That becomes the center to the kind of work that I am most interested in,” Weems explained to African American studies and art history professor Sarah Elizabeth Lewis and Studio Museum in Harlem Director Thelma Golden. “ Constructing History has so much to do with the orchestrations of reality in a very particular kind of way. We’ve stumbled upon a set, one that mixes performance and longing, fact and fiction, in ways that deconstruct the stories we tell about ourselves. A camera track circles the platform like a mote, while a dolly with a tripod and camera appears to the right, in the middle of capturing the three figures in its slow 360-degree orbit. It could be a family portrait, though the scene is made odd by their surroundings. A young child, dressed in a glowing white dress, crouches near on the floor, her arms and head positioned to rest on one of the women’s laps. In “Mourning,” a black and white photograph from artist Carrie Mae Weems’s 2008 series Constructing History, two women dressed in black sit next to each other on wooden chairs. Constructing History series (2008) (© Carrie Mae Weems,Ĭourtesy the artist and Jack Shainman Gallery, New York, NY)
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