Carrie Mae Weems Quotes
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The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely.
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It's fair to say that black folks operate under a cloud of invisibility - this too is part of the work, is indeed central to [my photographs]... This invisibility - this erasure out of the complex history of our life and time - is the greatest source of my longing.
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It's impossible to change the social without changing the personal - you have to put your money where your mouth is. And if you're not making those challenges at home, it's unlikely you'll make them in a larger setting.
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I got my first camera when I was 21 - my boyfriend gave it to me for my birthday - but at that point politics was my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.
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Photography can still be used to champion activism and change. I believe this, even while standing in the cool winds of postmodernism... Postmodernism looked radical, but it wasn't. As a movement it was profoundly liberal and became a victim of itself. Precisely at this historical moment, when multicultural democracy is the order of the day, photography can be used as a powerful weapon toward instituting political and cultural change. I for one will continue to work toward this end.
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Art is the one place we all turn to for solace. We turn to it constantly, whether you are listening to music, or pop in a film; you want to escape reality, and if you thinking deeply, you want to engage in art in a complex way. Art allows us to navigate the more complicated parts of our lives in a way that is more palpable. We don’t go to the movies just to see a movie; we go for the experience. I’m very interested in the experience. Art has saved my life on a regular basis. I wanted to offer that experience to children, to enlist them, to show them the possibilities that are in the arts, to persuade them to pursue it for both their own personal salvation and for changing the way we are understood.
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I don't like directing a lot of people. So trying to keep things really simple and elegant is my preferred way of working.
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It's very important for me to really use this body as a barometer of a certain kind of knowledge - to take the personal risk of exposing my own body in a certain kind of way. I can't ask anybody else to do something that I don't do first myself.
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I emerged in that incredible moment in the 1980s when all kinds of social questions about subjectivity and objectivity, about who was making, who was looking.
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Despite the variety of my explorations, throughout it all it has been my contention that 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 roof-tops and storm barricaded doors and voice the specifics of our historic moment.
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Sometimes my work needs to be photographic, sometimes it needs words, sometimes it needs to have a relationship with music, sometimes it needs all three and become a video projection.
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How you get work done is by exploiting yourself and your feelings, and sometimes people get in the way.
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Art is the one place we all turn to for solace.
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I come from a family of Mississippi sharecroppers just a few generations away from slavery, and I experienced a lot of racism growing up - you can't avoid that if you're a person of color in this country.
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The ideas I'm working with are ideas I'm committed to. I don't know how to soft-shoe them. I don't know how to make them more palpable. I just never knew how to be one of those girls. I wish I knew how to be that sometimes, but I don't know how to be that way.
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My father was very interested in music, and when he and his brothers were young, they had a singing group that used to open for Sam Cooke. There was always music in our house, but there wasn't much art around.
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Suddenly this camera, this thing, allowed me to move around the world in a certain kind of way, with a certain kind of purpose. (On receiving a camera for her twenty-first birthday)
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Sometimes you sacrifice too much. You find yourself out on a limb and not knowing really quite how to get back down the tree. But it’s the space that you’re in because you have taken the risk. I’m not unaware of the sacrifices and, at times, whom your compassion hurts. It’s not all moving in one direction. It’s complicated, as the work is complicated.
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In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
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I think that still, for the most part, even in 2010, the vast majority of museum shows and gallery shows and gallerists are pretty much dominated by men. So having a sense of what women are up to, for me, frankly, is very, very important.