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"Weems, Carrie Mae"
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Carrie Mae Weems : strategies of engagement
\"Few American artists today are creating work as striking and politically charged as Carrie Mae Weems. Carrie Mae Weems: Strategies of Engagement explores a unique body of aesthetically powerful work that is particularly relevant in the context of current debates about social justice. In addition to acclaimed series by Weems dealing with historical archives, this catalogue for an exhibition at the McMullen Museum of Art, Boston College also features new photographs that address police violence. Strategies of Engagement highlights Weems's relationship with her viewers, which is at once pedagogical, confrontational, and collaborative, thus encouraging ongoing debates about power and resistance, history and identity. Intellectually and ethically challenging, the works in Strategies of Engagement are also imbued with melancholy seriousness, playful wit, and unexpected flashes of hope, grace, and beauty. Essays by a diverse collection of scholars analyze Weems's use of performance and masquerade to reanimate lost histories and others focus on her transformative interventions in documentary photography and archives. The volume is rounded out by a panel discussion with Weems about the relationship between the arts and social change.\"--Amazon.com
Book
We Make Each Other Beautiful
We Make Each Other Beautiful
focuses on woman of color and queer of color artists and
artist collectives who engage in direct political action as a part
of their art practice. Defined by public protest,
rule-breaking, rebellion, and resistance to governmental and
institutional abuse, direct-action \"artivism\" draws on the aims,
radical spirit, and tactics of the civil rights and feminist
movements and on the struggles for disability rights, queer rights,
and immigrant rights to seek legal and social change.
Yxta Maya Murray traces the development of artivism as a
practice from the Harlem Renaissance to Yoko Ono, Judy Baca, and
Marsha P. Johnson. She also studies its role in transforming law
and society. We Make Each Other Beautiful profiles the
work and lives of four contemporary artivists -Carrie Mae Weems,
Young Joon Kwak, Tanya Aguiñiga, and Imani Jacqueline Brown-and the
artivist collective Drawn Together, combining new oral histories
with sharp analyses of how their diverse and expansive artistic
practices bear important aesthetic and politicolegal meanings that
address a wide range of injustices.
eBook
REFLECTIONS ON CARRIE MAE WEEMS'S RESIST COVID: TAKE 6!
Fakunle reflects on Carrie Mae Weems's RESIST COVID | TAKE 6! public awareness campaign. As an artist, Weems has long used her work to investigate family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Through this collection of posters and billboards, initiated in 2020 and created with Pierre Loving and other artists, Weems is very intentional in the way she elevates stories about the COV1D-19 pandemic that reflect the ongoing toll of historical and systemic minoritization, or marginalization of those belonging to minority groups, in the US and globally. Through images that simultaneously command our attention and cultivate intimacy, Weems clearly aims to demonstrate that there is nothing inherently minor about the lives of those who identify as Black, Indigenous, or people of color.
Journal Article
Something That Must Be Faced
The Louisiana Project juxtaposes antebellum buildings that have been kept pristine into the twenty-first century with industrial spaces-landscapes scarred by rusting gas tanks, railroads, and mass-produced housing for impoverished and African American residents. Situated on the banks of the Mississippi River two miles south of New Orleans, the house was originally designed in the French Colonial style around 1832 and remodeled by architect James Gallier Sr. in the late 1950s.1 The structure included elaborate, decorative trappings of classical Greek architecture with eight double-height Doric columns forming front and rear galleries that lent expanded space and height to the body of the building. By positioning her body in this way and wearing nineteenth-century clothing, Weems appears as a ghostly survivor of enslavement.3 In Passageway II, Weems photographs herself framed by the columns of the Beauregard House, looking out to the landscape beyond. Excluded from the true world of white privilege, and self-segregated from the enslaved community, this mixed-race group of free people of color made its own spaces of relative freedom that were nevertheless separate.4 Weems seems to refer to the women of this third caste in a triptych of images, A Singles Waltz in Time.
Journal Article
Black and White Landscapes: Topographies of Disorientation in the Works of Carrie Mae Weems and Claudia Rankine
In this essay, I explore how the contemporary black female artists Carrie Mae Weems and Claudia Rankine work with photography and text to develop what I call, after the famous 1975 American landscape photography exhibition, a new, anticolonial, topographics. Connecting the geographical and anatomical meanings of the word “topography,” I approach their works via the phenomenology of Sara Ahmed and Frantz Fanon, tracing how the two artists decentre and throw into relief what Ahmed terms “whiteness as orientation.” Enacting an affective, visual politics of discomfort and disorientation, Weems and Rankine, this essay contends, open new terrain from which to encounter the American landscape in visual, corporeal, and phenomenological terms.
Journal Article
RANSLATING BLACK POWER AND BEAUTY-CARRIE MAE WEEMS
Here, Ellis features Carrie Mae Weems, an activist, artist-photographer, and videographer. She is well-known for her photographic series and multiscreen projections relating to family, beauty, and memory. Throughout her career, Weems recorded stories and images that shaped her political work. One installation titled Constructing History: A Requiem to Mark the Moment offered Weems a unique opportunity to ontextualize in words and images the political stories of the \"isms\" that surfaced over the notion of free speech, beauty, identity, oppression, and love over the last forty years. Through notions of self-representation, Weems explores beauty, black empowerment, and a revised definition of how to revisit political moments through her photographs.
Journal Article
Modern Painting, the Black Woman, and Beauty Ideologies: Carrie Mae Weems' Photographic Series Not Manet's Type
Utilizing photographs of her own body in an intimate setting as the subject and juxtaposing each photograph with text, she ruminates over the role and rendering of Black women within the works of Edouard Manet, Pablo Picasso, Marcel Duchamp, and William de Kooning.[...]Not Manet 's Type alludes to the hegemonic attitudes of European society towards women of color while simultaneously bringing women of color into the foreground of discussion of Modern art.Prior to this essay, Not Manet's Type has been noted but not extensively researched in relationship to race, Modernity, and beauty.[...]this study is the first to expound upon beauty ideologies in both this photographic series and Modern art in addition to exploring racial archetypes for Black women in Modern art in relationship to Not Manet 's Type.[...]she was particularly inspired by DeCarava's visual representations of black subjects that invert the dominant culture's aesthetics, in which, informed by racist thinking, blackness was iconographically seen as a marker of ugliness\" (hooks 67). \"Since black people...are bombarded with messages that [they] have no values, are worthless, it is no wonder that [they] fall prey to nihilistic despair or forms of addiction that provide momentary escape, illusions of grandeur, and temporary freedom from the pain of facing reality\" (\"Black Looks Race and Representation\" 19).
Journal Article
From Here I Saw What Happened and I Cried
This chapter illustrates Carrie Mae Weems's life, art, engagement with the Descendant/Lanier daguerreotypes, and the legal implications of her direct action. It focuses on her 1995–96 photo series From Here I Saw What Happened and I Cried. The artist's insubordination in the 1990s evolved into a unique collaboration that cast artivism and its practice in a new light. Indeed, Weems's breach of her contract and unflappable reaction to Harvard's litigation threats grew into a magnetic chapter in the history of woman of color artivism, since it employed rule-breaking, civil disobedience, litigation courtship, and protest. It also raised radical insights about the Copyright Act and initiated a dialogue about US property law in the wake of slavery that reached the highest court in Massachusetts and continues to be felt to this day.
Book Chapter