though. Online pre-bidding opened on July 26 and is set to end 24 hours prior to the start of the live auction.
This year’s event will be conducted both in-person and virtually, via Zoom, and anyone attending the live auction at the gallery will be required to show proof of vaccination.
“If you don’t have a vaccine passport and would like to arrange a private viewing, please contact the gallery and we can make alternative arrangements,” said Penticton Art Gallery Director Paul Crawford.
Among the items available for auction include Andy Warhol pieces from his “Marilyn” series. The opening bid for the Warhol items was $1,500, with an estimated value of $5,000. After Marilyn Monroe’s death in 1967, the artist began to work on his now-famous series.
This year’s auction at the gallery will contain no shortage of historic items available for sale. James Irwin’s NASA flight suit is also up for auction, with an opening bid of $4,500 and an estimated value that the gallery calls “priceless.”
A woolly mammoth tusk rounds out the gallery’s list of “priceless” items but in this case, the piece had an opening bid of $1,750.
To view the complete list of available items, the gallery asks that you visit pentictonartgallery.com/annual-art-auction.
“The Penticton Art Gallery champions the transformative power of the Arts through an annual program of thought-provoking exhibitions,” said the gallery’s director.
Crawford said in the latest bi-monthly gallery newsletter that they’ve seen a 60 per cent reduction in revenue over the last 18 months that they had previously earned through a number of fundraising programs, amid the COVID-19 pandemic.
Despite that, he told the Penticton Western News on Thursday that even though he doesn’t know what to expect out of this year’s auction, he’s excited about the gallery’s immediate future.
“As we come to the end of the year, I hope you can help support the Gallery through the purchase of one of our Soup Bowl packages, a work from our Under $500 Exhibition + Sale, Annual Art Auction, the purchase of a membership, early bird tickets to the 2022 Ignite the Arts Festival, or a charitable donation this year,” he wrote in the letter.
Successful bidders will be notified via email within 48 hours of the auction’s closing.
The live auction begins on Dec. 5 at 1 p.m., with the deadline for registration coming on Dec. 4 at 4 p.m.
As of Nov. 25, the auction has raised $8,295, which is 33 per cent of the gallery’s goal for the event.
To register for the live auction, email email@example.com.
In addition, to get in on the pre-bidding festivities virtually, you can visit 32auctions.com/PAG2021.
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