Tag Archives: Carrie Mae Weems

CARRIE MAE WEEMS — PAST TENSE

“As much as I’m engaged with it, with violence, I remain ever hopeful that change is possible and necessary, and that we will get there. I believe that strongly, and representing that matters to me: a sense of aspiration, a sense of good will, a sense of hope, a sense of this idea that one has the right, that we have the right to be as we are.” — Carrie Mae Weems*

The timeless themes of political power, social justice, gender oppression, and valiant persistence are brought to life in a modern context in PAST TENSE, Carrie Mae Weems’ multimedia take on Antigone.

Combining music, spoken word, video, and projected images, PAST TENSE—presented this week in Los Angeles by CAP UCLA—includes works by poet Carl Hancock Rux and composer Craig Harris, and will be performed by Weems, Eisa Davis, Francesca Harper, David Parker, Imani Uzuri, and Alicia Hall Moran, who brought the house down at Disney Hall earlier this week in Bryce Dessner’s Triptych.

CARRIE MAE WEEMS—PAST TENSE

Friday, March 8, at 8 pm.

Theatre at Ace Hotel

929 South Broadway, downtown Los Angeles.

*Megan O’Grady, “Carrie Mae Weems,” T: The New York Times Style Magazine, October 21, 2018, 140.

From top: Carrie Mae Weems, Past Tense, in performance; Past Tense production photographs (2) by William Strugs; Carrie Mae Weems, portrait by Jerry Klineberg; Past Tense, in performance with, from right, Alicia Hall Moran, Imani Uzuri, and Eisa Davis. Images courtesy CAP UCLA.

GROUNDINGS

GROUNDINGS, organized by Grace Deveney and Tara Aisha Willis, explores movement—seen and unseen—through a series of residencies with artists who work in dance, music, and performance art. The exhibition considers the reciprocal influence between bodies in motion and the invisible forces that govern movement, such as gravity, time, and electricity.

Over the run of GROUNDINGS, performers will hold open rehearsals in which they create performances and physical objects that speak to the themes of the exhibition.

GROUNDINGS artists include Katinka Bock, Blythe Bohnen, George Brecht, John Cage, Martin Soto Climent, Julia Dault, JimmyDeSana, Jonas Dovydenas, Adam EkbergWhit Forrester, Felix Gonzalez-Torres, Rashid Johnson, IsaacJulien, Annette Kelm, Paul Mpagi Sepuya, Jack Pierson, Stan Shellabarger, Nancy Spero, Dannielle Tegeder, CarrieMae Weems, and James Welling.

GROUNDINGS

Through May 12.

MCA Chicago

220 East Chicago Avenue, Chicago.

From top:

John CageA Dip in the Lake: Ten Quicksteps, Sixty-two Waltzes, and Fifty-six Marches for Chicago and Vicinity, 1978. Felt-tip pen on map. Collection Museum of Contemporary Art Chicago. © 1993 John Cage TrustPhotograph © MCA Chicago.

Annette KelmUntitled, 2012. Chromogenic development print. Collection Museum of Contemporary Art Chicago.

Jimmy De SanaCowboy Boots, 1984. Vintage cibachrome. Collection Museum of Contemporary Art Chicago. Courtesy of the JimmyDe Sana Trust and Salon 94, New York.

Rashid Johnson, Multiple Consciousness, 2010. Gelatin silver print. Collection Museum of Contemporary Art Chicago. © 2010 RashidJohnsonPhotograph by Nathan Keay© MCA Chicago.

CARRIE MAE WEEMS — STRATEGIES OF ENGAGEMENT

CARRIE MAE WEEMS—STRATEGIES OF ENGAGEMENT comprises thirty years of the artist’s practice in the form of recreated installations of her groundbreaking work that exposes systems of power and injustice, preparing viewers “for a more engaged discussion of American history through such difficult issues as violence, survival, and the need for radical social change.”*

CARRIE MAE WEEMS—STRATEGIES OF ENGAGEMENT*

Through December 13.

McMullen Museum of Art, Boston College, 2101 Commonwealth Avenue, Boston.

From top:

Profile 1, from All the Boys, 2016, pigment ink prints on gesso board.

If I Ruled the World, from Hopes and Dreams: Gestures of Demonstration, 2006–07, pigment ink print.

Lincoln, Lonnie, and Me: A Story in 5 Parts, 2012, video installation and mixed media.

Images © Carrie Mae Weems, courtesy of Jack Shainman Gallery, New York City.

PEGGY COOPER CAFRITZ

Peggy Cooper Cafritz—the Washington, D.C., collector of African-American art, salonist, activist, fundraiser, co-founder of the Duke Ellington School of the Arts, and just-published author—died last week in the capital.

Her 2018 book FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY brings together images of more than 200 works of art that were lost in a 2009 house fire, as well as the art Cooper Cafritz had collected in the years since the catastrophe.

The Cooper Cafritz collection includes pieces by Jacob Lawrence, Romare Bearden, Edward Mitchell Bannister, Alma Thomas, Norman Lewis, Kara Walker, Kerry James Marshall, Mickalene Thomas, El Anatsui, Yinka Shonibare, Nick Cave, Kehinde Wiley, Glenn Ligon, Barkley L. Hendricks, Lorna Simpson, Carrie Mae WeemsNoah Davis, LaToya Ruby Frazier, Titus KapharNjideka Akunyili Crosby, and Toyin Ojih Odutola.

PEGGY COOPER CAFRITZ, FIRED UP! READY TO GO!—FINDING BEAUTY, DEMANDING EQUITY: AN AFRICAN AMERICAN LIFE IN ART, THE COLLECTIONS OF PEGGY COOPER CAFRITZ (New York: Rizzoli , 2018).

Contributors to the book’s text include Thelma Golden, Simone Leigh, Uri McMillan, Jack ShainmanTschabalala Self.

From top: Torkwase Dyson, Strange Fruit (Blue Note), 2015, acrylic on board; Romare Bearden, Prince Cinque (Maquette), 1976, felt pen with watercolor and collage on graph paper; Jas Knight, Autumn, 2015, oil on linen; Loren Holland, The Messenger, 2005, oil on paper; Noah Davis, Black Widow, 2007, acrylic and gouache on canvas; Nina Chanel Abney, Untitled, 2012. All images © the artists, courtesy the Estate of Peggy Cooper Cafritz, and Rizzoli.

POWER AT SPRÜTH MAGERS

“The cultural contributions of women and women of color are still underrepresented in the art world, and we are still asked to contextualize our practice in ways that other privileged artists simply are not.” — Shinique Smith*

“I have recently been exploring the idea of doing my work in secret. I was inspired by discovering the work of The United Order of Tents. They are a secret society of black nurses. They have supported each other and done good works since the Civil War. The Mother Emmanuel Church met in secret for 35 years, while black churches were banned in South Carolina after the Nat Turner rebellion.

“I don’t really have time to explain my work to people who feel that I have an identity and they don’t. I don’t have time to unpack all that. I’m focused on using black feminist theory or any other tools that can help me sharpen my knife, and make better work.” — Simone Leigh*

POWER: WORK BY AFRICAN-AMERICAN WOMEN FROM THE NINETEENTH CENTURY TO NOW, a survey of over 60 works by 37 artists—including Ellen Gallagher, Sister Gertrude Morgan, Betye Saar, Ntozake ShangeMickalene Thomas, Kara Walker, and Carrie Mae Weems—is now on view at Sprüth Magers, Los Angeles.

The exhibition, curated by Todd Levin, also includes a selection of images from the Ralph DeLuca Collection of African American Vernacular Photography.

 

POWER: WORK BY AFRICAN-AMERICAN WOMEN FROM THE NINETEENTH CENTURY TO NOW, through June 10.

SPRÜTH MAGERS, 5900 Wilshire Boulevard, Los Angeles.

 

*Artists’ quotes from Power, the booklet published on the occasion of the exhibition:

spruethmagers.com/exhibitions/445

ALSO SEE: theguardian.com/artanddesign/2017/apr/05/kara-walker-karon-davis-power-black-female-artists

The participating artists: Beverly Buchanan, Elizabeth Catlett, Sonya Clark, Renee Cox, Njideka Akunyili Crosby, Karon Davis, Minnie Evans, Nona Faustine, LaToya Ruby Frazier, Ellen Gallagher, Leslie Hewitt, Clementine Hunter, Steffani Jemison, Jennie C. Jones, Simone Leigh, Julie Mehretu, Sister Gertrude Morgan, Senga Nengudi, Lorraine O’Grady, Sondra Perry, Howardena Pindell, Faith Ringgold, Betye Saar, Joyce J. Scott, Emmer Sewell, Ntozake Shange, Xaviera Simmons, Lorna Simpson, Shinique Smith, Renee Stout, Mickalene Thomas, Alma Woodsey Thomas, Rosie Lee Tompkins, Kara Walker, Meta Vaux Warrick Fuller, Carrie Mae Weems, and Brenna Youngblood.

Shinique Smith, Bale Variant No. 0023 (Totem), 2014 Clothing, fabric, accesories, ribbon, rope, and wood 243.8 x 50.8 x 50.8 cm 96 x 20 x 20 inches Image credit: Shinique Smith and Sprüth Magers

Shinique Smith, Bale Variant No. 0023 (Totem), 2014
Clothing, fabric, accesories, ribbon, rope, and wood
243.8 x 50.8 x 50.8 cm
96 x 20 x 20 inches
Image credit: Shinique Smith and Sprüth Magers