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Carrie Mae Weems / edited by Sarah Elizabeth Lewis with Christine Garnier ; essays and interviews by Sarah Elizabeth Lewis, Huey Copeland, bell hooks, Coco Fusco, Carrie Mae Weems, Thelma Golden, Deborah Willis, Robin Kelsey, Katori Hall, Salamishah Tillet, Dawoud Bey, Jennifer Blessing, Thomas J. Lax, Kimberly Drew, Erina Duganne, Yxta Maya Murray, Kimeberly Juanita Brown, Gwendolyn DuBois Shaw, José Rivera, and Jeremy McCarter.

Contributor(s): Series: October filesPublisher: Cambridge, Massachusetts : The MIT Press, [2021]Copyright date: ©2021Description: xviii, 202 pages, 16 unnumbered pages of plates : illustrations (some colour) ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 9780262043762
  • 9780262538596
Uniform titles:
  • Carrie Mae Weems (M.I.T. Press)
Subject(s):
Contents:
From here we saw what happened: Carrie Mae Weems and the practice of art history (2014) / Sarah Elizabeth Lewis
Specters of history (2014) / Huey Copeland
Diasporic landscapes of longing (1994) / bell hooks
Carrie Mae Weems (1996) / Coco Fusco
Compassion (2009) / Carrie Mae Weems
Carrie Mae Weems and the field (2021) / Sarah Elizabeth Lewis, Carrie Mae Weems, and Thema Golden
Photographing between the lines: beauty, politics, and the poetic vision of Carrie Mae Weems (2012) / Deborah Willis
Foreword to 'Carrie Mae Weems: Kitchen Table Series' (2016 / Sarah Elizabeth Lewis
Around the kitchen table (2016) / Robin Kelsey, Salamishah Tillet, Dawoud Bey, and Jennifer Blessing
Carrie Mae Weems's convenings (2021) / Thomas J. Lax
Carrie Mae Weems: the legendary photographer on becoming and exploring personhood through art (2016) / Kimberley Drew
Family folktales: Carrie Mae Weems, Allan Sekula, and the critique of documentary photography (2011) / Erina Duganne
'From here I saw what happened and I cried': Carrie Mae Weems's challenge to the Harvard Archive (2012) / Yxta Maya Murray
Carrie Mae Weems (2009) / Dawoud Bey
Photographic incantations of the visual (2015) / Kimberley Juanita Brown
The wandering gaze of Carrie Mae Weems's 'The Louisiana Project' (2018) / Gwendolyn DuBois Shaw
Public forum: 'Pictures and progress' (2018) / Carrie Mae Weems, Sarah Elizabeth Lewis, José Rivera, and Jeremy McCarter
Summary: Essays and interviews explore the work of Carrie Mae Weems and its place in the history of photography, African American art, and contemporary art. In this October Files volume, essays and interviews explore the work of the influential American artist Carrie Mae Weems—her invention and originality, the formal dimensions of her practice, and her importance to the history of photography and contemporary art. Since the 1980s, Weems (b. 1953) has challenged the status of the black female body within the complex social fabric of American society. Her photographic work, film, and performance investigate spaces that range from the American kitchen table to the nineteenth-century world of historically black Hampton University to the ancient landscapes of Rome. These texts consider the underpinnings of photographic history in Weems’s work, focusing on such early works as The Kitchen Table series; Weems’s engagement with photographic archives, historical spaces, and the conceptual legacy of art history; and the relationship between her work and its institutional venues. The book makes clear not only the importance of Weems’s work but also the necessity for an expanded set of concerns in contemporary art—one in which race does not restrict a discussion of aesthetics, as it has in the past, robbing black artists of a full consideration of their work.
Holdings
Item type Current library Call number Status Date due Barcode
Book Book CGLAS Library Monographs Room WEE (Browse shelf(Opens below)) Available 12726

Includes bibliographical references and index.

From here we saw what happened: Carrie Mae Weems and the practice of art history (2014) / Sarah Elizabeth Lewis

Specters of history (2014) / Huey Copeland

Diasporic landscapes of longing (1994) / bell hooks

Carrie Mae Weems (1996) / Coco Fusco

Compassion (2009) / Carrie Mae Weems

Carrie Mae Weems and the field (2021) / Sarah Elizabeth Lewis, Carrie Mae Weems, and Thema Golden

Photographing between the lines: beauty, politics, and the poetic vision of Carrie Mae Weems (2012) / Deborah Willis

Foreword to 'Carrie Mae Weems: Kitchen Table Series' (2016 / Sarah Elizabeth Lewis

Around the kitchen table (2016) / Robin Kelsey, Salamishah Tillet, Dawoud Bey, and Jennifer Blessing

Carrie Mae Weems's convenings (2021) / Thomas J. Lax

Carrie Mae Weems: the legendary photographer on becoming and exploring personhood through art (2016) / Kimberley Drew

Family folktales: Carrie Mae Weems, Allan Sekula, and the critique of documentary photography (2011) / Erina Duganne

'From here I saw what happened and I cried': Carrie Mae Weems's challenge to the Harvard Archive (2012) / Yxta Maya Murray

Carrie Mae Weems (2009) / Dawoud Bey

Photographic incantations of the visual (2015) / Kimberley Juanita Brown

The wandering gaze of Carrie Mae Weems's 'The Louisiana Project' (2018) / Gwendolyn DuBois Shaw

Public forum: 'Pictures and progress' (2018) / Carrie Mae Weems, Sarah Elizabeth Lewis, José Rivera, and Jeremy McCarter

Essays and interviews explore the work of Carrie Mae Weems and its place in the history of photography, African American art, and contemporary art. In this October Files volume, essays and interviews explore the work of the influential American artist Carrie Mae Weems—her invention and originality, the formal dimensions of her practice, and her importance to the history of photography and contemporary art. Since the 1980s, Weems (b. 1953) has challenged the status of the black female body within the complex social fabric of American society. Her photographic work, film, and performance investigate spaces that range from the American kitchen table to the nineteenth-century world of historically black Hampton University to the ancient landscapes of Rome. These texts consider the underpinnings of photographic history in Weems’s work, focusing on such early works as The Kitchen Table series; Weems’s engagement with photographic archives, historical spaces, and the conceptual legacy of art history; and the relationship between her work and its institutional venues. The book makes clear not only the importance of Weems’s work but also the necessity for an expanded set of concerns in contemporary art—one in which race does not restrict a discussion of aesthetics, as it has in the past, robbing black artists of a full consideration of their work.