Dazed and confused by the possibilities of life, Catwoman turns to a friend and says:
‘What am I going to do with my life?’ and the friend replies, ‘Well you could always be an
artist like Carrie Mae Weems’
- Halle Berry as Catwoman
I don’t know why Carrie Mae Weems hasn’t had a mid-career museum retrospective. No American
photographer of the last quarter-century — her first solo show was in 1984 — has turned
out a more probing, varied and moving body of work.
“Weems has long been one of our most effective visual and verbal rhetoricians.
When she tackles complex subjects in complex ways, the results are…deeply stirring.”
- Holland Cotter, The New York Times
“…one of the most honored American artists of her generation.” “Weems asks
inconvenient questions and comes up with unwelcome answers. For that alone, no contemporary
artist’s work is more important.”
- David Bonetti, St. Louis Post-Dispatch
“One of the more interesting artists working in the gap between art and politics.”
- Roberta Smith, The New York Times
“…it is Weems’s conviction that radicalism and beauty are complementary, not antithetical,
that gives her work its distinctive edge.”
- Ernest Larson, Art in America
“…Weems positions herself as history’s ghost….”
- Nancy Princethal, Art In America
“Weems’s focus on masking and facades underscores the notion that social hierarchies
result from a differential relations of power, not birthright.”
- Susan Cahan, “Carrie Mae Weems: Reflecting Louisiana"
“Her work speaks to human experience and of the multiple aspects of individual identity,
arriving at a deeper understanding of humanity.”
Dazed and confused by the possibilities of life, Catwoman turns to a friend and says: ‘What am I going to do with my life?’ and the friend replies, ‘Well you could always be an artist like Carrie Mae Weems’
- Halle Berry as Catwoman
I don’t know why Carrie Mae Weems hasn’t had a mid-career museum retrospective. No American photographer of the last quarter-century — her first solo show was in 1984 — has turned out a more probing, varied and moving body of work.
“Weems has long been one of our most effective visual and verbal rhetoricians. When she tackles complex subjects in complex ways, the results are…deeply stirring.”
- Holland Cotter, The New York Times
“…one of the most honored American artists of her generation.” “Weems asks inconvenient questions and comes up with unwelcome answers. For that alone, no contemporary artist’s work is more important.”
- David Bonetti, St. Louis Post-Dispatch
“One of the more interesting artists working in the gap between art and politics.”
- Roberta Smith, The New York Times
“…it is Weems’s conviction that radicalism and beauty are complementary, not antithetical, that gives her work its distinctive edge.”
- Ernest Larson, Art in America
“…Weems positions herself as history’s ghost….”
- Nancy Princethal, Art In America
“Weems’s focus on masking and facades underscores the notion that social hierarchies result from a differential relations of power, not birthright.”
- Susan Cahan, “Carrie Mae Weems: Reflecting Louisiana"
“Her work speaks to human experience and of the multiple aspects of individual identity, arriving at a deeper understanding of humanity.”
Mary Jane Jacobs, “Ritual and Revolution”