Carrie Mae Weems (b. 1953) Chocolate Colored Man. Triptych of three toned gelatin silver prints, with Prestype and frame, 1989-90. The only artist proof, aside from the edition of 3. Numbered "AP 1/1" on the label verso. From Colored People.
Carrie Mae Weems Untitled (from the Eatonville portfolio) 2004 pigment inkjet press with text image: 10 h x 10 w in (25 x 25 cm) sheet: 12 h x 12 w in (30 x 30 cm) Signed and dated to verso 'Carrie M. Weems, 2004'. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems 1953- Untitled (Woman Feeding Bird), from the Kitchen Table series. 1990; printed 2022. Inkjet print on Hahnemuhle paper With Weems' signature in ink and the printed edition information on a label on mount verso.
Carrie Mae Weems (b. 1953) When and Where I Enter—Mussolini's Rome. Digital C-print, 2006. Signed, dated and numbered 16/30 in ink, verso. Published by BAM, New York, part of the BAM Photo Portfolio IV, 2001-2009. From the artist's Roaming series.
Carrie Mae Weems (b. 1953) Untitled (Woman Feeding Bird). Inkjet print on Hahnemühle paper, 1990. Signed in ink on the label verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited edition photography project, FOUR. From the Kitchen Table Series.
Carrie Mae Weems (b. 1953) Untitled (Man Reading Newspaper). Silver gelatin print, 1990/1999, printed 2015. Signed, dated and numbered 23/25 in ink, verso. From the collector's edition of Kitchen Table Series published by Damiani, Italy. With a copy of the book and a certificate of authenticity issued by the publisher. Original cardboard clamshell presentation box.
Carrie Mae Weems (b. 1953) Burnt Orange Girl. Toned gelatin silver print, with Prestype lettering and frame, 1990. Artist's proof, aside from an edition of 3. Signed, dated and inscribed "AP 1/1" in pencil, verso.
Aperture, 2001. Hardcover in tanslucent dust jacket. First Editon, First Printing (with the full numberline ending in 1). 12 x 9 inches. 96 pages with numerous photographic images throughout. Includes essays by Frederick Rudolph, Deborah Willis-Kennedy and interviews by Denise Ramzy and Katherine Fogg. SIGNED by Carrie Mae Weems on the half-title page. BOOK CONDITION: Fine; a solid, tight, clean copy in a Fine dust jacket.
SIGNED - Nazraeli Press, 2024. Hardcover. First Edition & First Printing. Limited to 500 numbered copies, and includes a removable, signed, original print measuring approximately 5x7 inches. Both the print and book are HAND-SIGNED by Carrie Mae Weems. BOOK CONDITION: Fine/As New: SIGNED
Carrie Mae Weems Untitled (Woman Feeding Bird) (from the Kitchen Table series) 1990 / printed 2022 inkjet print on Hahnemuhle paper 7.5 h x 7.5 w in (19 x 19 cm) Signed to label to verso 'Carrie Mae Weems'. This work is from the edition of 200 printed by Michael Lundgren, Orcas Island, WA and published by Radius Books, Santa Fe in 2022 for the limited edition photography project, FOUR. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems (1953) Six by Six Set Three Volume Six: Slow Fade to Black, 2012 Print with Limited Edition Book From the numbered edition of 100 Signed, Dated, and Edition on Verso Book 11.5 x 14.5 in Print: 11 x 14 in Image: 9.75 x 13 in
Carrie Mae Weems b. 1953 Sea Islands 2024 hardbound book of 16 reproductions, and one original, signed print 4-1/2 x 4-1/2 inches (image) book (overall) 8-1/4 x 6 inches 399/500 printed by the artist with Nazraeli Press signed and numbered
Carrie Mae Weems b. 1953 Woman Feeding Bird 1990 inkjet print on Hahnemuhle paper 7-1/2 x 7-1/2 inches signed on verso edition of 200 Published by Radius Books, Santa Fe, NM Provenance: private collection, Miami, FL
Carrie Mae Weems b. 1953 What and Where I Enter- Mussolini's Rome 2006 digital C-print 18 x 18 inches (image) full margins signed, dated and numbered 16/30 by artist, verso Published by BAM, New York, part of the BAM Photo Portfolio IV, 2001-2009. From the Roaming series
Carrie Mae Weems (American, b. 1953). "Not Manet's Type" offset photolithograph, 2001. Signed, dated, and numbered (P.P. 3/4) in pencil at lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower right. The second installment of a five-part photographic series that Weems created in 1997, "Not Manet's Type" features a nude self-portrait of the artist, standing in a contrapposto pose at the foot of a brass bed, as reflected in the round mirror of a vanity table. Text below the image reads, "IT WAS CLEAR, / I WAS NOT MANET'S TYPE / PICASSO -- WHO HAD A WAY / WITH WOMEN -- ONLY USED ME / & DUCHAMP NEVER EVEN / CONSIDERED ME". According to Lauren Turner, Assistant Curator for the Collection at the Ackland Art Museum "By serving as both muse and creator, Weems imparts a sly duality to her challenge: is she referring to the scrutiny of her as the composition's subject, or the critical study of her artistic output as a whole? At the time of this work, while there was much examination of women as the subjects of an artist's gaze, less existed in regards to considering the representations of women of color in visual culture (or the lack thereof). This left Weems with the tricky imperative to introduce such representations while at the same time attempting to unpack them in her role as an underrepresented creative voice." (source: Carolina Performing Arts website) A powerful work by Carrie Mae Weems that served to answer the "male gaze" or lack thereof, for when she created this series, women of color were rarely represented as beauties in the canon of Western art. Size: 40" L x 20" W (101.6 cm x 50.8 cm) About the Artist: "Carrie Mae Weems is a widely influential American artist whose work gives voice to people whose stories have been silenced or ignored. Investigating history, identity, and power, she finds connections between personal experience and the larger structures and institutions that shape our lives. Over the course of forty years, she has built an acclaimed body of work using photographs, text, fabric, audio, digital images, installation, and video. Since the 1980s, Weems's work has been seen around the world, and she has inspired a generation of artists with her poetic and original approach to storytelling. Throughout her career, Weems has exposed the belief systems that have maintained the status quo. In her iconic Kitchen Table Series, from 1990, Weems builds emotionally complex narratives through simply staged black and white photographs, casting herself in the role of lover, friend, mother, and solitary woman. The series depicts scenes that are both universal and specific to the Black lives they imagine. And 22 Million Very Tired and Very Angry People, 1989-1990, presents photographs of ordinary objects with captions that point to their use as tools for revolution. Bringing together these items with silk-screened banners of text, the piece addresses the power of collective action. With From Here I Saw What Happened and I Cried, 1995-96, Weems collects photographs of enslaved men and women and other Black subjects from museum and university archives. Pairing these images with powerful texts, Weems reveals the role photography has played in supporting and shaping racism. Weems's expansive practice has often overlapped with activism; in addition to her solo work, she has led collective public art projects and multi-disciplinary performances. In 2020, Weems directed The Baptism, a short film commissioned by Lincoln Center, which pairs images of nature, protest, and everyday life with a poem by Carl Hancock Rux, in tribute to the late activists John Lewis and C.T. Vivian. In 2016, Weems made Grace Notes: Reflections for Now, a collaborative multimedia performance that blends music, spoken word, dance, and video to explore the meaning of grace in the face of Black oppression. Weems has also brought together activists, artists, musicians, poets, theorists and writers, convening events such as Past Tense/Future Perfect at the Solomon R. Guggenheim Museum and The Shape of Things at the Park Avenue Armory, where Weems was artist-in-residence. A version of The Shape of Things later traveled to LUMA Arles in France. Weems has often used performance marked by highly constructed artifice to explore how history is remembered and created. In Constructing History, made while an artist in residence at Savannah College of Art and Design, Weems worked with students and community members to re-enact moments of social upheaval from the 1960s and beyond, building stage-like photographic tableaux. In series such as Roaming, Weems photographed herself standing before the monumental architecture of powerful institutions around the world. Dressed in black and facing the buildings with her back to the camera, Weems asks the viewer to consider their own relationship to these historically charged locales. Weems's recent solo exhibitions include Reflections for Now at Barbican Art Gallery in London, the first major UK exhibition of her work, and The Evidence of Things Not Seen, which originated at Wurttembergischer Kunstverein Stuttgart (WKV), Germany, and traveled to Kunstmuseum Basel in Switzerland, where it is on view until April 7, 2024. Fundacion MAPFRE in collaboration with Fundacion Foto Colectania and WKV organized A great turn in the possible, a survey of her work which opened in Barcelona in 2022. Other recent highlights include the two person show Dawoud Bey & Carrie Mae Weems: In Dialogue, which was organized by the Grand Rapids Art Museum in Michigan and traveled to the Getty Center in Los Angeles, the Seattle Art Museum, and the Tampa Museum of Art in Florida. In the spring of 2023, Weems served as the inaugural Agnes Gund Professor of the Practice of Arts and Social Justice at Brown University, a residency that culminated in the campus-wide activation collectively titled Varying Shades of Brown. Previously, Weems has been featured in major exhibitions at museums including the Metropolitan Museum of Art, New York; Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; Solomon R. Guggenheim Museum, New York; and Centro Andaluz de Arte Contemporáneo, Seville, Spain. She has received numerous awards, grants, and fellowships, including a Hasselblad Award, a Bernd and Hilla Becher Prize, a MacArthur 'Genius' grant, the U.S. State Departments Medal of Arts, the Joseph Hazen Rome Prize Fellowship from the American Academy in Rome, NEA grants, the Louis Comfort Tiffany Award, and the Congressional Black Caucus Foundations Lifetime Achievement Award, among others. Her work is in the collections of the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Weems lives in Syracuse, New York with her husband Jeffrey Hoone, who directed the photography organization Light Work for almost four decades. She is currently the Artist in Residence at Syracuse University." (source: artist's website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #191278
Carrie Mae Weems 1953- Untitled (Woman and Daughter with Makeup), from the Kitchen Table Series. 1990; printed 1999. Silver print With Weems' signature and print date in pencil on verso.
Carrie Mae Weems 1953- Untitled (ceramic plate with a portrait of Saidiya Hartman). 1990. Silver print embedded in resin on a patterned ceramic plate With Weems' signature and date in ink on plate verso. This work was created as part of the Fine Print Program at Light Work in Syracuse. Though the piece was made as part of a larger project, each plate should be considered unique. The Light Work subscription brochure read as follows: "Playing off the idea of commemorative plates, Weems advances her investigations of racial stereotypes and folklore in these clever and elegant works." Buyers could select to be one or two pieces. The brochure continued, "The pattern in the plate you receive may vary from the one pictured here as each piece is a unique work individually selected and produced by the artist through a special enameling process."
Carrie Mae Weems (born 1953) The Apple of Adam's Eye (Weems p. 26), 1993 Pigment and embroidery in colors on sateen with Australian lacewood frame (as issued), from the edition of 5, made in collaboration with The Fabric Workshop and Museum, Philadelphia. overall 75 x 81 3/4in (190.5 x 207.6cm)
Carrie Mae Weems (1953-) All the Boys. Offset color lithograph on Somerset paper, 2017. Signed, dated and numbered 28/30 in pencil, verso. Printed by Derriere L'Etoile Studios, Long Island City, New York. Published by Segura Arts Studio, Notre Dame Center for Arts & Culture, with the blind stamp lower right.
(PORTFOLIO) EATONVILLE PORTFOLIO Portfolio with 4 pigmented Inkjet prints, 2003. Published by Light Work, Syracuse, New York. Each matted, with printed title page and the black portfolio box. Includes: DAWOUD BEY. Jason. 280x280 mm; 11x11 inches. Signed and dated "2003/2004" in ink, verso * LONNIE GRAHAM. Thompson Avenue, Eatonville, FL, 229x356 mm; 9x14 inches. Signed, dated and titled in pencil, lower margin recto * CARRIE MAE WEEMS. Untitled (Eatonville Series). 280x280 mm; 11x11 inches. Signed and dated in pencil, verso * DEBORAH WILLIS. View from the Pulpit, Eatonville, FL.Signed in pencil, lower right recto.
Carrie Mae Weems (1953-) Untitled (Woman Feeding Bird). Inkjet print on Hahnemühle paper, 1990. Signed in ink, verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited edition photography project, FOUR. From the Kitchen Table Series.
Carrie Mae Weems b. 1953 lot of three photos 1990s largest: boy in a button-down shirt, 6-1/2 x 4-3/4 inches; two landscapes, 4-3/4 x 4-3/4 inches all signed on verso. Provenance: private collection, Philadelphia, PA
Carrie Mae Weems b. 1953 untitled, Woman Feeding Bird 1990/2022 inkjet print on Hahnemuhle paper 7-1/2 x 7-1/2 inches signed on verso edition of 200 Published by Radius Books, Santa Fe, NM
Carrie Mae Weems b. 1953 Painting the Town #22 Executed in 2021. Archival pigment print Edition 5 of 5 + 1 artist's proof 58 x 87 in. (147.3 x 221 cm) Framed: 59 x 88 x 2 in. (149.9 x 223.5 x 5.1 cm) Please note that while this auction is hosted on Sothebys.com, it is being administered by the Museum of Contemporary Art Chicago, and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by the Museum of Contemporary Art Chicago. As such, Sotheby’s will share the contact details for the winning bidders with the Museum of Contemporary Art Chicago so that they may be in touch directly post-sale. This online benefit auction has a 10% buyer’s premium, which will be added to the final hammer price of each sold work. The premium allows the Museum of Contemporary Art Chicago to retain more of the proceeds of the sale and offset administrative costs.
CARRIE MAE WEEMS (1953 - ) Untitled (See No Evil, Hear No Evil, Speak No Evil). Three chromogenic prints on Kodak Professional photo paper, 1995. 175x465 mm; 6⅞x18 inches overall. 508x610 mm; 20x24 inches (sheet). Edition of 200. Signed and dated ink, verso.
CARRIE MAE WEEMS (1953 - ) I Took a Tip from Frida who from her Bed Painted Incessantly-Beautifully.... Gelatin silver print with screenprinted text on the overmat, 1997. 381x371 mm; 15x14⅝ inches. Proof, aside from the edition of 5. The fifth image from the Not Manet's Type series of five silverprints. Provenance PPOW, New York (label). Private collection, Florida, 2007. Swann Galleries, December 10, 2020, lot 182. Private collection, New York.
Carrie Mae Weems (American, b. 1953). "Not Manet's Type" offset photolithograph, 2001. Signed, dated, and numbered (P.P. 3/4) in pencil at lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower right. The second installment of a five-part photographic series that Weems created in 1997, "Not Manet's Type" features a nude self-portrait of the artist, standing in a contrapposto pose at the foot of a brass bed, as reflected in the round mirror of a vanity table. Text below the image reads, "IT WAS CLEAR, / I WAS NOT MANET'S TYPE / PICASSO -- WHO HAD A WAY / WITH WOMEN -- ONLY USED ME / & DUCHAMP NEVER EVEN / CONSIDERED ME". According to Lauren Turner, Assistant Curator for the Collection at the Ackland Art Museum "By serving as both muse and creator, Weems imparts a sly duality to her challenge: is she referring to the scrutiny of her as the composition's subject, or the critical study of her artistic output as a whole? At the time of this work, while there was much examination of women as the subjects of an artist's gaze, less existed in regards to considering the representations of women of color in visual culture (or the lack thereof). This left Weems with the tricky imperative to introduce such representations while at the same time attempting to unpack them in her role as an underrepresented creative voice." (source: Carolina Performing Arts website) A powerful work by Carrie Mae Weems that served to answer the "male gaze" or lack thereof, for when she created this series, women of color were rarely represented as beauties in the canon of Western art. Size: 40" L x 20" W (101.6 cm x 50.8 cm) About the Artist: "Carrie Mae Weems is a widely influential American artist whose work gives voice to people whose stories have been silenced or ignored. Investigating history, identity, and power, she finds connections between personal experience and the larger structures and institutions that shape our lives. Over the course of forty years, she has built an acclaimed body of work using photographs, text, fabric, audio, digital images, installation, and video. Since the 1980s, Weems's work has been seen around the world, and she has inspired a generation of artists with her poetic and original approach to storytelling. Throughout her career, Weems has exposed the belief systems that have maintained the status quo. In her iconic Kitchen Table Series, from 1990, Weems builds emotionally complex narratives through simply staged black and white photographs, casting herself in the role of lover, friend, mother, and solitary woman. The series depicts scenes that are both universal and specific to the Black lives they imagine. And 22 Million Very Tired and Very Angry People, 1989-1990, presents photographs of ordinary objects with captions that point to their use as tools for revolution. Bringing together these items with silk-screened banners of text, the piece addresses the power of collective action. With From Here I Saw What Happened and I Cried, 1995-96, Weems collects photographs of enslaved men and women and other Black subjects from museum and university archives. Pairing these images with powerful texts, Weems reveals the role photography has played in supporting and shaping racism. Weems's expansive practice has often overlapped with activism; in addition to her solo work, she has led collective public art projects and multi-disciplinary performances. In 2020, Weems directed The Baptism, a short film commissioned by Lincoln Center, which pairs images of nature, protest, and everyday life with a poem by Carl Hancock Rux, in tribute to the late activists John Lewis and C.T. Vivian. In 2016, Weems made Grace Notes: Reflections for Now, a collaborative multimedia performance that blends music, spoken word, dance, and video to explore the meaning of grace in the face of Black oppression. Weems has also brought together activists, artists, musicians, poets, theorists and writers, convening events such as Past Tense/Future Perfect at the Solomon R. Guggenheim Museum and The Shape of Things at the Park Avenue Armory, where Weems was artist-in-residence. A version of The Shape of Things later traveled to LUMA Arles in France. Weems has often used performance marked by highly constructed artifice to explore how history is remembered and created. In Constructing History, made while an artist in residence at Savannah College of Art and Design, Weems worked with students and community members to re-enact moments of social upheaval from the 1960s and beyond, building stage-like photographic tableaux. In series such as Roaming, Weems photographed herself standing before the monumental architecture of powerful institutions around the world. Dressed in black and facing the buildings with her back to the camera, Weems asks the viewer to consider their own relationship to these historically charged locales. Weems's recent solo exhibitions include Reflections for Now at Barbican Art Gallery in London, the first major UK exhibition of her work, and The Evidence of Things Not Seen, which originated at Wurttembergischer Kunstverein Stuttgart (WKV), Germany, and traveled to Kunstmuseum Basel in Switzerland, where it is on view until April 7, 2024. Fundacion MAPFRE in collaboration with Fundacion Foto Colectania and WKV organized A great turn in the possible, a survey of her work which opened in Barcelona in 2022. Other recent highlights include the two person show Dawoud Bey & Carrie Mae Weems: In Dialogue, which was organized by the Grand Rapids Art Museum in Michigan and traveled to the Getty Center in Los Angeles, the Seattle Art Museum, and the Tampa Museum of Art in Florida. In the spring of 2023, Weems served as the inaugural Agnes Gund Professor of the Practice of Arts and Social Justice at Brown University, a residency that culminated in the campus-wide activation collectively titled Varying Shades of Brown. Previously, Weems has been featured in major exhibitions at museums including the Metropolitan Museum of Art, New York; Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; Solomon R. Guggenheim Museum, New York; and Centro Andaluz de Arte Contemporáneo, Seville, Spain. She has received numerous awards, grants, and fellowships, including a Hasselblad Award, a Bernd and Hilla Becher Prize, a MacArthur 'Genius' grant, the U.S. State Departments Medal of Arts, the Joseph Hazen Rome Prize Fellowship from the American Academy in Rome, NEA grants, the Louis Comfort Tiffany Award, and the Congressional Black Caucus Foundations Lifetime Achievement Award, among others. Her work is in the collections of the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Weems lives in Syracuse, New York with her husband Jeffrey Hoone, who directed the photography organization Light Work for almost four decades. She is currently the Artist in Residence at Syracuse University." (source: artist's website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191278
Carrie Mae Weems (American, b. 1953). "Not Manet's Type" offset photolithograph, 2001. Signed, dated, and numbered (P.P. 3/4) in pencil at lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower right. The second installment of a five-part photographic series that Weems created in 1997, "Not Manet's Type" features a nude self-portrait of the artist, standing in a contrapposto pose at the foot of a brass bed, as reflected in the round mirror of a vanity table. Text below the image reads, "IT WAS CLEAR, / I WAS NOT MANET'S TYPE / PICASSO -- WHO HAD A WAY / WITH WOMEN -- ONLY USED ME / & DUCHAMP NEVER EVEN / CONSIDERED ME". According to Lauren Turner, Assistant Curator for the Collection at the Ackland Art Museum "By serving as both muse and creator, Weems imparts a sly duality to her challenge: is she referring to the scrutiny of her as the composition's subject, or the critical study of her artistic output as a whole? At the time of this work, while there was much examination of women as the subjects of an artist's gaze, less existed in regards to considering the representations of women of color in visual culture (or the lack thereof). This left Weems with the tricky imperative to introduce such representations while at the same time attempting to unpack them in her role as an underrepresented creative voice." (source: Carolina Performing Arts website) A powerful work by Carrie Mae Weems that served to answer the "male gaze" or lack thereof, for when she created this series, women of color were rarely represented as beauties in the canon of Western art. Size: 40" L x 20" W (101.6 cm x 50.8 cm) About the Artist: "Carrie Mae Weems is a widely influential American artist whose work gives voice to people whose stories have been silenced or ignored. Investigating history, identity, and power, she finds connections between personal experience and the larger structures and institutions that shape our lives. Over the course of forty years, she has built an acclaimed body of work using photographs, text, fabric, audio, digital images, installation, and video. Since the 1980s, Weems's work has been seen around the world, and she has inspired a generation of artists with her poetic and original approach to storytelling. Throughout her career, Weems has exposed the belief systems that have maintained the status quo. In her iconic Kitchen Table Series, from 1990, Weems builds emotionally complex narratives through simply staged black and white photographs, casting herself in the role of lover, friend, mother, and solitary woman. The series depicts scenes that are both universal and specific to the Black lives they imagine. And 22 Million Very Tired and Very Angry People, 1989-1990, presents photographs of ordinary objects with captions that point to their use as tools for revolution. Bringing together these items with silk-screened banners of text, the piece addresses the power of collective action. With From Here I Saw What Happened and I Cried, 1995-96, Weems collects photographs of enslaved men and women and other Black subjects from museum and university archives. Pairing these images with powerful texts, Weems reveals the role photography has played in supporting and shaping racism. Weems's expansive practice has often overlapped with activism; in addition to her solo work, she has led collective public art projects and multi-disciplinary performances. In 2020, Weems directed The Baptism, a short film commissioned by Lincoln Center, which pairs images of nature, protest, and everyday life with a poem by Carl Hancock Rux, in tribute to the late activists John Lewis and C.T. Vivian. In 2016, Weems made Grace Notes: Reflections for Now, a collaborative multimedia performance that blends music, spoken word, dance, and video to explore the meaning of grace in the face of Black oppression. Weems has also brought together activists, artists, musicians, poets, theorists and writers, convening events such as Past Tense/Future Perfect at the Solomon R. Guggenheim Museum and The Shape of Things at the Park Avenue Armory, where Weems was artist-in-residence. A version of The Shape of Things later traveled to LUMA Arles in France. Weems has often used performance marked by highly constructed artifice to explore how history is remembered and created. In Constructing History, made while an artist in residence at Savannah College of Art and Design, Weems worked with students and community members to re-enact moments of social upheaval from the 1960s and beyond, building stage-like photographic tableaux. In series such as Roaming, Weems photographed herself standing before the monumental architecture of powerful institutions around the world. Dressed in black and facing the buildings with her back to the camera, Weems asks the viewer to consider their own relationship to these historically charged locales. Weems's recent solo exhibitions include Reflections for Now at Barbican Art Gallery in London, the first major UK exhibition of her work, and The Evidence of Things Not Seen, which originated at Wurttembergischer Kunstverein Stuttgart (WKV), Germany, and traveled to Kunstmuseum Basel in Switzerland, where it is on view until April 7, 2024. Fundacion MAPFRE in collaboration with Fundacion Foto Colectania and WKV organized A great turn in the possible, a survey of her work which opened in Barcelona in 2022. Other recent highlights include the two person show Dawoud Bey & Carrie Mae Weems: In Dialogue, which was organized by the Grand Rapids Art Museum in Michigan and traveled to the Getty Center in Los Angeles, the Seattle Art Museum, and the Tampa Museum of Art in Florida. In the spring of 2023, Weems served as the inaugural Agnes Gund Professor of the Practice of Arts and Social Justice at Brown University, a residency that culminated in the campus-wide activation collectively titled Varying Shades of Brown. Previously, Weems has been featured in major exhibitions at museums including the Metropolitan Museum of Art, New York; Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; Solomon R. Guggenheim Museum, New York; and Centro Andaluz de Arte Contemporáneo, Seville, Spain. She has received numerous awards, grants, and fellowships, including a Hasselblad Award, a Bernd and Hilla Becher Prize, a MacArthur 'Genius' grant, the U.S. State Departments Medal of Arts, the Joseph Hazen Rome Prize Fellowship from the American Academy in Rome, NEA grants, the Louis Comfort Tiffany Award, and the Congressional Black Caucus Foundations Lifetime Achievement Award, among others. Her work is in the collections of the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Weems lives in Syracuse, New York with her husband Jeffrey Hoone, who directed the photography organization Light Work for almost four decades. She is currently the Artist in Residence at Syracuse University." (source: artist's website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191278
CARRIE MAE WEEMS (B. 1953). Untitled, 1978. signed and dated in ink (margin)image: 11 7/8 x 8 7/8 in. (30.2 x 22.5 cm.)sheet: 14 x 11 in. (35.6 x 27.9 cm.).
CARRIE MAE WEEMS (1953 - ) Nikkie's Place. Archival inkjet print, 2005-06. 406x406 mm; 16x16 inches. Signed and dated in pencil, artist's label on the frame back. Signed, dated and numbered 35/40 in pencil, verso.
CARRIE MAE WEEMS (1953 - ) Not Manet's Type. Offset photolithograph, 2001. 1016x508 mm; 40x20 inches. Signed, dated and numbered 3/40 in pencil, lower margin. Printed and published by Segura Arts Studio, Notre Dame Center for Arts and Culture, with the blind stamp lower right.
** This heavy/oversized item requires third-party shipping, which may affect delivery time. Please inquire about shipping costs and delivery before bidding ** Carrie Mae Weems (American, b. 1953). "Not Manet's Type" offset photolithograph, 2001. Signed, dated, and numbered (P.P. 3/4) in pencil at lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower right. The second installment of a five-part photographic series that Weems created in 1997, "Not Manet's Type" features a nude self-portrait of the artist, standing in a contrapposto pose at the foot of a brass bed, as reflected in the round mirror of a vanity table. Text below the image reads, "IT WAS CLEAR, / I WAS NOT MANET'S TYPE / PICASSO -- WHO HAD A WAY / WITH WOMEN -- ONLY USED ME / & DUCHAMP NEVER EVEN / CONSIDERED ME". According to Lauren Turner, Assistant Curator for the Collection at the Ackland Art Museum "By serving as both muse and creator, Weems imparts a sly duality to her challenge: is she referring to the scrutiny of her as the composition's subject, or the critical study of her artistic output as a whole? At the time of this work, while there was much examination of women as the subjects of an artist's gaze, less existed in regards to considering the representations of women of color in visual culture (or the lack thereof). This left Weems with the tricky imperative to introduce such representations while at the same time attempting to unpack them in her role as an underrepresented creative voice." (source: Carolina Performing Arts website) A powerful work by Carrie Mae Weems that served to answer the "male gaze" or lack thereof, for when she created this series, women of color were rarely represented as beauties in the canon of Western art. Size: 40" L x 20" W (101.6 cm x 50.8 cm) About the Artist: "Carrie Mae Weems is a widely influential American artist whose work gives voice to people whose stories have been silenced or ignored. Investigating history, identity, and power, she finds connections between personal experience and the larger structures and institutions that shape our lives. Over the course of forty years, she has built an acclaimed body of work using photographs, text, fabric, audio, digital images, installation, and video. Since the 1980s, Weems's work has been seen around the world, and she has inspired a generation of artists with her poetic and original approach to storytelling. Throughout her career, Weems has exposed the belief systems that have maintained the status quo. In her iconic Kitchen Table Series, from 1990, Weems builds emotionally complex narratives through simply staged black and white photographs, casting herself in the role of lover, friend, mother, and solitary woman. The series depicts scenes that are both universal and specific to the Black lives they imagine. And 22 Million Very Tired and Very Angry People, 1989-1990, presents photographs of ordinary objects with captions that point to their use as tools for revolution. Bringing together these items with silk-screened banners of text, the piece addresses the power of collective action. With From Here I Saw What Happened and I Cried, 1995-96, Weems collects photographs of enslaved men and women and other Black subjects from museum and university archives. Pairing these images with powerful texts, Weems reveals the role photography has played in supporting and shaping racism. Weems's expansive practice has often overlapped with activism; in addition to her solo work, she has led collective public art projects and multi-disciplinary performances. In 2020, Weems directed The Baptism, a short film commissioned by Lincoln Center, which pairs images of nature, protest, and everyday life with a poem by Carl Hancock Rux, in tribute to the late activists John Lewis and C.T. Vivian. In 2016, Weems made Grace Notes: Reflections for Now, a collaborative multimedia performance that blends music, spoken word, dance, and video to explore the meaning of grace in the face of Black oppression. Weems has also brought together activists, artists, musicians, poets, theorists and writers, convening events such as Past Tense/Future Perfect at the Solomon R. Guggenheim Museum and The Shape of Things at the Park Avenue Armory, where Weems was artist-in-residence. A version of The Shape of Things later traveled to LUMA Arles in France. Weems has often used performance marked by highly constructed artifice to explore how history is remembered and created. In Constructing History, made while an artist in residence at Savannah College of Art and Design, Weems worked with students and community members to re-enact moments of social upheaval from the 1960s and beyond, building stage-like photographic tableaux. In series such as Roaming, Weems photographed herself standing before the monumental architecture of powerful institutions around the world. Dressed in black and facing the buildings with her back to the camera, Weems asks the viewer to consider their own relationship to these historically charged locales. Weems's recent solo exhibitions include Reflections for Now at Barbican Art Gallery in London, the first major UK exhibition of her work, and The Evidence of Things Not Seen, which originated at Wurttembergischer Kunstverein Stuttgart (WKV), Germany, and traveled to Kunstmuseum Basel in Switzerland, where it is on view until April 7, 2024. Fundacion MAPFRE in collaboration with Fundacion Foto Colectania and WKV organized A great turn in the possible, a survey of her work which opened in Barcelona in 2022. Other recent highlights include the two person show Dawoud Bey & Carrie Mae Weems: In Dialogue, which was organized by the Grand Rapids Art Museum in Michigan and traveled to the Getty Center in Los Angeles, the Seattle Art Museum, and the Tampa Museum of Art in Florida. In the spring of 2023, Weems served as the inaugural Agnes Gund Professor of the Practice of Arts and Social Justice at Brown University, a residency that culminated in the campus-wide activation collectively titled Varying Shades of Brown. Previously, Weems has been featured in major exhibitions at museums including the Metropolitan Museum of Art, New York; Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; Solomon R. Guggenheim Museum, New York; and Centro Andaluz de Arte Contemporáneo, Seville, Spain. She has received numerous awards, grants, and fellowships, including a Hasselblad Award, a Bernd and Hilla Becher Prize, a MacArthur 'Genius' grant, the U.S. State Departments Medal of Arts, the Joseph Hazen Rome Prize Fellowship from the American Academy in Rome, NEA grants, the Louis Comfort Tiffany Award, and the Congressional Black Caucus Foundations Lifetime Achievement Award, among others. Her work is in the collections of the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Weems lives in Syracuse, New York with her husband Jeffrey Hoone, who directed the photography organization Light Work for almost four decades. She is currently the Artist in Residence at Syracuse University." (source: artist's website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. 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Carrie Mae Weems b. 1953 Slow Fade to Black 2011 inkjet print 13 x 10 inches signed, dated, and numbered in pencil verso 30/100 Published by the Nazareli Press, Portland, OR in 2012; from set 3 of Six by Six.
Carrie Mae Weems b. 1953 Lot of three photographs 1990s largest: boy in a button-down shirt, 6-1/2 x 4-3/4 inches; two landscapes, 4-3/4 x 4-3/4 inches signed on verso. Provenance: private collection, Philadelphia, PA
CARRIE MAE WEEMS (B. 1953). All the Boys (Profile 1). archival pigment print mounted on gesso board, in artist's frame, in two partseach: 35 3/8 x 27 3/8 x 2 1/8in. (89.8 x 69.4 x 5.5cm.).
Carrie Mae Weems (American, b. 1953) Untitled (Woman feeding Bird) (from FOUR), 1990; printed in 2022 photographic print on Hahnemühle paper signed in ink on label verso; edition of 200 7 1/2 x 7 1/2 inches. This lot is located in Chicago.
Carrie Mae Weems Untitled (Woman Feeding Bird) (from the FOUR series) 1990 / printed 2022 digital inkjet print 7.500 h x 7.500 w in (19 x 19 cm) Signed to label on verso 'Carrie Mae Weems'. This work is from the edition of 200 printed by Michael Lundgren for Radius Books' limited edition photography project, FOUR. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 Lot of three photos 1990s largest: boy in a button-down shirt, 6-1/2 x 4-3/4 inches; two landscapes, 4-3/4 x 4-3/4 inches signature facsimile on verso. Provenance: private collection, Philadelphia, PA
Carrie Mae Weems b. 1953 Then What? Photographs and Folklore 1990 portfolio comprising eight trifold leaves reprinting photographs by the artist with text; loose as issued in original red paper portfolio. A variation housed in a cloth box was also printed, containing the same material inside 9 x 9 inches overall Published to accompany her exhibition which ran from 17 February to 23 March, 1990 at CEPA Gallery (New York) 1000 copies printed by Oxbow Press, designed with the assistance of Art Larson.
Carrie Mae Weems Untitled (Woman Feeding Bird) (from the FOUR series) 1990 / printed 2022 digital inkjet print 7.5 h x 7.5 w in (19 x 19 cm) Signed to label to verso 'Carrie Mae Weems'. This work is from the edition of 200 printed by Michael Lundgren for Radius Books' limited edition photography project, FOUR. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 Woman in White signed, dated 1992 and numbered 2/5 in pencil (on the reverse of the flush-mount) gelatin silver print 19 ¼ by 19 ¼ in. 48.9 by 48.9 cm. Executed in 1992, this print is number 2 from an edition of 5.
Edition of 200. Signed in ink, verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited-edition photography project, FOUR. From the Kitchen Table Series. Provenance: The Anthony & Davida Artis Collection of African American Fine Art, Flint, Michigan
CARRIE MAE WEEMS (1953- ) Untitled, from the Africa Series. 1993; printed 1997. Platinum print, the image measuring 8 inches (20.3 cm.) square, the sheet 11¾x8½ inches (29.8x21.6 cm.), with Weems' signature, print date, and edition notation 88/100 in pencil on verso. This limited edition print was created on the occasion of the Light Work Fine Print Program, New York.
Carrie Mae Weems The Shape of Things (female) (from the Africa series) 1993 / printed 1997 platinum print image: 8 h x 8 w in (20 x 20 cm) sheet: 11.75 h x 9.5 w in (30 x 24 cm) Signed, dated and numbered to verso 'Carrie M. Weems 1997 54/100'. This work is number 54 from the edition of 100. Provenance: Light Work, New York | Private Collection This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 The Shape of Things (female) (from Africa) platinum print, signed 'Weems' and inscribed 'For George from Carrie with love 2006' in ink on the reverse of the mat, framed, an Edgewood Gallery, Syracuse, label on the reverse image: 14¾ by 14¾ in. (37.5 by 37.5 cm.) frame: 21¾ by 21¾ in. (55.2 by 55.2 cm.) Executed in 1993, printed in 2006.
Carrie Mae Weems b. 1953 Untitled (from Africa) gelatin silver print, flush-mounted, signed, dated '1996' and editioned 'A. P. 1/2' in ink on the reverse, framed, an Edgewood Gallery, Syracuse, label on the reverse image: 19¾ by 19⅝ in. (50.2 by 49.8 cm.) frame: 22 by 22 in. (55.9 by 55.9 cm.) Executed in 1993, printed no later than 1996.
![Carrie Mae Weems The Hampton Project [SIGNED - 2001 APERTURE 1ST EDITION 1ST PRINTING - FINE]](https://image.invaluable.com/housePhotos/studio/42/809542/H21881-L431638179.jpg)
