Carrie Mae Weems, Kitchen Table Series, Untitled (Woman and Daughter with Makeup). 1990
Jacilia Rucker Glasper, Woman and Makeup, 2024
Susan Sontag excerpt from On Photography:
"A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. "
"The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does."
We often assume an image represents something real, even if it's not entirely accurate. When it comes to paintings, they are unique and difficult to replicate by hand, while photos can be reprinted, losing their original value.
Revisiting Carrie Mae Weems’s Landmark “Kitchen Table Series”
by Jacqui Palumbo for Artsy:
by Jacqui Palumbo for Artsy:
"She’s alone, folding into herself, a half-empty bottle of wine in front of her. She laughs with her friends, their movement leaving spectral trails across the frame."
“I knew that I was making images unlike anything I had seen before, but I didn’t know what that would mean,”
With her "Kitchen Table" series, Carrie Mae Weems offered insight into the everyday lives of African Americans. The series depicted both the good times and the hard times, as well as the bonds shared within families. However, Weems could not have anticipated the far-reaching impact of her art, given the lack of representation of Black artists in America.
NY Times: How Carrie Mae Weems Rewrote the Rules of Image-Making:
A gifted storyteller who works accessibly in text and image, she’s created new narratives around women, people of color and working-class communities, conjuring lush art from the arid polemics of identity.
“She creates work that insists on the worth of black women, both in art and in life”.
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