![]() ![]() Weems works in serialised groups of photographs. Weems’s practice, alongside the work and writing of Adrian Piper and Lorraine O’Grady, marks a major intervention into the period’s feminist theorisations of representation.Ĭ. Weems built on, but dramatically complicated, the white feminist critique of representations of women by slightly older postmodern photographers such as Cindy Sherman, Sarah Charlesworth and Sherrie Levine by insisting on emphasising the “constructedness” of race in representation as well as the systematic elision of Black women’s bodies from fine art images and the work of Black women artists from art discourse and institutions. She emerged as a force in the United States in the late 1980s and early 1990s, alongside contemporary conceptual photographers Lorna Simpson and Glenn Ligon. Weems’s conceptual photography often makes use of techniques such as photo-text installation, appropriation, seriality and an emphasis on language. Photographer Carrie Mae Weems graduated from the California Institute of the Arts, Valencia, in 1981 with a BFA degree and from the University of California, San Diego in 1984 with an MFA degree. ![]()
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