![]() ![]() ![]() Since that career-making project, her gimlet-eyed, starkly lyrical meditations on what constitutes ideas of difference have earned her a MacArthur “genius” grant, a Medal of Arts from the U.S. In the process, she elevated the sapless polemics of identity politics to the lush realm of neorealism. Alternating the pictures with framed panels of folkloric text, Weems distilled complexities of race, class, and gender into the story of a black Everywoman who was defined not just by her relationships-as a lover, mother, breadwinner, friend-but by her comfort with solitude. ![]() These weren’t straight-up self-portraits any more than Cindy Sherman’s “Film Stills” were outtakes from movies. In 1990, the American photographer Carrie Mae Weems staged a series of black-and-white scenes at her own kitchen table, starring herself, alone and with other models. Photograph Courtesy Art Institute of Chicago “Untitled (Woman Playing Solitaire),” from the “Kitchen Table Series” (1990), by Carrie Mae Weems. ![]()
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