Carrie Mae Weems, ‘Untitled (mother and daughter)’, 1990, Phillips

From the Catalogue:
Using the kitchen table as a metaphor for the space where one’s life unfolds, Carrie Mae Weems Kitchen Table series follows a female protagonist as she navigates the stages of life, examining an array of relationships from romantic to maternal and, as we see in the present lot, platonic, all whilst seated at the table. Reflecting on the seminal series, Weems spoke to the significance of the domestic setting: “That's the space. Everything gets resolved in that space. It's a beautiful piece really, you know. It's so simple in its construction. It's so minimal. There's a table, there's a lamp, there's a chair. There's a man, there's a woman, there's a girl, there's a child. Maybe there's a glass of wine and a couple packs of cigarettes. That's it. It's very bare bones.”
Courtesy of Phillips

Signature: Signed on a label accompanying the work; printed title and number 1/5 on gallery label affixed to the reverse of the frame.

Damiani, Carrie Mae Weems: Kitchen Table Series, p. 45, variant
Yale, Carrie Mae Weems: Three Decades of Photography and Video, pl. 6.12, variant

P.P.O.W., New York

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