carrie mae weems - Susanne Hilberry Gallery

carrie mae weems - Susanne Hilberry Gallery

S U S A N N E
H I L B E R R Y
G A L L E R Y
CARRIE MAE WEEMS
EDUCATION
1984-87
Graduate Program in Folklore, University of California, Berkeley, CA
1984
MFA, University of California, San Diego, CA
1981
BA, California Institute of the Arts, Valencia, CA
ONE PERSON EXHIBITIONS
2004
May Days Long Forgotten (film screening), MoMAQns, Queens, NY
The Jefferson Suite, University of Virginia Art Museum, Charlottesville, VA
May Days Long Forgotten, Gallery 210, University of Missouri, St. Louis, MI
2003
The Louisiana Project, Newcomb Art Gallery, Tulane University, New Orleans, LA
May Days Long Forgotten & A Little Bit of This and A Little Bit of That, PPOW, New
York, NY
A Certain Kind of Love, P.C.O.G. Gallery, New York, NY
Self & Soul:
2002
The Architecture of Intimacy, Asheville Art Museum, Asheville, NC
From Here I Saw What Happened and I Cried, South Carolina State University,
Orangeburg, SC
Africa Series, Sheppard Fine Arts Gallery, Reno, NV
Ritual & Revolution, University Arts Gallery, San Diego State University, San
Diego, CA
The Jefferson Suite, Palmer Museum of Art, University Park, PA
2001
Photographic Visions of Carrie Mae Weems, Zora Neale Hurston National Museum
of Fine Arts, Etonville, FL
The Jefferson Suite, Parrish Art Museum, Southampton, NY
Carrie Mae Weems: Mirrors and Windows, BGSU Fine Arts Center Galleries, Bowling
Green State University, Bowling Green, OH
2000-02
1999
Carrie Mae Weems: The Hampton Project,
Williamstown, MA. Traveling to:
International Center of Photography, New
GA; Nelson-Atkins Museum of Art, Kansas
University of California, Long Beach, CA;
Hanover, NH
Williams College Museum of Art,
York, NY; High Museum of Art, Atlanta,
City, MO; University Art Museum,
Hood Museum of Art, Dartmouth College,
Ritual & Revolution, Rhona Hoffman Gallery, Chicago, IL
Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems,
Boston University Art Gallery, Boston, MA
The Jefferson Suite, Santa Barbara Museum of Art, Santa Barbara, CA
1998-99
R e c e n t W o r k : C a r r i e M a e W e e m s 1 99 2 - 98 , E v e r s o n A r t M u s e u m , S y r a c u s e , N Y
1998
Who What When Where, Whitney Museum of American Art at Phillip Morris, NYC
Ritual & Revolution, DAK’ART 98: Biennale of Contemporary Art, Galerie Nationale
d’Art, Dakar, Senegal
Ritual & Revolution, Berkeley Art Museum, University of California, Berkeley, CA
Ritual & Revolution, Künstlerhaus Bethanien, Berlin, Germany
Harriet Tubman Museum of Art, Macon, GA
1997
2nd Johannesburg Biennale, Africus Institute for Contemporary Art, Johannesburg,
South Africa
Virginia Museum of Fine Arts, Richmond, VA
Cline LewAllen Contemporary, Santa Fe, NM
Three Rivers Festival, Philadelphia, PA
1996
From Here I Saw What Happened and I Cried, P · P · O · W, New York, NY
Carrie Mae Weems: The Kitchen Table Series, Contemporary Arts Museum,
Houston, TX
From Here I Saw What Happened and I Cried, Rhona Hoffman Gallery, Chicago, IL
Krannert Art Museum, University of Illinois at Urbana-Champaign, IL
From Here I Saw What Happened and I Cried, Gallery Paule Anglim, San Francisco,
CA
From Here I Saw What Happened and I Cried, The Bunting Institute, Cambridge, MA
1995
Carrie Mae Weems Reacts to Hidden Witness, J. Paul Getty Museum of Art,
Malibu,CA
Projects 52, Museum of Modern Art, New York, NY
1994
The Hood Museum of Art, Dartmout h College, Hannover, NH, organized by William
Dooley; traveled to:
Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL; Northern
Illinois University, Dekalb, IL; Schneider Museum of Art, Southern Oregon State
College, Ashland, OR; McKissick Museum, GA; Museum of Art, University of Iowa,
Iowa City, IA
1993
Sea Islands, Linda Cathcart Gallery, Santa Monica, CA
Sea Islands, Rhona Hoffman Gallery, Chicago, IL
New Langton Arts, San Francisco, CA
The Fabric Workshop, Philadelphia, PA
Traveling One Person Exhibition, Carrie Mae Weems, curated by Andrea Kirsh and
Susan Fisher Sterling. Traveled to: The National Museum of Women in the Arts,
Washington DC; The Forum, St. Louis, MO; Museum of Modern Art, San Francisco,
CA; Afro-American Museum, Los Angeles, CA;Contemporary Arts Center, Cincinnati,
OH; Center for the Fine Arts, Miami, FL; Walker Art Center, Minneapolis, MN;
Portland Art Museum, Portland, OR; The Institute of Contemporary Art,
Philadelphia, PA
1992
Greenville County Museum of Art, Greenville, SC
And 22 Million Very Tired and Very Angry People, Walter/McBean Gallery, San
Francisco Art Institute, San Francisco, CA
S e a I s l a n d s , P · P · O · W, NY
Family, Pictures and Stories, Cleveland Center for Contemporary Art, Cleveland,
OH
1991
Institute of Contemporary Art, Boston, MA
Trustman Gallery, Simmons College, Boston, MA
And 22 Million Very Tired and Very Angry People, The New Museum of
Contemporary Art, New York, NY
Matrix Gallery, Wadsworth Athenaeum, Hartford, CT
Family Pictures and Stories, curated by Perry Nesbitt, Albright College, Reading,
PA
Carrie Mae Weems: Two Works, curated by Phyllis Lutjeans, University of Southern
California at Irvine, Irvine, CA
Family Pictures and Stories, curated by Wendy Kaplan, Art Complex Museum,
Duxbury, MA
1990
Calling Out My Name, CEPA Gallery, Buffalo, NY; traveled October, P · P · O · W, New
York, NY
1989
Rhode Island School of Design, Providence, RI
1987
Hampshire College Art Gallery, October, Amherst, MA
1984
Family Pictures and Stories, M u l t i- C u l t ur a l G a l l e r y , S a n D i e g o , C A
GROUP EXHIBITIONS
2003
Wallpaper by Contemporary Artists, The RISD Museum, Providence, RI
Through the Looking Glass: Women and Self -Representation in Contemporary Art,
The Palmer Museum of Art, Penn State University, PA
Video Lounge at the Miami Basel Art Fair (curated event), Miami , FL
C u b a o n t h e V e r g e, International Center of Photography, New York, NY
Only Skin Deep,
International Center of Photography, New York, NY
Pictures from Within: American Photographs, 1958-2002, Whitney Museum of
American Art, New York, NY
Crimes and Misdemeanors: Politics in U.S. Art of the 1980’s, Lois and Richard
Rosenthal Center for Contemporary Art, Cincinnati, OH
Bronx Public Art:
The Spotlight Series, Lehman College Art Gallery, Bronx, NY
On the Wall: Wallpaper and Tableau, touring exhibition to the RISD Museum,
Providence, RI and The Fabric Workshop and Museum, Philadelphia, PA
Site Specific, Museum of Contemporary Art, Chicago, IL
Selections: Photography, The Anthony Giordano Gallery, Dowling College,
Oakdale, NY
Skin Deep, Numark Gallery, Washington DC
Self & Soul:
The Architecture of Intimacy, Asheville Art Museum, Asheville, NC
Saturday Night/Sunday Morning, Leica Gallery, New York, NY
Flesh Tones:
100 Years of the Nude, Robert Mann Gallery, New York, NY
The Auroral Light, Photographs by Women from Grolier Club Members Collection,
Grolier Club, New York, NY
2002
Jan Weiner Gallery, Kansas City, MO
Paradise, The Tang Museum, Skidmore College, Saratoga, NY
2001
TeleVisions, Museumsquartier, Vienna, Austria
W, Musée des Beaux-Arts, Dole, France
I’m Thinking of a Place, UCLA Hammer Museum, Los Angeles, CA
Southern Exposure, Hand Workshop Art Center, Richmond, VA
Issues of Identity in Recent American Art, Roland Gibson Gallery, SUNY, Potsdam,
NY
Love Supreme, La Criee Contemporary Art Center, Rennes, France
Looking Forward, Looking Black, Ezra and Cecile Zilkha Gallery, Wesleyan
University, Middletown, CT
Selections from the Permanent Collection, Metropolitan Museum of Art, New York,
NY
A Way With Words, Whitney Museum of American Art and Philip Morris, New York,
NY
C o l l e c t i o n i n C o n t e x t, The Studio Museum in Harlem, New York, NY
Material and Matter: Loans to and Selections from the Studio Museum Collection,
The Studio Museum in Harlem, NY
Committed to the Image: A Half Century of Black Photographers in America,
Brooklyn Museum of Art, NY
2000
The View From Here: Issues of Cultural Identity and Perspective in Contemporary
Russian and American Art, T r e t y a k o v G a llery, Moscow, Russia
Collecting Ideas: Works from the Polly & Mark Addison Collection, Denver Art
Museum, Denver, CO
Paradise Now, Exit Art, New York, NY
The Portrait in Contemporary Photography, Hood Museum of Art, Dartmouth
College, Hanover, NH
1999
Surface and Depth, Trends in Contemporary Portrait Photography, Hood Museum of
Art, Dartmouth College,
Odd Bodies, National Gallery of Canada, Calgary, Canada
Blackness in Color: Visual Expressions of the Black Arts Movement, Herbert F.
Johnson Museum of Art, Cornell University, Ithaca, NY
Rivers of Spirit: ArtWomen of the African Diaspora, Krannert Art Museum,
University of Illinois at Urbana-Champaign, IL
Southern Exposure, Contemporary Art Center of Virginia, Virginia Beach, VA
Strength and Diversity: A Celebration of African American Artists, Carpenter
Center for the Visual Arts, Harvard University, Cambridge, MA
Reflections in Black: A History of Black Photographers 1840 to the Present,
Smithsonian Anacostia Museum of Center for African American History and
Culture, Washington, D.C.
Frames of Reference: From Object to Subject, Wesleyan University Center for the
Arts, Middletown, CT. Curated by Nina Felshin
1999-2000
Art-Worlds in Dialogue, Museum Ludwig, Cologne, Germany
Artist as Patron, Alternative Museum, New York, NY
Female, Wessel + O’Connor Gallery, New York, NY
Persuasion, Lombard-Fried Fine Arts, New York, NY. Curated by Lea Fried and
Roxana Marcoci
T r u e W e s t , P · P · O · W, New York, NY. Curated by Jason Murison
O t h e r N a r r a t i v e s , C o n t e m p o ra r y A r t s M u s e u m , H o u s t o n , T X
The Art of Advocacy, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Looking Forward, Looking Black, Elaine L. Jacob Gallery, Detroit, Michigan
R e / R i g h t i n g H i s t o r y : C o u n t e r n a r r a t i v e s b y C o n t e m p o r a r y A f r i c a n - A m e r i c a n Ar t i s t s ,
Katonah Museum of Art, Katonah, NY
Bearing Witness: Contemporary Works by African-American Artists, traveled to:
Gibbes Museum of Art, Charleston, South Carolina; Edwin A. Ulrich Museum of Art,
Wichita, Kansas; Portland Museum of Art, Portland, Maine; Museum of Fine Arts
Houston, Houston, Texas; African- American History and Cultural Museum, Fresno,
California
It’s Only Rock and Roll, Austin Museum of Art, Austin, Texas
Future-Present: Contemporary Photographs of Children From the Reader’s Digest
Collection, The Aldrich Museum
of Contemporary Art, Ridgefield, CT
1998-99
Photography’s multiple roles: art, document, market, science, The Museum of
Contemporary Photography, Chicago, Illinois
A c t / L a n g u a g e : P o w e r a n d D i s p l a y , F o s t e r - T a n n e r F i n e A r t s Ga l l e r y , F A M U c a m p u s ,
Tallahassee, FL
1998
In Visible Light, Moderna Museet, Stockholm, Sweden
Bearing Witness: Contemporary Works by African-American Artists, traveled to:
Polk Museum of Art, Lakeland, Florida; Columbus Museum, Columbus, Georgia;
African American Museum, Dallas, Texas; Minnesota Museum of American Art, St.
Paul, Minnesota
It’s Only Rock and Roll, Milwaukee Art Museum; Arkansas Art Center; Traveled to:
Fresno Metropolitan Museum, Fresno, CA
Years Ending in Nine, The Museum of Fine Arts, Houston, TX
Taboo: Repression and Revolt in Modern Art, Galerie St. Etienne, New York, NY
Tell Me a Story: Narration in Contemporary Painting and Photography, Centre
National d’Art Contemporain de Grenoble, Grenoble, France
C l a u s t r o p h o b i a : D i s t u r b i n g t he D o m e s t i c i n C o n t e m p o r a r y A r t , I k o n G a l l e r y ,
Birmingham, England. Travled to: Middlesbrough Art Gallery; Harris Museum and
Art Gallery, Preston; Mappin Gallery, Sheffield; Cartwright Hall, Bradford; Esbjerg
Kunstmuseum, Denmark; Centre for Visual Arts, Cardiff
Roots & Reeds: The Amazing Grace of the Gullah People, Hunter College, New
York, NY
Looking Forward, Looking Black, Hobart and William Smith Colleges Press,
Geneva, NY
Histories (Re)membered, The Bronx Museum of Art, New York, NY
1997-98
Changing S p a c e s, Detroit Institute of Art, Detroit, Michigan
It’s Only Rock and Roll, Lowe Art Museum, University of Miami, FL
1997
Alternating Currents, the Johannesburg Biennial, Johannesburg, South Africa
Making Pictures: Women and Photography, 1975 - Now, Curated by Nicole
Klagsbrun, Bernard Toale Gallery, Boston, MA
It’s Only Rock and Roll, the Phoenix Art Museum, Phoenix, AZ; North Carolina
Museum of Art, Raleigh
Four Decades , P · P · O · W, New York
N o S m a l l F e a t, R h o n a H o f f m a n G a l l e r y , C h i c a g o , I L
Original Visions: Women, Art and the Politics of Gender, Boston College Museum
of Art, Boston, MA
A Palette in a Pen’s World, Georgia Museum of Art, Acworth, Georgia
dislocations/siirtymiä, curated by Pirkko Siitari and Leena Lohiniva, Rovaniemi
Art Museum, Finland
Inclusion Exclusion, Art in the Age of Post Colonialism and Global Migration,
Steirischer Herbst, Austria
Tragic Wake: The Legacy of Slavery and the African Diaspora in Contemporary Art,
Spirit Square Center for Arts and Education, Middletown McMillan Gallery,
Charlotte, NC
1996-97
It’s Only Rock and Roll, Bedford Gallery, Regional Center for the Arts, Walnut
Creek, CA
1996
Embedded Metaphor, curated by Nina Felshin, Independent Curators International,
traveled to: John and Mable Ringling Museum of Art, Sarasota, FL; Western
Gallery, Western Washington University, Bellingham, Washington; Bowdoin College
Museum of Art, Brunswick, Maine; Virginia Beach Center for the Arts, Virginia
Beach, Virginia; Ezra and Celcile Zilkha Gallery, Wesleyan University, Middletown,
Connecticut; Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania
Bearing Witness: Contemporary Works by African-American Artists, Spelman
College Museum of Fine Art, Spelman College, Atlanta, GA
Inside the Visible, Institute of Contemporary Art, Boston, MA; The National
Museum of Women in the Arts, Washington, DC international traveling exhibition
It’s Only Rock and Roll, traveled to: Lakeview Museum of Arts and Sciences
P e o r i a , I L ; V i r g i n i a B e a c h C e n t e r o f t h e A r t s ; T a c o m a A r t M u s e u m , Wa s h i n g t o n ;
Jacksonville Museum of Art.
Herkunft, Winterthur Fotomuseum, curated by Urs Stahel, Winterthur, Switzerland
Gender-Beyond Memory, curated by Michiko Kasahara, Tokyo Metropolitan Museum
of Photography, Tokyo, Japan
From Here I Saw What Happened and I Cried, Bienale Firenze 96, Florence, Italy
Inclusion/Exclusion, Steirischer Herbst, Graz, Austria
Tragic Wake: The Legacy of Slavery and the African Diaspora in Contemporary
American Art, Spirit Square Center for Arts and Education, Charlotte, NC
Transforming the Social Order, Tyler Galleries, Tyler School of Art, Temple
University, Philadelphia, PA
Act/Language: Power & Display, The Institute for Research on the African
Diaspora in the Americas and the Carribean, Y Building, City University of New
York, NY
Burning Issues: Contemporary African-American Art, Museum of Art, Fort
Lauderdale, FL
1995-96
It’s Only Rock and Roll, the Contemporary Arts Center, Cincinnati, OH
1995
Art About Life: Contemporary American Culture, curated by Karina Skvirsky &
Jennifer Pearson, Fine Arts Gallery, Indiana University.
‘95 Kwangju Biennale, Seoul, Korea
StoryLand: Narrative Vision and Social Space, Walter Phillips Gallery, The Banff
Center for the Arts, Banff, Canada
1994-95
Imagining Families: Images and Voices, curated by Deborah Willis, The
Smithsonian Institution, Washington, DC
Black Male, Representations of Masculinity in Contemporary American Art,
curated by Thelma Golden, The Whitney Museum of American Art, New York, NY and
The Armand Hammer Museum of Art, Santa Monica, CA
1994
Gesture and Pose, Museum of Modern Art, New York, NY
Bad Girls, Part 1, curated Marcia Tanner and Marcia Tucker, The New Museum of
Contemporary Art, New York, NY
Women’s Representation of Women, curated by Dana Friis-Hansen and Yuko
Hayashi; Traveled to: Sapporo American Center Gallery, Sapporo, Japan; Aka
Renga Cultural Center, Fukuoka City, Japan; Kyoto International Community
House, Kyoto, Japan; Aichi Prefectural Arts Center, Nagoya, Japan; Osaka
Prefectural Contemporary Arts Center, Japan; Spiral Arts Center, Tokyo, Japan
Who’s Looking at the Family?, curated by Carol Brown, Barbican Art Gallery,
Barbican Centre, London, England
Photographer of the Year awarded by the Friends of Photography, Ansel Adams
Center, San Francisco, CA
Equal Rights and Justice, organized by the High Museum of Art in Conjunction
with the National Black Arts Festival, Atlanta, GA
1993-94Fictions of the Self: The Portrait in Contemporary Photography,
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC and
Herter Art Gallery, University of Massachusetts, Amherst, MA
The Theater of Refusal: Black Art and the Mainstream Criticism, curated by
Charles Gaines. Traveled to: Fine Arts Gallery, University of California, Irvine;
University of California, Davis; University of California, Riverside
States of Loss: Migration, Displacement, Colonialism, and Power, Jersey City
Museum, Jersey City, NJ
1993
There is a World Through Our Eyes: Expanding the Boundaries of Spirituality,
Belief & Movement, Rockland Center for the Arts, Nyack NY
C o n t e m p o r a r y W o m e n A r t i s t s a n d t h e I s s u e o f I d e n t i t y. M y / S e l f : Y o u r / O t h e r , C a s t l e
Gallery, College of New Rochelle, NY
1920: The Subtlety of Subversion/The Continuity of Intervention, Exit Art/The
First World, New York, NY
Image Makers, Nassau County Museum, Roslyn, NY
Enlightenment, Revolution, A Gallery Project, Ferndale, MI
U r b a n M a s c u l i n i t y, L o n g w o o d A r t s C e n t e r , B r o n x , N Y
Perceptions and Visions of the African American Photographer, Rockland
Community College, Nyack, NY
Personal Narratives, SECCA, Winston–Salem, NC
The Stationary Store, Renée Fatouhi Gallery, East Hampton, NY
1992-94
Mis/Taken Identities, curated by Abigail Solomon–Godeau and Constance
Lewallen, University Art Museum, University of California, Santa Barbara; traveled
to: Museum Folkwang, Essen, Germany; Forum Stadtpark, Graz, Austria; Neues
Museum Weserburg Bremen im Forum Langenstraße, Germany; Louisiana Museum of
Modern Art, Humlebaek, Denmark; Western Gallery, Western Washington
University, Bellingham, WA
Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art
Gallery, Greensboro, NC
Photography: Expanding the Collection, Whitney Museum of American Art, New
York, NY
1992
Disclosing the Myth of Family, curated by Barbara Berber, The School of the Art
Institute of Chicago, The Betty Rymer Gallery, Chicago, IL
Present Tense, Fine Arts Center, University of Wisconsin, Milwaukee, WI
Schwarze Kunst: Konzepte zur Politik und Identitat, curated by Frank Wagner,
Neue Gesellschaft fur bildende Kunst, Berlin, Germany
Awarded Louis Comfort Tiffany Award
Center Margins, Michael C. Rockefeller Arts Center, SUNY Fredonia, Fredonia, NY
Dirt and Domesticity: Constructions of the Feminine, Whitney Museum of American
Art at Equitable Center, New York, NY
Origins and Evolutions, in association with the National Black Arts Festival,
Nexus Contemporary Art Center, Atlanta, GA
A r t , P o l i t i c s a n d C o m m u n i t y, c u r a t e d b y D o n D e s m e t t t r a v e l e d t o : W i l l i a m B e n t o n
Museum of Art, University of Connecticut, Storrs, CT; Tyler School of Art, Temple
University, Elkins Park, PA
Vote, Terry Dintenfass Gallery, New York, NY, October 13-November 28th
Representatives: Women Photographers from the Permanent Collection, Center for
Creative Photography, The University of Arizona, Tucson, AZ
Behind the Scenes, television program for PBS in association with Learning
Designs, New York, NY
1991-92
Artists of Conscience: 16 Years of Social and Political Commentary, Alternative
Museum, New York, NY
Through the Kitchen Door, curated by Irene Tsatsos, N.A.M.E., Chicago, IL
1991-93
No Laughing Matter, curated by Nina Felshin; traveled to: University of North
Texas, Denton, TX; Alberta College Art Gallery, Calgary, Alberta; Art Gallery,
Halifax, Nova Scotia; Sheldon Memorial Art Gallery, Lincoln, NE; Tufts University
Art Gallery, Medford, MA
1991
Center Margin, Group Exhibition, traveled to: Howard Yezerski Gallery, Boston,
MA; SUNY at Fredonia, Fredonia, NY (1992)
Reframing the Family, Group Exhibition, Artists Space, New York, NY
Carrie Mae Weems and Jeffrey Hoone, Two Person Exhibition, Camerawork, London,
England
Currents, Institute of Contemporary Art, Boston, MA
Whitney Biennial, The Whitney Museum of American Art, New York, NY
O f L i g h t a n d L a n g u a g e, P i t t s b u r g h C e n t e r f o r t h e A r t s , P i t t s b u r g h , P A
S e x u a l i t y , I m a g e a n d C o n t r o l, H o u s t o n C e n t e r f o r P h o t o g r a p h y , H o u s t o n , T X
The Art of Advocacy, curated by Ellen O’Donnell Rankin, The Aldrich Museum,
Ridgefield, CT
Disputed Identities, traveled to: Presentation House Gallery, North Vancouver, BC
and California Museum of Photography, Riverside, CA
Affirmative Re-Actions, curated by Ellen Lawrence, College of the Holy Cross,
Worcester, MA
P l e a s u r e s a n d T e r r o r s o f D o m e s t i c C o m f o r t, curated by Pe t e r G a l a s s i , T h e M u s e u m
of Modern Art, New York, NY, traveling to: Baltimore Museum of Art, Baltimore,
MD; Los Angeles County Museum of Art, Los Angeles, CA; Contemporary Arts
Center, Cincinnati, OH
Outspoken Women, Intermedia Arts, Minneapolis, MN
1 9 9 2 : C o n q u e s t s D o N o t B e l o n g O n l y t o t h e P a s t, I n t a r G a l l e r y , N e w Y o r k , N Y
At The End of the Day, Randy Alexander, New York, NY
1990
Black Women Photographers, Ten-8, London, England
Other Voices, University Art Museum, Southern Illinois University at Carbondale,
IL
W h o C o u n t s ?, Randolph Street Gallery, Chicago, IL
Biological Factors, Nexus Gallery, Atlanta, GA
Trouble in Paradise, MIT List Visual Arts Center, Boston, MA
Signs of Self: Changing Perceptions, Woodstock Artists Association, Woodstock,
NY
Recent Works, CEPA Gallery, Buffalo, NY
C u l t u r a l D i v e r s i t y, S o u t h e r n I l l i n o i s U n i v e r s i t y , C a r b o n d a l e , I L
C u l t u r a l D i v e r s i t y, S c h o o l 3 3 , M a r y l a n d
The Power of Words: An Aspect of Recent Documentary Photography, P · P · O · W, N e w
York, NY
Urban Home, Studio Museum, Harlem, New York, NY
Group Exhibition, Camera Work, San Francisco, CA
Spent: Currency, Security, and Art on Deposit, Marine Midland Bank in
conjunction with The New Museum of Contemporary Art, New York, NY
Presumed Identities, Real Art Ways, Hartford, CT
The Empire’s New Clothes, Camerawork, London, England
1989
Massachusetts Artists Fellowship, (finalist)
A Century of Protest, Traveling Group Exhibition, Williams College, Williamstown,
MA
Black Women Photographers, LeMois de la Photo a Montreal, Montreal, Canada
Self Portrayals, Group Exhibition, University Art Museum, SUNY Binghampton, NY
Black Photographers Bear Witness: 100 Years of Social Protest, Traveling
Exhibition
1988
The Other, The Houston Center for Photography, Houston, TX
Herstory: Black Women Photographers, Firehouse Gallery, Houston, TX
Prisoners of Image, 1800-1988, Alternative Museum, New York, NY
1987
Visible Differences, Centro Cultural de la Raza, San Diego, CA
Documenta B, The Castle, Kassel, Germany
Edict and Episode: Image as Meaning, Installation Gallery, San Diego, CA
1986
People Close Up, Fisher Gallery, University of Southern California, Los Angeles,
CA
Relations, Los Angeles Center for Photographic Studies, Los Angeles, CA
America: Another Perspective, New York University, New York, NY
Social Concerns, Maryland Institute of Art, Baltimore, MD
Past, Present, Future, The New Museum, New York, NY
1985
Analysis and Passion: Photography Engages Social and Political Issues, Group
Exhibition, Eye Gallery, San Francisco, CA
Four West Coast Photographers, Vanderbilt University Art Gallery, Nashville, TN
1981
M u l t i- C u l t u r a l F o c u s , B a r n s d a l l A r t G a l l e r y , L o s A n g e l e s , C A
Women in Photography, Cityscape Photo Gallery, Pasadena, CA
1980
Contemporary Black Photographers, San Francisco State University, San
Francisco, CA
Women’s Work, Los Angeles Women’s Building, Los Angeles, CA
Black Artists in Los Angeles, Brockman Gallery, Los Angeles, CA
AWARDS AND RESIDENCIES
2003
Artist in Residence, The Record Shop:
Project, Beacon, NY
A Social Studies Project, Beacon Cultural
Commission for New Work, Newcomb Art Gallery, Tulane University, New Orleans,
LA
2002
Pollock Krasner Foundation grant in Photography (Pilot Program)
2001
Artist in Residence, Western Washington University, Bellingham, WA
Artist in Residence, Wellesley College, Wellesley, MA
Artist-in-Residence, Atlantic Center for the Arts, New Smyrna, FL
1996
The Alpert Award for Visual Arts
1994
National Endowment for the Arts Visual Arts Grant
1990
Artists in Residence, Art Institute of Chicago
Artists in Residence, Rhode Island School of Design
The Engelhard Grant
1988
Artists in Residence, Light Work, Syracuse, NY
Massachusetts Artists Fellowship, (finalist)
1986
Artist in Residence, Visual Studies Workshop, Rochester, NY
1983
California Arts Council Grant
1982
University of California Chancellor’s Grant
1981-85
University of California Fellowship Award
1981
Los Angeles Women’s Building Poster Award
TEACHING EXPERIENCE
2001
Visiting Professor, Harvard University, Cambridge, MA
2000
Visiting Professor, Williams College, Williamstown, MA
1991
Assistant Professor, California College of Arts and Crafts, Oakland, CA
1988-89
Visiting Professor, Hunter College, New York, NY
1987-91
A s s i s t a n t P r o f e s so r , H a m p s h i r e C o l l e g e , A m h e r s t , M A
1987
Teaching Assistant, University of California at Berkeley, Berkeley, CA
1985-86
Folklife Program-Festival at the Lake, Oakland, CA
1984
Teacher, San Diego City College, San Diego, CA
1978
Teaching Assistant, University of California, San Diego, CA
BIBLIOGRAPHY
2003
Brooks, Adams. Subjective Realities: Works from the Refco Collection of
C o n t e m p o r a r y P h o t o g r a p h y . R e f c o G r o u p , L t d . N e w Y o r k a n d C h i c a g o . P . 2 3 8- 241.
Garner Gretchen. Disappearing Witness, Change in 29th Century American
Photography, Johns Hopkins University Press, Baltimore and London. P. 226
C u r v e t h e F e m a l e N u d e N o w, U n i v e r s e P u b l i s h i n g , P . 1 9 8 - 1 9 9 .
Yuablonsky, Lisa.
Orvell, Miles.
p. 146.
Oxford History of Art:
American Photography, Oxford University Press,
Leffingwell, Eduard. “Focus on Cuba,” Art in America, November 2003, reproduction
from Dreaming in Cuba, p. 66.
Fairbrother, Trevor. Family Ties, Peabody Essex Museum and Marquand Books,
Salem, MA, p. 85-87.
Guice, Charles.
“C arrie Mae Weems,” B&W Magazine, Issue 28 December,
reproductions from Dreaming in Cuba, pp. 64-65
Elie, Lolis Eric.
J e f f e r s o n , B- 1
“Artist Shows Ambiquity in History,” The Times—Picayune East
Campany, David, ed.
Art and Photography, London:
Phaidon, 2003. pp. 21-22, 202.
Favor, J. Martin. “A Discussion with Carrie Mae Weems,”
Quartery, Winter.
Hood Museum of Art
Carr, C. “More than Meets the Eye, the Quiet Revolution of Carrie Mae Weems,”
villagevoice.com, February 28
Sirmans, Franklin.
“Carrie Mae Weems, Coming Up for Air,”
T i m e O u t N e w Y o r k,
March 13- 20
2002
Gopnik, Blake.
Post, April 6
“Art and Race, Making a Memorable Appearance,” The Washington
Sontag, Susan.
“Solnedgångarna är moderna igen,” Dagens Nyheter, October 20.
Af Petersens, Magnus.
History Now: The Presence of the Past in Contemporary Photography
R i k s u t s t a l l n i n g a r , S t o c k h o l m , S w e d e n . p p . 6 8- 6 9 .
Cravens, Richard H.
Photography Past Forward, Apeture at 50, Apeture, New York, p. 205.
Mayer, Ruth. Artificial Africas, Colonial Images in the Times of Globalization, University Pres
England, Hanover and London, pp. 240-245.
Marien, Mary Warner.
Photography, A Cultural History, Laurence King Publishing, London, p. 4
D o s s , E r i k a . O x f o r d H i s t o r y o f A r t : T w e n t i e t h- C e n t u r y American Art, O x f o r d U n i v e r s i t y P r e s s , p
218
Ackman, Kate. “For Every Action: Re:Action exhibit focuses on cultural and political issues”
K a n s a s C i t y S t a r, January 18
Myers, Holly. “Black and White and Black, Carrie Mae Weems and The Hampton Project”, LA
Weekly, March 1-7, p.44
Annas, Theresa. “Artist who focuses on images of African Americans visits Beach”, The Virgini
Pilot, May 30. p. B2
2001
Tannenbaum, Kahan and Grove. Akron Art Museum: Art Since 1850, An Introduction to the
Collection, Univeristy of Washingon Press, Seattle, reproduction p. 241
Catalogue, “W” , Musée des beaux- arts de Dole, Dole, France
Hand Print Workshop Intl, The View From Here: Issues of Cultural Identity and Perspective in
Contemporary Russian and American Art. S t a t e Tretyakov Gallery, Moscow.
P a t t e r s o n , V i v i a n , C a r r i e M a e W e e m s- T h e H a m p t o n P r o j e c t , A p e r t u r e i n A s s o c i a t i o n w i t h W i l l i a
College Museum of Art, New York, NY
Catalogue, Exploring Identity 4x4, Maier Museum of Art, Lynchburg, VA.
Catalogue, Tele[Visions], Kunst Sicht Fern, Kunsthalle Wein, Page 125
C a t a l o g u e , M o d e r n C o n t e m p o r a r y A r t a t M O M A S i n c e 1 9 80 , p . 3 9 9
Oostindie, Gert, Facing Up to the Past, Ian Randle Publishing, Prince Claus Fund Library, Jama
Page XXX
“Two Exhibitions Exploring Modern History”, The Southampton Press, March 15.
Ebony, David. “David Ebony’s Top Ten:Carrie Mae Weems at the ICP” -Artnet.com Magazine
Reviews, March 20.
Cotter, Holland. “Carrie Mae Weems ‘The Hampton Project’,” The New York Times, March 23, P
E35
Burch, Peggy. “Artist Carrie Mae Weems tackles race and gender in powerful portraits”, The
Commercial Appeal, March 30, pp. G1,G7
Davis, Chris. “You Became an Accomplice”, The Memphis Flyer, March 22-28, Pages 16-19
Weiss, Marion Wolberg, “The Jefferson Suite at the Parrish”, Dan’s Papers, March 30, p. 40
Budick,Ariella. “Witnesses to History- in- t h e- Making,” Newsday, April 1, Page D18-1 9
Harrison, Helen. “The Jefferson Suite at the Parrish Art Museum”, The New York Times, April 1
L o v e l a c e , C a r e y . “ C a r r i e M a e We e m s a t t h e I n t e r n a t i o n a l C e n t e r o f P h o t o g r a p h y , U p t o w n , ”
America, June, Page 124-125
Patterson, Vivian. “Carrie Mae Weems Serves Up Substance”, Gastronomica, Fall, pps. 21-24,
“The Artist’s Way” Oprah Magazine, November, 2001.
Thornson, Alice. “Carrie Mae Weems looks at ‘What was gained and what was lost’ at the Hamp
Institute”, The Kansas City Star, November 18
2000
Hanzal, Carla. “Southern Exposure” Brochure, Contemporary Art Center of Virginia
Cornell, Daniel & Finly, Cheryl, Imaging African Art, Yale University Art Gallery, New Haven, C
9, 26, 27
S c h e p s , M a r c , K u n s t - W e l t e n i m D i a l o g, M u s e u m L u d w i g , K o l n , p a g e s 4 9 2 -4 9 5
Ortiz, Edward A. “Exhibit to explore African-Americans, Native Americans at Hampton,” North
Adams Transcript, p. A3
Miliotes, Diane, Surface Depth, Hood Museum of Art Catalogue, page 10
Berrett, Terry, Criticizing Photographs, Mayfield Publishing Company, CA, page 79
Sills, Leslie, In Real Life: Six Women Photographers, Holiday House press, NY, pages 40-50
Crowder, Joan. “Different Strokes,” Santa Barbara News, January 7, p.6-7 (reproduction)
Jones, Malcolm. “Black on Black”, Newsweek, April 24, pp. 70-71
Goldberg, Vicki. “When Asserting a Self - Image Is Self -Defense,” The New York Times, April 9.
Jones, Malcom. “Reflections in Black”, The Independent on Sunday, July 30, p.16
Levine, Arthur, “Diversity is personal”, Lincoln Center Theater Review, Summer, Issue # 25, p
12,15
Smith, Roberta. “The Hampton Project”, The New York Times, August 11, p. E34
Tromble, Meredith. “DNA and Difference,” Limn, No. 5, p.14
Rust, Lindsey. Review “The 13th Floor,” The Independent , Santa Barbara, December 16
1999
Catalogue, Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, Edited by Shelley R
MIT Press, Cambridge, MA.
Catalogue, Art-Worlds in Dialogue, Museum Ludwig, Cologne, Germany.
Catalogue, Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems, Mary D
McInnes, Boston University Art Gallery, Boston, MA.
Bal, Mieke. Quoting Caravaggio: Contemporary Art, Preposterous History, The University of Chi
Press.
Davis, Keith F. An American Century of Photography: The Hallmark Photographic Collection
Hallmark Cards and Harry N Abrams, Inc., reproduction p. 491.
Catalogue, Looking Forward, Looking Black, Jo Anna Issak, Hobart and William Smith Colleges
Press, Geneva, NY.
Piche and Golden, Recent Work: Carrie Mae Weems, George Braziller Publishing, New York, NY
C a t a l o g u e , O t h e r N a r r a t i v e s , C o n t e m p r o a r y A r t M u s e u m , H o u s t o n , T X , p a g e 5 0 , 51
Catalogue, Re/Righting History, Katonah Museum of Art, Katonah, NY. Pages 9,23
Catalogue, Know Your Art: Avon Products, Inc. Corporate Art Collection, Avon Products, Inc.
Bonetti, David. “So, Where Are We Now?” Art New England, December, January.
Larsen, Ernest. “Between Worlds,” Art in America, cover, May, p.122-129.
J a e g e r , W i l l i a m . “ E v e r s o n M u s e u m o f A r t / S y r a c u s e : R e c e n t W o r k , 1 9 9 2- 1 9 9 8 , ” Art New Engla
April/May, p. 53.
Rust, Lindsay. “The Jefferson Suite”, Santa Brbara Independent, December 16
1998
Catalogue, Carrie Mae Weems Ritual and Revolution, Philip Morris Kunstforderung and
Kunstlerhaus Bethanien, Berlin, Germany.
Catalogue, Roots and Reeds, The Amazing Grace of the Gullah People, Bertha and Karl Leubsd
Art Gallery, Hunter CUNY, NY
Catalogue, Claustrophobia, Ikon Gallery, Birmingham, England pp. 88-93
Steele, Margaret & Estes, Kimberly, The Art of The Body, MOCA Store, LA, CA pp. 11,12
Kashara, Michiko, The Politics Behind the Nude, Chikuma Shobo Pub Co, 1998, p. 215.
Catalogue, From the heart:The Power of Photography-A Collector’s Choice, Aperture, pp. 88,89
Perre, Rob, postcards from black amercia, Con Rumere Uitgevers, Amsterdam, pp. 102, 150,15
Catalogue, Act/Language: Power & Display, Florida Agricultural and Mechanical University,
Tallahassee, FL. p. 5
Catalogue, Skuggan av Ljuset, Moderna Museet, Stockholm, Sweden
Catalogue, Photography’s multiple roles: art, document, market, science, The Museum of
Contemporary Photography, Columbia College, Chicago, IL.
Pindella, Howardena, “Johannesburg Biennale and Interview with Ola Oguibe”, International
Review of African American Art, Vol.15, Number 3, p. 15
Grimley, Terry. “Haunting Art from the Kosovo frontline,” Birmingham Post, June 10, 1998, p.
Kimmelman, Michael. “When a Glint in the Eye Showed Crime in the Genes,” May 22, p. E31.
Johnson, Ken. The New York Times, Friday, May 22, p. E35.
Brockington, Horace. “Re/Positioning and Hierarchy,” N Y A r t s, December, p.19
1997
Powell, Richard J. Black Art and Culture in the 20th Century, Thames & Hudson, London.
Catalogue. Original Visions, Shifting the Paradigm, Women’s Art 1970-1 9 9 6, McMullen Museum
Art, Boston College Office of Publications, Boston, MA.
Heller, Nancy G., Women Artists, An Illustrated History, Abbeyville Press, NY pages 239 -242
Catalogue, Robert Colescott, Recent Paintings, US Pavillion 47th Biennale, Venice, Italy, page
9
Contact Sheet ’97, page 60
Catalogue, Dislocations, Rovaniemi Art Museum, Harper Collins Publishers, Finland.
Weibel, Peter. Catalogue, Inclusion Exclusion, DuMont Buchverlag, Austria.
Catalogue, Feminine Image, Nassau County Museum of Art, Roslyn Harbor, NY, p. 83
Catalogue, Defining Eye, Women Photographaers of the 20th Century, St.Loius Art Museum, pa
115
Jackson, Phyllis J. “(In)Forming the Visual: (Re)presenting Women of African Descent,”
The International Review of African American Art, Volume 14, Number 3, p. 31
J o s e l i t , D a v i d . “ E x h i b i t i n g G e n d e r , ” A r t i n A m e r i c a , J a n u a r y , p p . 3 6- 3 9 , r e p r o d u c t i o n .
Roland, Marya. “Tragic Wake...,” Art Papers, March/April, p.68.
Berkovitch, Ellen. “Documentary or Fiction? Photographer Establishes Scenes, Then Exits,”
Journal North, Thursday, April 10, p. 4 (reproduction).
McCloud, Kathleen. “Twist and Turn of Truth,” Pasatiempo, April 4, p. 42 (reproductions).
Armitage, Diane. Review, THE Magazine, May, p. 39.
Hofstadter, Dan. “A Parade of Immigrants Passing Before the Lens,” New York Times, May 16,
C1.
Chandler, Mary Voelz. “Artists exhibit visual autobiographies,” Rocky Mountain News, Sept. 14
16D. (reproduction)
1996
C a t a l o g u e , C a r r i e M a e W e e m s, p r o d u c e d b y t h e F a b r i c W o r k s h o p / M u s e u m i n c o n j u n c t i o n w i t h t
10th Dakar Biennale.
Catalogue, Gender Beyond Memory-the Works of Contemporary Women Artists, Tokyo Metropolit
Museum of Photography, Japan. Pages 62-71
Cottman, Michael H. and Willis, Deborah, The Family of Black America, Crown Trade paperback
NY, pp. 98-103
Robinson, Jontyle Theresa, Bearing Witness, Contemproary Works by African American Women
A r t i s t s , Rizz o l i I n t e r n a t i o n a l P u b l . I n c . p a g e s 1 5 6- 1 5 7
Dugan, Ellen, Picturing the South, 1860 to the present, Chronicle Books, S.F., CA. page 189
Jones, Amelia, Sexual Politics, University of California Press, Berkley, CA. page 28
Rubin, David S., Its Only Rock and Roll, Prestel, NY. Plate # 131
Polzer, Brita, Herkunft, Fotomuseum Winterhur, pages 34- 39
Catalogue, Equal Rights and Justice, Center for African American History and Culture, Smithso
Institute, page 13
Neumaier, Diane. Reframings: New American Feminist Photographies, Temple University Press,
Philadelphia. (reproductions).
Galassi, Peter. “Pleasures and Terrors of Domestic Comfort,” Papel Alpha, No. 2 p. 20
(reproduction).
Soutter, Lucy. “By Any Means Necessary: Document and Fiction in the Work of Carrie Mae Wee
A r t & D e s i g n P r o f i l e N o . 5 1 , p p . 7 0- 7 5 , r e p r o d u c t i o n s .
Catalogue, Burning Issues: Contemporary African-American Art, Museum of Art, Fort Lauderdal
p.17
Strickland, Carol. “The Boon and Burden Of Uprooting Oneself,” The Christian Science Monitor
January 8.
Halle, Howard. Review, Time Out, January 24-31, p. 26 (reproduction).
Aletti, Vince, Review, The Village Voice, January 30.
Sichel, Berta. “Carrie Mae Weems retrata a diáspora negra,” Terça-Feira (Sao Paulo, Brazil),
February 6, p. D8, reproductions.
“ E v e r y t h i n g t h a t L i v e s , E a t s ” , A p e r t u r e, S p r i n g # 1 4 3 , p a g e s 4 8 , 4 9
Canning, Susan. “Carrie Mae Weems:Projects at MOMA/PPOW” , A r t P a p e r s, V o l . 2 0 , I s s u e 2 ,
March/April, p. 50.
Meyerowitz, Lisa. “Carrie Mae Weems, Kitchen Table Theater” Contemporary Arts Museum
Magazine, April
Johnson, Patricia J. “Balance the Table,” The Houston Chronicle, April 8 (reproduction).
Turner, Grady T. Review, Art in America, June, p. 103 (reproduction p. 104).
P a t t e r s o n , T o m . “ ‘ W a k e ’ a P o t e n t L o ok a t S l a v e r y ’ s L e g a c y , ” T h e C h a r l o t t e O b s e r v e r , S u n d a y A
December 29
1995
Catalogue, In These Islands: South Carolina, Georgia, published by the University of Alabama
essays by Houston Baker and bell hooks.
Brochure. “Art About Life: Contemporary American Culture,” with essay by curators Karina Skv
& Jennifer Pearson, Fine Arts Gallery, Indiana University.
Catalogue, Beyond the Borders, Kwangju Bienale, Korea, page 424, 425
Catalogue, Civil Rights Now, South Eastern Center for Contemporary Art, page 12
“Dialog Der Kulturen”, Configurar 2, page 154, plate 79
C a t a l o g u e , L a u g h t e r T e n s Y e a r s A f t e r, H o b a r t a n d W i l l i a m S m i t h C o l l e g e s p r e s s , G e n e v a , N Y , p
60-61
C a t a l o g u e , P o i n t s o f E n t r y - T r a d i n g C u l t u r e s , F r i e n d s o f P h o t o g r a p h y , p p . 6 8- 7 3
B e r g e r , W a l l i s a n d W a t s o n , C o n s t r u c t i o n M a s c u l i n i t y, R o u t l e d g e p r e s s , N Y , p a g e 2 8 9
“Carrie Mae Weems to Create Installation Exploring Representation of African Americans in
Photography,” Los Angeles Bay News, February 23.
Muchnic, Suzanne. “Going for a Gut Reaction,” The Los Angeles Times, Calendar, February 26.
Donohue, Marlena. “The Power of Pictures,” The Evening Outlook, Rave!, March 3.
“African American Prints Display Historical Presence,” Observer (Sacramento), March 16.
“If They Built a Memorial to the War in the Streets: Seven Proposals to Honor the Urban Dead
organized by Ellen F. Salpeter and Anne R. Pasternak, text by Herbert Muschamp, The New Yor
Times Magazine, April 9, pp. 56-61 (reproduction).
Bonetti, David. “Visual History of African America,” The San Francisco Examiner, May 9, p. C3
(reproduction).
Anderson, Michael. “Carrie Mae Weems at the J.Paul Getty Museum”, ArtIssues, Summer, p. 42
Frank, Peter. “Art Picks of the Week: Carrie Mae Weems, Charles Gaines, Noah Purifoy,” L.A.
Weekly, June 9 – June 15.
Bonetti, David. “In search of a Better Life,” San Francisco Examiner, September 15, p. C15
Cohn, Terri. “An American Dilemma,” Afterimage, Nov/Dec, p. 15.
S c h m e r l e r , S a r a h . R e v i e w , Time Out , N o v e m b e r 2 2- 29, p. 25 (reproduction).
Aletti, Vince, Review, The Village Voice, November 14.
Smith, Roberta, “A Photographer Upstages Herself,” The New York Times, December 22, p. C31
(reproduction)
1994
Catalogue, The Theater of Refusal: Black Art and Mainstream Criticism, (reproduction), Fine A
Gallery, University of California, Irvine, Irvine, CA.
Catalogue, Personal Narrative: Women Photographers of Color, Southeastern Center for
Contemporary Art, Winston–Salem, NC.
Catalogue, Imagining Families: Images and Voices, National African American Museum, page 5
Brochure, “Existence and Gender: Women’s Representation of Women,” curated by Dana Friis
Hansen and Yuko Hayashi (reproduction, text in Japanese).
Catalogue, After Art-Rethinking 150 Years of Photography, Henry Art Gallery, Seatle,WA. Page
Catalogue, Black Male, Representations of Masculinity in Contemporary American Art, curated
Thelma Golden, The Whitney Museum of American Art/Harry N. Abrams, New York
Equal Rights and Justice, High Museum of Atlanta, Atlanta, GA, pp. 34,35
Catalogue, Who’s Looking at The Family, Barbican Art Gallery, pages 84, 85
Catalogue. San Francisco MOMA Auction.
The International Review of African American Art, Spring 1994, Vol. 11, Number 3. (reproduct
J e n k i n s , R u p e r t , “ I n t e r v i e w w i t h C a r r i e Mae Weems”, C a m e r a W o r k, F a l l / W i n t e r p a g e s 2 4 , 2 5
Kimmelman, Michael. Review, “Black Male,” The New York Times, November 11.
Sozanski, Edward. “An Empathetic View of History and Family” The Philadelphia Inquirer,
December 9.
K a s r e l , D e n i . “ E n g r o s s i n g P h o t o E x h i b i t a t I C A , ” P h i l a d e l p h i a B u i s n e s s J o u r n a l, D e c e m b e r .
Rice, Robin. “Back to Basics,” City Paper, December 9 - 16.
Cochran, Marie T., “Carrie Mae Weems, At the Table”, The Georgia Review, Winter, pp. 711
Carter, Holland. “The Year in Arts: Family Values” The New York Times, December 25.
“Africa Series” Blind Spot, Issue 4
1993
Niegelhell, Franz. “Identitätsdebatte in Ausstellungsform,” NZ, Kultur.
Brochure. "Personal Narratives, Women Photographers of Color", South Eastern Center for
Contemporary Art, pp. 4,9
Catalogue. Fictions of the Self: The Portrait in Contemporary Photography, Weatherspoon Art
Gallery, University of North Carolina at Greensboro and Herter Art Gallery, University of
Massachussetts at Amherst. Page 38
Catalogue. Image Makers, Nassau County Museum of Fine Arts, Roslyn, NY. Pp. 50, 51
Catalogue. States of Loss: Migration, Displacement, Colonialism, and Power, (reproduction),
Jersey City Museum, Jersey City, NJ. Pp. 32-37
“Urban Masculinity,” L o n g w o o d A r t s J o u r n a l, p a ge 22
Catalogue. The Theater of Refusal, Black Art and Mainstream Criticism, University of Californi
Irvine. P. 49
Lewis, Jo Ann. “Lessons in the Stories: The Engaging Voice of Carrie Mae Weems,” The Washin
Post, reproduction, January 7, p. C2.
Publishers Weekly, reproduction, January 11, p. 23.
Linker, Kate. “Went Looking for Africa,” Artforum, February, pp. 79-82.
Rich, Ruby. “Weems’s World,” Mirabella , reproductions, February, p. 44 -45.
Heartney, Eleanor. Review, Artnews, reproduction, February, p. 109.
Raynor, Vivien. “Grappling with Feminism and Femininity,” The New York Times, March 11, p. 2
Bricker Balken, Debra. Review, Art in America, reproduction, April, p. 129-130.
Shaw, Thomas. “Sea Islands” review, African Arts, April, pages 81, 82
Titz, Walter. “Schwarz, ich weiß, schwarz,” reproduction, Kultur, April 3.
Foerstner, Abigail. “Take a Spring Stroll to 4 River North Galleries,” The Chicago Tribune, Apr
30, Section 7, p. 89.
Braff, Phyllis. “How Artists’ Creations Relate to Society,” The New York Times, May 2, p. LI
Bonetti, David. “Looking Truth in the Face, Carrie Mae Weems delivers political messages with
Human Spirit,” The San Francisco Examiner, June 18, p. E-7.
Bonetti, David. “A Question of Colors,” Image, T h e S a n F rancisco Examiner, J u n e 6 , p a g e 2 9 .
C a n n i n g , S u s a n . “ I n t e r v i e w w i t h C a r r i e M a e W e e m s , ” A r t P a p e r s, May/June, pp. 35 - 3 8
Becker, Jochen. “Mistaken Identities,” Kunstforum #123, reproduction, p. 320.
“New Acquisition,” Santa Barbara Museum of Art Bulletin, May/June p. 4.
Steinenger, Jutta. “Identitäten gegen die Klischees,” Kultur, May 3.
Behr, Martin. “Ist Rassismus ein Sehfehler? Mit Fotos auf Identitätssuche,” Salzburger
Nachrichten, May 7.
McKenna, Kristine. “The Evolution of a Tough Cookie,” The Los Angeles Times Calendar,
reproduction, June 27, p. 4.
Hamilton, David. “Carrie Mae Weems: Indictments of racism in black and white,” Art and Antiq
reproduction, September.
Henry, Gerrit. “Books in Review,” The Print Collector’s Newsletter, reproduction,
September/October, p. 153.
Iverem, Ether. “’Urban’ Myths and Men,” New York Newsday, December 7.
Raynor, Vivien. “A Multicultural Mosaic and Postcards From the Urban Edge,” The New York Tim
December 26, p. 16.
Patterson, Tom. “Photograph exhibit at SECCA focuses on African–American life,” Winston–
J o u r n a l, December 19, p. C3 (reproduction)
1992
Catalogue. Schwarze Kunst Konzepte zu Politik und Identitat, published by Neue Gesellschaft
Bildende Kunst, Berlin. Pp.18-23
Catalogue. Center Margins, curated by Jeri Slavin, published by Michael C. Rockefeller Arts
Center, SUNY Fredonia, Fredonia, NY.
Catalogue. And 22 Million Very Tired and Very Angry People, Walter/McBean Gallery, San Fran
Art Institute, San Francisco, CA. p.75
Catalogue. Parents, published by the Dayton Art Institute, Museum of Contemporary Art at Wri
State University, Creative Arts Center, Daton, OH. Page 75
C a t a l o g u e . M i s t a k e n I d e n t it i e s , U n i v e r s i t y A r t M u s e u m , S a n t a B a r b a r a , C A . p p . 2 5 , 2 7
Catalogue, Present Tense, UWM Fine Arts Gallery, Milwaukee, WI, page 30
At the Museum, published by The Los Angeles County Museum of Art, reproduction, p. 14-15.
D a y o f H o p e, published by B Productions, Inc., November, p. 31.
Liebowitz, Herbert, ed. Parnassus: Poetry in Review, cover reproduction, published by Poetry
Reivew, Volume 17, No.1.
Catalogue. First Biennial Photography Art Auction, CEPA Gallery, p.38
McQuaid, Cate. “Image-Makers: Photography Fellows at the Mills Gallery,” The South End News
January, p. 13 -14.
Wise, Kelly. “Exhibit Spotlights Contemporary Artists,” The Boston Globe, February.
Moore, Catriona. “The Art of Political Correctness,” reproduction, Art & Text, Volume 41, pp.
39.
MacDonald, Cathy. “Frighteningly Funny,” The Daily News, Nova Scotia, March 5
Barnard, Elissa. “American Activist Art No Laughing Matter," The Mail Star, March 6, p. C8.
Walker Art Center Calendar, Cover reproduction, April.
Watson, Stuart. Critique, The Dalhousie News, April 8.
Saunders, Charles. “No Laughing Matter,” The Daily News, Sunday Perspective, April 12.
"Dalhousie News," statement by President Howard Clark, Dalhousie University Art Gallery, Apri
22, page 4.
Phillips, Patricia. “Public Art: The Point in Between,” Sculpture, reproduction, May-June, pp.
41.
Kelley, Jeff. “The Isms Brothers, Carrie Mae Weems at SFAI,” Artweek, May 7th, Volume 23,
Number 15, p. 4.
B e n n e r , S u s a n . I n t e r v i e w , A r t w e e k, M a y 7 t h , V o l u m e 2 3 , N u m b e r 1 5 , p . 5 .
Hess, Elizabeth. “Dirty Laundry,” The Village Voice, May 12th, p. 91.
“40th Anniversary,” Aperture, #129, page 47
“Goings On About Town,” The New Yorker, May 25th.
Stevens, Mitchell. “A Family Affair,” New Art Examiner, May, p. 17.
"The Real Deal," Arts Digest, November.
Hagen, Charles. “Gullah Culture Casts Its Spell,” The New York Times, review with reproductio
November 27, pp. C1, C22.
Coleman, A.D. “Cultural Tenacity Among the Gullah,” The New York Observer, reproduction,
December 21.
Aletti, Vince. “Dark Passage,” The Village Voice, reproduction, December 22, pp. 102- 103.
T h e N e w Y o r k e r, r e p r o d u c t i o n , D e c e m b e r 2 1 , p . 2 8 .
The River Burns, reproduction, December.
1991
Pamphlet. “And 22 Million Very Tired and Very Angry People,” essay by Laura Trippi, published
The New Museum of Contemporary Art, New York.
Pamphlet. “Carrie Mae Weems/Matrix 115,” essays by Judith Wilson and Andrea Miller Keller,
published by the Wadsworth Athenaeum, Hartford, CT.
Catalogue. The Art of Advocacy, published by the Aldrich Museum, Ridgefield, CT.
Brochure. “Family Pictures and Stories: A Photographic Installation,” published by Freedman
Gallery, Albright College, Reading, PA.
Catalogue. A Portrait is not a Likeness, published by Center for Creative Photography, The
University of Arizona, AZ. Front and Back covers
Catalogue. 1991 Biennial Exhibition, Whitney Museum of Art, W.W. Norton & Co., NY pp.302
Catalogue. Reframing the Family, Artists Space, pp. 24,25
Heartney, Eleanor. Review, Artnews, reproduction, January, p. 154.
Princenthal, Nancy. Review, Art in America, reproduction, January, p. 129.
Reid, Calvin. Review, Arts Magazine, reproduction, January, p. 79.
“ I n t e r v i e w w i t h L y n n G u m p e r t o n m u s t- s e e a r t s p o t s i n N Y ” Atelier ( J a p a n e s e t e x t ) , J a n u a r y , p
35-37.
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