Search Results

African American photographer and folklorist Carrie Mae Weems examines in image and text the nature of memory and history, insisting on a critique of historical wrongs as part of a process of self-formulation. As a storyteller-artist, she envisions the artist as the “narrator of history.” This chapter explores the development of her photo-autobiographies from photo-text sequences hung on gallery walls to elaborate architectural installation pieces that require viewers to enter and navigate the narrative visual-verbal space with its many surfaces and interfaces. In the process of showing and telling through photographs and texts and reframing photographic archives, she represents the historical legacy of racial violence to provoke readers-viewers to become aware of injustice and the false narratives that enable it.

This chapter analyzes Carrie Mae Weems’s photographic installation From Here I Saw What Happened and I Cried (1995–1996) as a performance of witnessing in which Weems restores voice to the archive of portraits that she reprints. While Weems’s installation has been read as trafficking in woundedness, this chapter argues that thinking photography as a technology of reproduction allows us to see Weems’s work as enlarging concepts of diaspora and mothering while also insisting on the opacity of interiority. This chapter positions this form of the maternal in conversation with Audre Lorde’s expansive concept of diaspora. Here, the concept of brown jouissance allows us to reimagine the work that is going on in this piece of art. It enables us to theorize witnessing and photography as fleshy enactments of spiritual resistance and to re-imagine possibilities of black gendering.

The Roman residencies of two American artists, nineteenth-century sculptor Edmonia Lewis and contemporary photographer Carrie Mae Weems, illustrate the value of locating classical receptions in the African diaspora in unexpected places and mediums. Rome’s status as the epicenter of ancient imperialism, as well as a hub for the intertwined legacies of race and neoclassicism in transatlantic modernity, makes it a particularly charged site for black women artists. Analyzing photographs in Weems’s 2006 series Roaming as portals into the cultural and geographic spaces occupied by Lewis as she designed her 1876 sculpture Death of Cleopatra, this chapter demonstrates the breadth and vibrancy of black women’s visual interventions into modern perceptions of the classical past. Inspired by the enduring material and cultural presences of ancient Egypt in modern Rome, both artists mark out Roman spaces as historic as well as contemporary spaces for blackness, rather than facades performing whiteness.

Twinned with the first chapter, this takes up the subject of American slavery and its intricate connections to the political philosophies of Roman slavery. The subject here is both the racialized figure of the Atlantic slave trade and the metaphorized “slave” as the coerced and oppressed subject of capitalist modernity. Engaging with the fields of Black classicism and theoretical history, the chapter begins with the photography of Carrie Mae Weems before moving into a series of textual engagements with the Roman slave: Toni Morrison, Howard Fast, Ralph Ellison, W. E. B. Du Bois, and Robert Montgomery Bird all feature, amongst a host of other writers. The chapter argues that Rome has proved to be a way of suturing the embodied and contingent experience of American slavery and subjugation into a fuller apprehension of imperial sovereignty and its long-term conditions.