Carrie Mae Weems, ‘Red Bone Boy’, 1990, Phillips

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Another example from this edition is housed in the permanent collection of the Akron Art Museum.

Washington, D.C., The National Museum of Women in the Arts; St. Louis, The Forum; San Francisco Museum of Modern Art; Miami, Center for the Fine Arts; Los Angeles, California Afro-American Museum; Portland Art Museum; Minneapolis, Walker Art Center; Philadelphia, Institute of Contemporary Art; Cincinnati, the Contemporary Arts Center, Carrie Mae Weems, January 7, 1993 - April 2, 1995 (another example exhibited)
Hartford, Wadsworth Atheneum, Carrie Mae Weems/Matrix 115, April 21 - July 7, 1991 (another example exhibited)
New York, The Museum of Modern Art, Color Chart: Reinventing Color, 1950 to Today, March 2 - May 12, 2008, no. 71, p. 186 (another example exhibited and illustrated)
New York, P.P.O.W., David Wojnarowicz History Keeps Me Awake at Night a Genealogy of David Wojnarowicz, July 10 - August 22, 2008 (another example exhibited)
Nashville, Frist Center for the Visual Arts; Portland Art Museum; The Cleveland Museum of Art; The Iris and B. Gerald Cantor Center for Visual Arts at Stanford University; New York, Solomon R. Guggenheim Museum, Carrie Mae Weems: Three Decades of Photography and Video, September 21, 2012 - April 23, 2014, no. 4.6, p. 73 (another example exhibited and illustrated)

About Carrie Mae Weems

Steeped in African-American history, Carrie Mae Weems’s works explore issues of race, class, and gender identity. Primarily working in photography and video, but also exploring everything from verse to performance, Weems has said that regardless of medium, activism is a central concern of her practice—specifically, looking at history as a way of better understanding the present. “Photography can be used as a powerful weapon toward instituting political and cultural change,” she has said. “I for one will continue to work toward this end.” She rose to prominence with her “Kitchen Table Series” in the early 1990s, whose photographs depict the artist seated at her kitchen table and examine various tropes and stereotypes of of African-American life. Most recently, her achievements were recognized with a “genius grant” from the MacArthur Foundation.

American, b. 1953, Portland, Oregon

Group Shows

Cape Town,
In Context: this past was waiting for me
Sydney Mishkin Gallery, 
New York, NY, USA,
Photography: Technology + Art, curated by Emily Ackerman
Sydney Mishkin Gallery, 
New York, NY, USA,
Photography: Technology + Art, , curated by Emily Ackerman
View Artist's CV