Hello Dean McRorie and Chairman Sanders.

Holly, Carrie, and I had a wonderful and successful exhibition this past week at the Ningbo Museum of Art in Ningbo, Zhejiang province, China. Attached is a portrait of the three of us next to one of the signs they created to promote our show. Although the exhibition was only up for one week, we would guess it was seen by around 1,000 people. The Ningbo Museum of Art is the second largest museum in China -- quite an architectural marvel. If you look in the background, you will see a second banner for our show, one that is around 40' tall ! When we are back at FSU, I will share with you many photos from our exhibition and the rest of our trip here. Quite an adventure, especially for my own part being here for almost 2 months. A couple last days in Shanghai, and then we will all fly back to America.

Thank you for your support in making this trip possible.See you soon.

Andrew

Thursday, April 26, 2007 9:42 AM

Dear Friends, Jan and I are ecstatic that our daughter Carrie has been hired at Florida State Uninversity in a tenure track position in the Art Dept. FSU has a great art dept. and quite frankly the salary is good too. Tallahassee has affordable housing too.

Carrie will be teaching painting. Two classes in the fall and three in the spring will be her load , which is ideal for her to continue to paint and exhibit, She leaves in three weeks for a stint in China with two other FSU faculty members. She will be teaching and exhibiting in a museum. The museum has also committed to buy one of her paintings for their collection.

One more plug: her work can be seen on her website:
Carrie Jones Baade

Jan and Dave

The Hysterical Pregnancy by Carrie Jones Baade.

From The Philadelphia Enquirer, Jan. 13, 2006.

Two painters, two stylistic paths

Their works at the Rosenfeld confront abstraction and surrealism.

By Edith Newhall
For The Inquirer

Stylewise, painters Laura Pakarow and Carrie Ann Baade are exploring vastly different territory. Pakarow is investigating a kind of all-over abstraction made up of many small marks, while Baade is creating oil paintings that affect the look of works by Netherlandish painters such as Vermeer, but depict the kinds of surreal events that characterize the paintings of Frida Kahlo.

Until recently, Pakarow was incising atmospheric backgrounds with inscrutable, Twombly-like scrawls, but she has since moved on. Now her paintings have denser, punctated surfaces that appear to be concealing vestiges of inscrutable scribbles. I would like to have seen only this latter body of work, since Pakarow seems to be moving in the direction of pure abstraction.

Baade paints beautifully - she has old master down pat - but the ground she treads is a bit too familiar. Donald Roller Wilson, the painter of animals posing as humans in grand apartments, comes to mind too quickly. Baade could become a painter in the John Currin mold if she cared to, creating caricatures of her nearest and dearest, but she would have to move beyond humor to satire. Perhaps a more autobiographical approach would raise these paintings above the charm level they so easily occupy.

 
State of Delaware 2005 Individual Artist Fellowship Recipient

Carrie Ann Baade
Newark
Established Professional: Visual Arts - Painting

"Temptation Alien," oil on panel

Carrie Ann Baade is adjunct art instructor at Cecil County Community College in Northeast, Md. Under the auspices of the college, she also teaches a college-level studio art course for high school students. Since 1996, her work has been exhibited in solo and group shows throughout the mid-Atlantic region and elsewhere. She is a graduate of the School of the Art Institute of Chicago and earned her master's degree in painting from the University of Delaware. Her work will be on exhibit in the Mezzanine Gallery of the Carvel State Building in Wilmington in May.

Nearly every subject in my paintings receives a new set of eyes. The new eyes may serve as a mask, thus providing the opportunity to role play, hide, or act out. Painting the haplessly layered scraps with awkwardly cut edges stimulates the curiosity of the viewer to find out the hidden truth and imagine what possibilities might lie beneath.

Continuing my pursuit of identity, the series [to be exhibited] is predominantly self-portraits exploring the themes of the forbidden, the disturbed, and the peculiarly heroic. The ruse devised in these paintings is dependant upon the trompe-l'oeil craftsmanship. The raised and/or textured surfaces seduce the eye and the hand, compelling the viewer to question what lies beneath. Through collage, layers of meaning are built into complex allegories or meta-narratives.