Carrie Ann Baade

Arrow

By creating allegorical narratives that employ visual quotations, I have learned that painting is always about painting and the history that comes with it. Using scissors, I cut from the pages of Western European art history (when women’s voices were absent) and collage new scenes of spirituality, sexuality, and power dynamics from these fragments. By embracing the missing and recreating the past that never was, I repaint the past to write my name on the collective narrative – to write my name on a body of work mostly made by men. These are investigations of the self and relating that self to the world through symbolism and myths in an intuitive dialog. In some ways, I am trying to bring the past back and keep it alive, and in other ways, I weave quotations of past work into a narrative that creates my story.

Carrie Ann Baade, Angel at the End of Time, oil on linen, 48 x 36” (2017)

Carrie Ann Baade, Angelface, oil on linen, 48 x 36” (2018)

Carrie Ann Baade, Anti-Vanitas, oil on linen, 40 x 30” (2020)

Carrie Ann Baade, Allegory of Bad Government, oil on linen, 36 x 48” (2011-2018)

Carrie Ann Baade, Bride, oil on linen, 48 x 36” (2017)

Carrie Ann Baade, Caritas, oil on panel, 40 x 30” (2018)

Carrie Ann Baade, Of Ergot and Ashes, oil on panel, 40 x 30” (2017)

Carrie Ann Baade, Hell Mouth, oil on linen, 36 x 48” (2017)

Carrie Ann Baade, Manufacturing of Tears, oil on linen, 60 x 82” (2018)

Department

Art

Connect With Carrie

Connections

While there is no overarching theme that unites every faculty member in this exhibition, everyone is connected to someone else through a web of ideas and provocations. We encourage you to use these tags to navigate from one scholar to the next, while understanding that these concepts do not fully account for the depth and nuance of the work you are encountering.

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