All posts in “photography”

Object of the Week: Untitled (Woman standing)

Weems, desiring freedom while poised in the face of a troubling historical ground, beckons the viewer with the question: can you see me, which is not a matter of faculty but one of recognition.

– Adrienne Edwards, “Scenes of the Flesh: Thinking-Feeling Carrie Mae Weem’s Kitchen Table Series Twenty-Five Years On,” 2016

Untitled (Woman standing) is one of 20 carefully staged photographs in the Kitchen Table Series by Carrie Mae Weems. Focusing on the daily life and domestic space of a subject played by the artist, the photographs are often read as autobiographical. While self-representation is no doubt central to this body of work (loosely based on Weems’s own experiences), Untitled (Woman standing)—and the rest of the Kitchen Table Series—is a meditation on the way Black women are represented in American culture more broadly.

Together, the photographic series stages intimate scenes, all taking place around the kitchen table. Captured from the same vantage point, we see a range of quotidian moments: Weems’s character embracing—and being embraced by—her lover, playing cards with her daughters, seeking consolation from friends, and, every once in a while, by herself in moments of sadness, contemplation, happiness, pleasure, and, in this instance, confidence. The series represents the various roles she inhabits as a mother, friend, daughter, romantic partner, and sexual being.

Interested in systems of power and oppression, Weems mobilizes photography to challenge the medium’s assumed authenticity and explore its fictional possibilities, ultimately controlling the narrative she presents to viewers. And while Weems’s character is often the focus, she is never the sole subject of the composition—the evolution of her relationships is a central topic. In addition, curator Adrienne Edwards calls attention to the role the table plays in the series, addressing its presence as an important conceit:

Along with Weems, it [the kitchen table] is a recurring figure in the photographs. The table’s symbolic significance is a direct reference to the structures that shape and reinforce the intersection of the concepts of race, gender, and class that are at the center of Weems’s art.[1]

Throughout the series, the table acts as a witness to the cast of characters in the domestic space. Here, it is as if Weems, pressing down on the table surface, is pushing against its stability and order in an attempt to upend it. Similarly, the hanging lamp can be seen as a metaphor for illumination—shedding light on “fundamental issues concerning American society and culture and black women’s role in it”—while also pointing to another use for such a light: interrogation.[2]

In the words of the artist, “My responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the rooftops and storm barricaded doors and voice the specificity of our historical moment.”[3]

– Elisabeth Smith, Collections Coordinator

[1] Adrienne Edwards, “Scenes of the Flesh: Thinking-Feeling Carrie Mae Weems’s Kitchen Table Series Twenty-Five Years On,” in Carrie Mae Weems: Kitchen Table Series (Bologna, Italy: Damiani, 2016), 10-11.
[2] Edwards, 14.
[3] Lauren Hansen, “Meet MacArthur Award Winner Carrie Mae Weems,” The Week, http://theweek.com/captured/459535/meet-macarthur-award-winner-carrie-mae-weems.
Untitled (Woman standing) from the “Kitchen Table” Series, 1990, Carrie Mae Weems, gelatin silver print, 28 1/4 x 28 1/4 in., Gift of Vascovitz Family, 2012.13.3, © Carrie Mae Weems. Clockwise from left: Untitled (Man and mirror), Untitled (Woman and phone), Untitled (Woman and daughter with children); Untitled (Woman playing solitaire) from the “Kitchen Table Series,” 1990, Carrie Mae Weems.
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The lens behind the New Republic Community Portrait Project

Kehinde Wiley: A New Republic is on view at long last. As a part of the exhibition, SAM has launched New Republic Events, where SAM and Seattle-area community partners are highlighting events and performances focusing on themes found in Kehinde Wiley’s work, and also, New Republic Community Portrait Project. The Community Portrait Project invites volunteers to have their portraits taken by local photographers, and answer three questions: how do others see you, how do you see yourself and how do you want to be seen? The finished portraits and answers will be featured on the project’s website, as well as in SAM’s Community Corridor.

Local artists/photographers Carina A. del Rosario and Zorn B. Taylor are heading up the project, and we spoke with Carina about her background and the experience of working on the project.

SAM: Hi Carina! Thanks for speaking with us.

del Rosario: No problem!

SAM: Since you asked Community Portrait Project participants three questions, we’ll ask you three too. First up: Tell us a bit about your background and how long you’ve been a photographer.

del Rosario: I was born in the Philippines and immigrated with my family to Los Angeles when I was six. I love the energy and vibrant colors of urban life I grew up around, which in part led to my interest in street photography. When I moved here as a kid, I was curious about all the life going on around me but I was super shy. It may have been because I wasn’t confident with my English at the time. Over time, I really developed my English language skills in writing and speaking – though at the expense of my first language – but that helped bolster my confidence. I eventually got interested in journalism since it gave me an excuse to talk to strangers, to ask questions and tell stories. But I always loved how images and stories went together, whether in newspapers or in films. At Santa Clara University, where I graduated with a BA in Communication, I worked on the student newspaper and my friends there taught me photography and printing in the darkroom.

After a number of years writing, I decided to take up photography again and other visual arts classes because I wanted to make my writing more visual, more sensory. Eventually, I became more and more interested in the ability of photography and other visual art forms to tell a story that can be much more open to interpretation—that can hold more complexity and ambiguity. I’ve been working as a photographer and visual artist for about 12 years.

Community Portraits

SAM: Very cool. We’re glad you’re bringing your unique experience to the Community Portrait Project. Okay, next question: What’s your favorite thing about being a photographer?

del Rosario: Similar to being a journalist, being a photographer gives you an excuse or a tool for following your curiosity. It can certainly open doors to connecting with strangers. It can also shut doors if one doesn’t approach others with respect and openness. One of my early photography instructors (Raul Touzon on National Geographic) told me, “Give as much as you get. Be in the moment with people and the images will come.” I definitely get a charge when I can connect with people on a human level and that emerges in the photos.

SAM: What excellent advice. Okay, last question: How did you get involved with the Community Portrait Project, and what has the experience been like so far?

del Rosario:
Regan Pro (SAM’s Kayla Skinner Deputy Director for Education and Public Programs) contacted me about the Community Portrait Project and I jumped on it. I’m a teaching artist for SAM, so Regan and I have worked together for a few years. She also knows my work as an artist, particularly my Passport Series, which is a photo-based, interactive project that addresses identity, documentation, and discrimination. Through this project, I’ve worked with people from all walks of life to bust out of the boxes we all get squeezed into and present ourselves more holistically. Regan knew this would be akin to Kehinde Wiley’s approach for empowering “sitters” to determine how they want to be seen.

The experience working on the Community Portrait Project has been really uplifting and grounding at the same time. First, I love any excuse to work with Zorn. We have taught together and supported each other’s work for a few years, and I really appreciate the love and openness he brings into the work.

We photographed people from various ages and life experiences—a total of 40 people over three sessions. It’s hard to narrow down which ones were the most memorable stories because so many of them opened up in really interesting ways. One woman talked about how normally she’s really shy and closed in and that this was her challenge to herself. By participating in this project, she’s opening up to the world. I could totally relate to this since I remember making a similar decision when I was younger. There was another woman who seemed so deeply sad. She’s in a struggle to reclaim her sense of self, her own power, her happiness. I asked her to try to go back to a time when she felt whole and happy. To witness those emotions move through her, from sorrow to joy in a seconds, was an incredible honor.

Community Portraits

SAM: Wow. It sounds like you had many incredibly experiences working on the Community Portrait Project, and essentially got to peek into the inner lives and thoughts of strangers. Thanks for sharing with us, for being a part of the Project!

del Rosario: Thank you!

You can participate in the Community Portrait Project, too. Upcoming drop-in photo sessions will be held at SAM on Wednesday, March 3 and on Thursday, April 7. In the meantime, be sure to check out Kehinde Wiley: A New Republic, on view now.

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Spring showers in the SAM archives

Drops of Rain, Clarence H. White (American, 1871-1925), ca. 1903, National Gallery of Australia

Drops of Rain, Clarence H. White (American, 1871-1925), ca. 1903, National Gallery of Australia

It’s raining again. I stare as rivulets of water course down the window panes of my room, obscuring the view outside. Beyond my window, the passing cars blur together alongside the chairs that decorate my lawn. Everything assumes a greyish cast. “Welcome to Seattle,” people say. Prior to moving to here, I had never encountered a group of people so fixated on the weather, and I’ve lived in Cleveland where it is not only grey but also claims ownership of “The Lake Effect,” which encompasses all manner of atmospheric sins.

Yet as I approach my second year of living in Seattle, I too, have become consumed by thoughts of the dreary weather – so consumed by these thoughts that I seem to have neglected my blog – and the ever-present hope that sun is just around the corner. However, it was the weather that inadvertently led me to the exhibition Camera Work: Process & Image held at SAM from November 26, 1985 to February 2, 1986and focused on the early pioneers of photography including Julia Margaret Cameron, Edward Steichen, Clarence H. White, Paul Strand, Alfred Langdon Coburn, and Alfred Stieglitz.

Cover of Camera Work, Issue No 2, April 190, published by Alfred Stieglitz and designed by Edward Steichen.

Cover of Camera Work, Issue No 2, April 190, published by Alfred Stieglitz and designed by Edward Steichen.

Determined to elevate both photography and the photogravure to the status of fine art, Stieglitz produced a magazine whose primary focus was photography. As a member of the New York Camera Club, Stieglitz spearheaded the production of a quarterly journal – called Camera Notes – dedicated to both high quality photography and articles surrounding the art form. Yet Camera Notes was merely the beginning, for in 1902 – a mere five years later – Stieglitz left the Camera Club and started his own quarterly, Camera Work, in which he strove to establish a journal that was in and of itself a work of art. From 1903 to 1917, Stieglitz edited and published a total of fifty editions of Camera Work, through which he championed photography as a form of art instead of a mechanical process that simply documented reality. He pushed photographers to take an active role in the editing process of photogravure production – a print of the photographic image that emphasized deep shadows and a rich textural quality – in which the photo negatives are transformed into photo positives and transferred onto a printing plate that is then etched and printed. Stieglitz strove to maintain high quality photogravures that he felt could be viewed as original prints that had their own artistic value. Through this process, photographers in Stieglitz’s circle were able to participate in the production of the photogravures, which instigated a collaboration between the artist’s intent and the hand that created the final product.

Exhibition media file - including exhibition installation views and transparencies and prints of checklist images - from Camera Work: Process & Image and the exhibition catalogue. Photo: Kaley Ellis.

Exhibition media file – including exhibition installation views and transparencies and prints of checklist images – from Camera Work: Process & Image and the exhibition catalogue. Photo: Kaley Ellis.

This examination of Stieglitz’s Camera Work and the photographers involved in that publication act as the focal points of the 1985 exhibition at SAM. Of the works displayed, Clarence H. White’s Drops of Rain, Adolf de Meyer’s Still Life, Hugo Henneberg’s Villa Falconieri, and Alfred Stieglitz’s Spring Showers, New York are the works I find the most compelling. Water is prominently featured in all these works, whether it takes the form of rain, a glass of water, or a shimmering river. The water either distorts and obscures aspects of the work or is itself distorted. Far from being a direct representation of fact, the water provides a medium through which the artistic intent becomes clear. The fact that it is raining outside is not the point of the image in White’s Rain Drops; instead, the simplicity, the lighting, and contrast between the smoothness of the glass ball compared to the pattern of rain drops on the window pane combine to make this work beautifully compelling. The emotional response that these images evoke transcends time and, like other forms of art, is subjective.

Today – despite rapid advances in technology and the advent of the digital camera – artists such as Stieglitz, White, and Cameron remain relevant. New lens are engineered, such as the lensbaby, to create a blurring effect or to obscure the background, while plastic cameras allow photographers to further experiment with light and shadows and finally Photoshop and the Instagram app offer the opportunity to enhance or manipulate an image with the click of a button. Despite these developments, photographers are still creating images that favor the deep shadows, blurred lines, and sometimes dreamlike quality that continues to reference the past and the art of Stieglitz’s circle that he tirelessly perfected for publication in Camera Work.

By Kaley Ellis, Exhibitions and Archives Intern

 

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Winning entry in Seattle Art Museum's Beauty Shot Fridays photo contest by Atsuko Nagakura

Beauty Shot Fridays: “Green” Winner and Our Final Question

We have really enjoyed the Beauty Shot Fridays project that we put together to give people an opportunity to respond to the themes in our Beauty & Bounty and Reclaimed exhibitions.

Last week we asked, “What does ‘green’ mean to you?” and offered two tickets to Beauty & Bounty to the photographer behind our favorite photo.

SAM staff member Liz Stone selected the winner. Liz is a digital media assistant and a member of the SAM Goes Green Team. Of the winning entry she said, “I like this photo for its simple act of gratitude. Green means all of the things people posted here and more but I found that in almost all of the submissions this week there was a sentiment of gratitude in them. Whether it was the appreciation of a backyard wonderland, or a velvety forest full of life, to the recognition of all the possibilities Earth provides―it never hurts to take a moment―and a breath―and thank the Earth for its bounty.”

Congratulations to Atsuko Nagakura! She was the photographer behind our favorite “green” Beauty Shot. There were many great pictures to choose from. Click here to see the complete album.

Beauty & Bounty and Reclaimed close September 11 so this week’s Beauty Shot Fridays question is our final one. We want to know: How has your landscape changed?

Send your photo response to beautyshots@seattleartmuseum.org by 4 pm on Friday. Our favorite photo will win a $25 SAM gift card and a copy of Puget Sound on the Pacific Coast: A Superb Vision of Dreamland by SAM curator, Patricia Junker.

-Madeline Moy, Digital Media Manager

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Beauty Shot Fridays: What is one of your favorite summer explorations?

The Stranger’s Jen Graves is on to us.

We like exploration.

In fact, we like it so much that it’s the focus of this week’s Beauty Shot Fridays question:

What is one of your favorite summer explorations?

Send your photo response to beautyshots@seattleartmuseum.org by 4 pm Friday. Our favorite entry will win two tickets to “hitRECord
at the Movies with Joseph Gordon-Levitt”
on August 23 at the Neptune Theater.

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Submitted by Emily Hicks, SAM's visitor services officer. "Daily commute into downtown."

Beauty Shot Fridays!

From the PR Office at SAM comes a new and fun project called “Beauty Shot Fridays.” In order to promote Beauty & Bounty and Reclaimed, we are asking our Facebook Fans to send us photos in response to a weekly question that is based on themes in the exhibitions.

We will update our question on the SAM Facebook page every Monday by 3pm and submissions will be uploaded to the page every Friday by 4pm. If you’d like to send a photo submission (captions are welcome too!), please email beautyshots@seattleartmuseum.org

Our question this is week is: where do you find beauty and bounty in your day?

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