Most of us who have ever wandered a halls of an art museum have felt a supernatural energy of experiencing a crowd of voices, visions, times and places, all vocalization concurrently by a works mounted on white walls. However, an hapless infancy of these voices are dead, white and male. To this day, mainstream institutions vaunt a intolerable infancy of works from a DWEM (dead white European males) set, withdrawal a unconditional operation of practice and stories left unshared.
British Museum (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
In “Museum Series,” photographer and 2013 MacArthur Fellow Carrie Mae Weems casts a sarcastic eye on a clearly cool Museum. The array depicts a accumulation of art institutions internal and abroad, travelling all from a Louvre and a Tate Modern to a Project Row Houses in Houston. In any imitation Weems stands before pronounced stately edifices, her behind confronting a camera, donning a long, black dress. Like a arrange of anti-Marina Abramovic, who has turn rather of a museum luminary — and also rocks prolonged gowns — Weems renders herself during once regal, auspicious and anonymous.
Weems, who hovers in a support during once tiny and strong, casts herself as an alien in propinquity to a huge museum worlds, apart from a artist whose works hang within them. Each sketch facilities Weems in a opposite position, angle and size, maybe in tie to her sense of any museum space. Rather than outrightly state or roar certain injustices in protest, Weems’ humbly invites viewers to strech their possess conclusions regulating a impressive whisper. However, Weems does not lessen a significance of a museum’s choices. Aside from inspiring individuals’ lives as some artists are supposed to a holy halls while others aren’t, museums’ decisions also foreordain who is and is not stamped in history.
Galleria Nazionale D’Arte Moderna (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
Weems’ altogether oeuvre explores a practice of African-American women by photography, content and video. Weems invites viewers to anticipate instances of inequality, either they be teenager incidents in a home or a biased construction of art history. In this array in particular, a artist asks viewers to discuss on museums not as pre-existing temples though synthetic creations, in that some are enclosed and others are not. The images are so subtly constructed, you’ll consider we came adult with a end yourself.
“Carrie Mae Weems: The Museum Series” is on perspective from Jan 30 until Jun 29, 2014 during a Studio Museum in Harlem. Weems’s mid-career retrospective is concurrently on perspective during a Guggenheim Museum from Jan 24 to May 14, 2014
Guggenheim Bilbao (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
Pergamon Museum (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
Project Row Houses (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
The Tate Modern (from “The Museum Series”), 2006–present. Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
The Louvre (from “The Museum Series”), 2006–present Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
Zwinger Palace (from “The Museum Series”), 2006–present Digital chromogenic print. Courtesy a artist and Jack Shainman Gallery, New York
from Around The World http://aroundthe-world.info/carrie-mae-weems-explores-inequalities-embedded-in-artistic-institutions/
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