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Carrie Mae Weems and the Art of Inclusion

Carrie Mae Weems, Mirror Mirror and Black Boy Said
Left: Mirror Mirror, Carrie Mae Weems, Archival Inkjet Print 20 × 24 Inches, 1987–2012.
Right: Black Boy Said, Carrie Mae Weems, Gelatin Silver Print 20 × 16 Inches, 1987–1988.
All Works Courtesy of Jack Shainman Gallery.

For over four decades, Carrie Mae Weems has used the camera to capture what it means to be alive in our time. What she calls her art of “social inclusion” has inspired generations of artists since, and it continues to captivate audiences today.

The Early Life of Carrie Mae Weems

Born in Portland, Oregon in 1953, Weems was the second of seven children. As a girl, she did dance and street theater, already seeking to express herself.

When she left home, it was to study modern dance with Anna Halprin in San Francisco. Halprin’s in-depth discussions about dance sought ways to use the art form as a route for cultural exchange and building peace between societies. 

While Weems did not continue to work in dance after her time with Halprin, many of the themes of this early mentor continued to resurface through her long career.

At 28, she graduated from CalArts and sought her MFA at UC San Diego while also working in the folklore graduate program at UC Berkeley. And throughout her twenties, Weems worked as a union organizer, developing a radical class politics that would find a home in her future oeuvre. 

At the age of 18, Weems’ boyfriend gave her a camera as a gift. She immediately connected to the medium. Years later, she discovered Shawn Walker’s “The Black Photographers Annual,” and it sparked a deep curiosity in her to explore photography as an art form.

She went to New York to develop this interest, beginning her art career in earnest.

Carrie Mae Weems, Black Woman with Chicken
Black Woman with Chicken, Carrie Mae Weems, Silver Print, 16 × 15.5 Inches, 1987–1988. Courtesy of Jack Shainman Gallery.
Carrie Mae Weems, Untitled (Putting on make up)
Untitled (Putting on make up), Carrie Mae Weems, Gelatin Silver Print, 28 × 27.75 Inches, 1990–1999. Courtesy of Jack Shainman Gallery.
Carrie Mae Weems, I Looked and Looked but Failed to See What so Terrified You (Louisiana Project series)
I Looked and Looked but Failed to See What so Terrified You (Louisiana Project series), Carrie Mae Weems, Digital Print, 35.75 × 23.75 Inches each, 2003. Courtesy of Jack Shainman Gallery.

Weems as an Artist

In 1983, Carrie Mae Weems released her first photography collection entitled “Family Pictures and Stories.” The works also included text and spoken word elements. In it, she traces her own family’s migration from the South to the North, touching on the broader cultural experience of other black families like hers.

For the next decade, she continued to create mostly staged photography shots in a documentarian style, creating a compelling aesthetic that always delivered socially relevant insights into American society.

During the 80s, Weems also experimented with humor—as with her 1987 work Mirror, Mirror. In this piece, humor is used to both highlight American culture’s refusal of black beauty, as well as ridicule this white supremacist perspective.

Carrie Mae Weems, Passageway II
Passageway II, Carrie Mae Weems, Gelatin Silver Print, 19.0625 × 19.0625 Inches, 2003. Courtesy of Jack Shainman Gallery.
Carrie Mae Weems, The Edge of Time – Ancient Rome
The Edge of Time – Ancient Rome, Carrie Mae Weems, Digital C-print, 16 × 16 inches, 2006. Courtesy of Jack Shainman Gallery.
Carrie Mae Weems, Nikki’s Place – Mussolini’s Rome
Nikki’s Place – Mussolini’s Rome, Carrie Mae Weems, Digital C-Print, 73 × 61 Inches, 2006. Courtesy of Jack Shainman Gallery.

Picturing Life as It Is

Weems was launched into the art world stratosphere in the early 90s with the release of The Kitchen Table Series. In these works, the artist creates a magnificent balance between the personal and the social. The social forces of history and interwoven with the achingly human moments at the kitchen table. Weems serves as the main subject, with narratives told over several frames.

With her reputation now secured, Weems continues to experiment. She has gone on to create in a wide range of mediums, including photography, short film, video installations, fabric, text, performance art, and beyond. 

Her ability to bring social issues of race, class, and gender into poignant, private moments makes her stunning work heartbreaking and empowering all at the same time.

This feature was part of our Madness issue, printed in 2017.
All Works Courtesy of Jack Shainman Gallery.