Overview

The first comprehensive monograph on the paintings of Carrie Ann Baade. Showcasing approximately 100 paintings from 2002 to the present, this is a vivid exploration of Baade's investigation into surreal self-portraits. Introduction by curator Anna Wall. Art historian Susan Aberth provides insight into Baade's working method with collage. Fiction author Selena Chambers offers a guided tour of an imagined metaverse exhibition of Baade's works. Baade herself provides an enlightening view into her own creative process. Carrie Ann Baade's oil paintings dialogue with the past through complex iconography and imagery quoted from Renaissance and Baroque canvases. She constructs layered narratives that resemble fantastical parables as her compositions interlace the strange beauty in the unexpected, the uncanny, the disregarded, and the unconventional. Her compositions, feminist and autobiographical, weave personal and classical symbology into narratives on mortality, sexuality, personal transformation, and the darker side of human nature.

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9781732669734

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Baade's paintings open like portals, their dimensionality and intensity of color and figure pulling the reader into the canvas and across the timeless bridge of the psyche. Every gesture is sacred, every movement transcending the profane, as we confront through the intimacy of her work the ecstasy of the human condition entwined with the rush of the cosmos. -- Saba Syed Razvi, professor, poet, & scholar Carrie Ann Baade is a visionary artist. She is ferocious in her approach, not thinking about the casual observer but solely considering the resounding strength of the work before her. There is a visceral nature to her paintings and the emotions they provoke are strong and uncompromising. Yet, you are drawn to the beauty and elegance of the art, sometimes even wishing yourself into the painting, but then you stop yourself at just the right moment so that you can take a step back and admire the brilliance of Carrie Ann Baade. -- Ann VanderMeer is an American publisher and editor, and Hugo Award winner. Carrie Ann Baade uses art historical references as an anchor for her intricately layered, exquisitely painted, bold compositions. She draws us in through the comfort of these vaguely familiar visual associations, and then confronts us with contemporary issues such as gender equality, sexuality and the struggle to define oneself. Her complex, luscious works are at once reverent, soulful, unsettling and sincere. -- Alix Sloan, Curator, Sloan Fine Art, New York Snipping the threads of ancient myth and slicing through the archaic pages of art history, artistic alchemist and provocateuse of aesthetic and impulse Carrie Ann Baade is a contemporary painter carving a space for women's voices and celebrating the shaping of her own narrative. In her newly published Scissors and Tears, we are treated to a dizzying, dazzling gallery of Baade's mysteriously layered works teeming with scavenged synergies of the sacred, subversive, and sublime; clamorous juxtapositions within riotous arrangements. These visions are bold and boisterous-the images wish to speak, and channeled through Baade's detective work and divinatory process, we will hear them. With insightful examination and illuminating analysis from the foremost names in art scholarship, as well as exhilarating insights from the artist herself, the surreal stratum of Scissors and Tears is a allegorical door superimposed on a window to the past, overlaid on a mirror of self: a radical portal of reverence and revelation. -- S. Elizabeth, author of The Art of the Occult, and The Art of Darkness'

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Author Information

Carrie Ann Baade is an American oil painter who unlocks narratives from her subconscious mind in dialog with historical art. She shares her psychological revelations in stimulating and provocative combinations that are both feminist and autobiographical. Susan L. Aberth is associate professor in the Art History and Visual Culture Program at Bard College. In addition to her 2004 book Leonora Carrington: Surrealism, Alchemy and Art (Lund Humphries), she has contributed to Seeking the Marvelous: Ithell Colquhoun, British Women and Surrealism (Fulgur Press, 2020), Agnes Pelton: Desert Transcendentalist (Phoenix Art Museum, 2019), Surrealism, Occultism and Politics: In Search of the Marvelous (Routledge Press, 2018). Anna Wall is Chief Curator of the Pensacola Museum of Art where she oversees the museum's curatorial program and stewards the institution's growing collection of modern and contemporary art. Prior to joining the PMA team in 2018, she served as a Collections Specialist in the Department of Photographs at the Metropolitan Museum of Art in New York City.

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