CARRIE MAE WEEMS (1953 - ) Nikkie's Place. Archival inkjet print, 2005-06. 406x406 mm; 16x16 inches. Signed and dated in pencil, artist's label on the frame back. Signed, dated and numbered 35/40 in pencil, verso.
CARRIE MAE WEEMS (1953 - ) Not Manet's Type. Offset photolithograph, 2001. 1016x508 mm; 40x20 inches. Signed, dated and numbered 3/40 in pencil, lower margin. Printed and published by Segura Arts Studio, Notre Dame Center for Arts and Culture, with the blind stamp lower right.
** This heavy/oversized item requires third-party shipping, which may affect delivery time. Please inquire about shipping costs and delivery before bidding ** Carrie Mae Weems (American, b. 1953). "Not Manet's Type" offset photolithograph, 2001. Signed, dated, and numbered (P.P. 3/4) in pencil at lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower right. The second installment of a five-part photographic series that Weems created in 1997, "Not Manet's Type" features a nude self-portrait of the artist, standing in a contrapposto pose at the foot of a brass bed, as reflected in the round mirror of a vanity table. Text below the image reads, "IT WAS CLEAR, / I WAS NOT MANET'S TYPE / PICASSO -- WHO HAD A WAY / WITH WOMEN -- ONLY USED ME / & DUCHAMP NEVER EVEN / CONSIDERED ME". According to Lauren Turner, Assistant Curator for the Collection at the Ackland Art Museum "By serving as both muse and creator, Weems imparts a sly duality to her challenge: is she referring to the scrutiny of her as the composition's subject, or the critical study of her artistic output as a whole? At the time of this work, while there was much examination of women as the subjects of an artist's gaze, less existed in regards to considering the representations of women of color in visual culture (or the lack thereof). This left Weems with the tricky imperative to introduce such representations while at the same time attempting to unpack them in her role as an underrepresented creative voice." (source: Carolina Performing Arts website) A powerful work by Carrie Mae Weems that served to answer the "male gaze" or lack thereof, for when she created this series, women of color were rarely represented as beauties in the canon of Western art. Size: 40" L x 20" W (101.6 cm x 50.8 cm) About the Artist: "Carrie Mae Weems is a widely influential American artist whose work gives voice to people whose stories have been silenced or ignored. Investigating history, identity, and power, she finds connections between personal experience and the larger structures and institutions that shape our lives. Over the course of forty years, she has built an acclaimed body of work using photographs, text, fabric, audio, digital images, installation, and video. Since the 1980s, Weems's work has been seen around the world, and she has inspired a generation of artists with her poetic and original approach to storytelling. Throughout her career, Weems has exposed the belief systems that have maintained the status quo. In her iconic Kitchen Table Series, from 1990, Weems builds emotionally complex narratives through simply staged black and white photographs, casting herself in the role of lover, friend, mother, and solitary woman. The series depicts scenes that are both universal and specific to the Black lives they imagine. And 22 Million Very Tired and Very Angry People, 1989-1990, presents photographs of ordinary objects with captions that point to their use as tools for revolution. Bringing together these items with silk-screened banners of text, the piece addresses the power of collective action. With From Here I Saw What Happened and I Cried, 1995-96, Weems collects photographs of enslaved men and women and other Black subjects from museum and university archives. Pairing these images with powerful texts, Weems reveals the role photography has played in supporting and shaping racism. Weems's expansive practice has often overlapped with activism; in addition to her solo work, she has led collective public art projects and multi-disciplinary performances. In 2020, Weems directed The Baptism, a short film commissioned by Lincoln Center, which pairs images of nature, protest, and everyday life with a poem by Carl Hancock Rux, in tribute to the late activists John Lewis and C.T. Vivian. In 2016, Weems made Grace Notes: Reflections for Now, a collaborative multimedia performance that blends music, spoken word, dance, and video to explore the meaning of grace in the face of Black oppression. Weems has also brought together activists, artists, musicians, poets, theorists and writers, convening events such as Past Tense/Future Perfect at the Solomon R. Guggenheim Museum and The Shape of Things at the Park Avenue Armory, where Weems was artist-in-residence. A version of The Shape of Things later traveled to LUMA Arles in France. Weems has often used performance marked by highly constructed artifice to explore how history is remembered and created. In Constructing History, made while an artist in residence at Savannah College of Art and Design, Weems worked with students and community members to re-enact moments of social upheaval from the 1960s and beyond, building stage-like photographic tableaux. In series such as Roaming, Weems photographed herself standing before the monumental architecture of powerful institutions around the world. Dressed in black and facing the buildings with her back to the camera, Weems asks the viewer to consider their own relationship to these historically charged locales. Weems's recent solo exhibitions include Reflections for Now at Barbican Art Gallery in London, the first major UK exhibition of her work, and The Evidence of Things Not Seen, which originated at Wurttembergischer Kunstverein Stuttgart (WKV), Germany, and traveled to Kunstmuseum Basel in Switzerland, where it is on view until April 7, 2024. Fundacion MAPFRE in collaboration with Fundacion Foto Colectania and WKV organized A great turn in the possible, a survey of her work which opened in Barcelona in 2022. Other recent highlights include the two person show Dawoud Bey & Carrie Mae Weems: In Dialogue, which was organized by the Grand Rapids Art Museum in Michigan and traveled to the Getty Center in Los Angeles, the Seattle Art Museum, and the Tampa Museum of Art in Florida. In the spring of 2023, Weems served as the inaugural Agnes Gund Professor of the Practice of Arts and Social Justice at Brown University, a residency that culminated in the campus-wide activation collectively titled Varying Shades of Brown. Previously, Weems has been featured in major exhibitions at museums including the Metropolitan Museum of Art, New York; Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; Solomon R. Guggenheim Museum, New York; and Centro Andaluz de Arte Contemporáneo, Seville, Spain. She has received numerous awards, grants, and fellowships, including a Hasselblad Award, a Bernd and Hilla Becher Prize, a MacArthur 'Genius' grant, the U.S. State Departments Medal of Arts, the Joseph Hazen Rome Prize Fellowship from the American Academy in Rome, NEA grants, the Louis Comfort Tiffany Award, and the Congressional Black Caucus Foundations Lifetime Achievement Award, among others. Her work is in the collections of the Metropolitan Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Weems lives in Syracuse, New York with her husband Jeffrey Hoone, who directed the photography organization Light Work for almost four decades. She is currently the Artist in Residence at Syracuse University." (source: artist's website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191278
Carrie Mae Weems b. 1953 Slow Fade to Black 2011 inkjet print 13 x 10 inches signed, dated, and numbered in pencil verso 30/100 Published by the Nazareli Press, Portland, OR in 2012; from set 3 of Six by Six.
Carrie Mae Weems b. 1953 Lot of three photographs 1990s largest: boy in a button-down shirt, 6-1/2 x 4-3/4 inches; two landscapes, 4-3/4 x 4-3/4 inches signed on verso. Provenance: private collection, Philadelphia, PA
CARRIE MAE WEEMS (B. 1953). All the Boys (Profile 1). archival pigment print mounted on gesso board, in artist's frame, in two partseach: 35 3/8 x 27 3/8 x 2 1/8in. (89.8 x 69.4 x 5.5cm.).
Carrie Mae Weems (American, b. 1953) Untitled (Woman feeding Bird) (from FOUR), 1990; printed in 2022 photographic print on Hahnemühle paper signed in ink on label verso; edition of 200 7 1/2 x 7 1/2 inches. This lot is located in Chicago.
Carrie Mae Weems Untitled (Woman Feeding Bird) (from the FOUR series) 1990 / printed 2022 digital inkjet print 7.500 h x 7.500 w in (19 x 19 cm) Signed to label on verso 'Carrie Mae Weems'. This work is from the edition of 200 printed by Michael Lundgren for Radius Books' limited edition photography project, FOUR. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 Lot of three photos 1990s largest: boy in a button-down shirt, 6-1/2 x 4-3/4 inches; two landscapes, 4-3/4 x 4-3/4 inches signature facsimile on verso. Provenance: private collection, Philadelphia, PA
Carrie Mae Weems b. 1953 Then What? Photographs and Folklore 1990 portfolio comprising eight trifold leaves reprinting photographs by the artist with text; loose as issued in original red paper portfolio. A variation housed in a cloth box was also printed, containing the same material inside 9 x 9 inches overall Published to accompany her exhibition which ran from 17 February to 23 March, 1990 at CEPA Gallery (New York) 1000 copies printed by Oxbow Press, designed with the assistance of Art Larson.
Carrie Mae Weems Untitled (Woman Feeding Bird) (from the FOUR series) 1990 / printed 2022 digital inkjet print 7.5 h x 7.5 w in (19 x 19 cm) Signed to label to verso 'Carrie Mae Weems'. This work is from the edition of 200 printed by Michael Lundgren for Radius Books' limited edition photography project, FOUR. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 Woman in White signed, dated 1992 and numbered 2/5 in pencil (on the reverse of the flush-mount) gelatin silver print 19 ¼ by 19 ¼ in. 48.9 by 48.9 cm. Executed in 1992, this print is number 2 from an edition of 5.
Edition of 200. Signed in ink, verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited-edition photography project, FOUR. From the Kitchen Table Series. Provenance: The Anthony & Davida Artis Collection of African American Fine Art, Flint, Michigan
CARRIE MAE WEEMS (1953- ) Untitled, from the Africa Series. 1993; printed 1997. Platinum print, the image measuring 8 inches (20.3 cm.) square, the sheet 11¾x8½ inches (29.8x21.6 cm.), with Weems' signature, print date, and edition notation 88/100 in pencil on verso. This limited edition print was created on the occasion of the Light Work Fine Print Program, New York.
Carrie Mae Weems The Shape of Things (female) (from the Africa series) 1993 / printed 1997 platinum print image: 8 h x 8 w in (20 x 20 cm) sheet: 11.75 h x 9.5 w in (30 x 24 cm) Signed, dated and numbered to verso 'Carrie M. Weems 1997 54/100'. This work is number 54 from the edition of 100. Provenance: Light Work, New York | Private Collection This work will ship from Lambertville, New Jersey.
Carrie Mae Weems b. 1953 The Shape of Things (female) (from Africa) platinum print, signed 'Weems' and inscribed 'For George from Carrie with love 2006' in ink on the reverse of the mat, framed, an Edgewood Gallery, Syracuse, label on the reverse image: 14¾ by 14¾ in. (37.5 by 37.5 cm.) frame: 21¾ by 21¾ in. (55.2 by 55.2 cm.) Executed in 1993, printed in 2006.
Carrie Mae Weems b. 1953 Untitled (from Africa) gelatin silver print, flush-mounted, signed, dated '1996' and editioned 'A. P. 1/2' in ink on the reverse, framed, an Edgewood Gallery, Syracuse, label on the reverse image: 19¾ by 19⅝ in. (50.2 by 49.8 cm.) frame: 22 by 22 in. (55.9 by 55.9 cm.) Executed in 1993, printed no later than 1996.
Carrie Mae Weems b. 1953 Untitled (from Not Manet's Type) gelatin silver print, signed, dated and editioned 'AP/1' in pencil, signed, dated '2007' and inscribed 'For my dear and wonderful George' in ink on the reverse of the mat, framed image: 15⅛ by 15⅛ in. (38.4 by 38.4 cm.) frame: 20¼ by 24¼ in. (51.4 by 61.6 cm.) Executed in 1998.
CARRIE MAE WEEMS (1953 - ) Untitled (Woman Feeding Bird). Inkjet print on Hahnemühle paper, 1990. 190x190 mm; 7½x7½ inches. Edition of 200. Signed in ink, verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited edition photography project, FOUR. From the Kitchen Table Series.
CARRIE MAE WEEMS (1953 - ) High Yella Girl. Toned silver print, with Prestype and frame, 1989. 779x781 mm; 30 ⅝x30¾ inches, including the frame. Edition of 3. From the Colored People series. Provenance: the artist, New York; P.P.O.W., New York; private collection, New York. High Yella Girl is a significant and very scarce work from the artist's important 1988-89 series. Weems focuses on the African American cultural phenomenon of colorism. This idea is furthered with Weems' use of an unnaturally bright yellow tone - it highlights how our perceptions of color and race are conditioned by artificial standards. The artist printed another edition of 5 in 1997.
CARRIE MAE WEEMS (1953 - ) Slow Fade to Black. Inkjet print, 2011. 330x254 mm; 13x10 inches, full margins. Signed, dated and numbered 55/100 in pencil, verso. Published by the Nazareli Press, Portland, OR in 2012. From set 3 of Six by Six This print was issued as part of the 2012 third Six by Six publication, a series of 6 sets of six books by various photographers, each including an orginal artwork. Weems' original 2010 Slow Fade to Black series of photographs reworked images of Black singers and performers captured at the height of their success in the mid- to late 20th century.
Carrie Mae Weems Untitled (from the Africa series) 1993 / printed 1997 platinum print image: 8 h x 7.875 w in (20 x 20 cm) sheet: 11.75 h x 9.5 w in (30 x 24 cm) Signed, dated and numbered to verso 'Carrie M. Weems 1997 18/100'. This work is number 18 from the edition of 100. This work will ship from Los Angeles, California.
Carrie Mae Weems Untitled (from the Africa series) (triptych) 1996 photogravure image (overall): 22.875 h x 54 w in (58 x 137 cm) sheet: 33 h x 62 w in (84 x 157 cm) Signed, dated and numbered to lower margin '5/35 Carrie M. Weems 1996' with publisher's blindstamp. This work is number 5 from the edition of 35 printed by Renaissance Press, Ashuelot, NH and published by Beta Press, Seattle. Provenance: Private Collection This work will ship from Chicago, Illinois.
Carrie Mae Weems Musical Score to 'God Bless the Child' (from the Here I Saw What Happened and I Cried series) 1995-96 C-print with sand-blasted text on glass in artist's frame 26.75 h x 22.75 w x .75 d in (68 x 58 x 2 cm) This work is from the edition of 10. Provenance: Acquired directly from the artist, Private Collection | Thence by descent Exhibited: Bearing Witness: Contemporary Works by African American Women Artists, 1 February - 30 March 1997, Fort Wayne Museum of Art, IN (traveling exhibition) Literature: Bearing Witness: Contemporary Works by African American Women Artists, Fort Wayne Museum of Art exhibition catalog, pg. 32 discusses series, 156-157 illustrate other works from series This work will ship from Los Angeles, California.
Heading: (Weems, Carrie Mae) Author: Title: Carrie Mae Weems: Recent work, 1992-1998 Place Published: New York Publisher:George Braziller, Publisher Date Published: 1998 Description: Essays by Thomas Piché Jr., and Thelma Golden. Illustrated from photographs. 26x21 cm (10½x8½"), cloth boards, pictorial jacket. First Edition.In association with Everson Museum of Art, Syracuse, New York.
Original black & white gelatin silver print by photographer Carrie Mae Weems. This hauntingly splendid photograph is part of her photographic project: The Kitchen Table Series. Weems included text to the photograph of a seated African-American male that reads: 'Jim, if you choose to accept, the mission is to land on your own two feet.' This social commentary project aims at exposing the experiences of people of color in the United States through beautifully shot works of art. Pencil signature, date and edition number on verso: Carrie Mae Weems, 1988-89, 30/50. Artist: Carrie Mae Weems (American b.1953) Issued: 1988-89 Dimensions: 15.40"L x 15.40"H Edition Number: 30 of 50 Country of Origin: United States
Carrie Mae Weems Not Manet's Type 2001 photolithograph 40 h x 20 w in (102 x 51 cm) Signed, dated and numbered to lower edge '14/40 Carrie Mae Weems 2001'. This work is number 14 from the edition of 40 published by Segura Publishing Company, Tempe, AZ. This work will ship from Lambertville, New Jersey.
CARRIE MAE WEEMS (1953 - ) All the Boys. Offset color lithograph on Somerset paper, 2017. 700x962 mm; 27½x37⅞ inches (sheet). Signed, dated and numbered 26/30 in pencil, verso. Printed by Derriere L'Etoile Studios, Long Island City, New York. Published by Segura Arts Studio, Notre Dame Center for Arts & Culture, with the blind stamp lower right. Other impressions of this print are in the collections of the National Gallery of Art, Washington, DC and the Snite Museum of Art, the University of Notre Dame. Consigned to support the Rush Philanthropic Arts Foundation.
CARRIE MAE WEEMS (1953 - ) Jefferson Memorial. Archival pigment print on Canson paper, 2015. 508x498 mm; 20x19⅞ inches, full margins. Signed, dated and numbered 22/36 in pencil, verso. Printed and published by Lincoln Center Editions, New York.
CARRIE MAE WEEMS (1953 - ) Untitled (Woman Feeding Bird). Inkjet print on Hahnemühle paper, 1990. 190x190 mm; 7½x7½ inches. Edition of 200. Signed in ink, verso. Printed by Michael Lundgren and published by Radius Books in 2022 for the limited edition photography project, FOUR. From the Kitchen Table Series.
CARRIE MAE WEEMS (1953 - ) Untitled (Man Reading a Newspaper). Silver print, 1994. 482x475 mm; 19x18⅞ inches. Signed and numbered 14/25 in ink, verso. Printed and published in 2014 by Printed Matter, New York. for the Printed Matter Photography Portfolio I: Portraits. From the Kitchen Table Series.
Carrie Mae Weems When and Where I Enter—Mussolini's Rome (from the BAM Photography Portfolio IV) 2006 digital C-print image: 18 h x 18 w in (46 x 46 cm) sheet: 30 h x 24 w in (76 x 61 cm) Signed, dated and numbered to verso 'Carrie M Weems 2006 1/30'. This work is number 1 from the edition of 30 published by BAM, New York. This work will ship from Lambertville, New Jersey.
Carrie Mae Weems (American, b. 1953) Untitled (from the Eatonville Series), 2004 pigmented inkjet press with text signed and dated in ink, verso 10 x 10 inches.
CARRIE MAE WEEMS (1953- ) Untitled, from her Not Manet's Type series. Offset photolithograph, the image measuring 17 inches (43.2 cm.) square, the sheet 40x20 inches (102x50.8 cm.), with Weems' signature, date, and edition notation 3/40 in pencil and her printed caption on recto. 1997; printed 2001 Printed and published by Segura Arts Studio, Notre Dame Center for Arts and Culture, with the blind stamp lower right. Each of the prints in photographer Carrie Mae Weems' five-part series Not Manet's Type is comprised of a nude self-portrait with a brief inscription below. Here the text reads, "It was clear, / I was not Manet's type / Picasso -- who had a way / with women -- only used me / & Duchamp never even / considered me"
Carrie Mae Weems Untitled (Woman feeding Bird) (from FOUR) 1990 / 2020 inkjet print on on Hahnemuhle 7.5 h x 7.5 w in (19 x 19 cm) Signed to label verso 'Carrie M. Weems'. This work is from the edition of 200 printed by Michael Lundgren for Radius Books' limited edition photography project, FOUR. This work will ship from Chicago, Illinois.
Carrie Mae Weems b. 1953 Tell me, I beseech you, when I casted my vote to you, did I cast it to the wind 1996 sepia-toned chromogenic print 18-1/2 x 23 inches (image) signed and numbered 31/75 in pencil verso
CARRIE MAE WEEMS (1953 - ) Blue Notes (Basquiat): Who's Who or a Pair of Aces #1. Archival inkjet print with color screenprint, 2014. 857x654 mm; 33 3/4x25 3/4 inches (sheet). Edition 1 of 5, with 2 APs and 2 PPs. Provenance: acquired from Jack Shainman Gallery, New York, with the gallery label on the frame back; private collection (2016). Exhibited: Carrie Mae Weems, Jack Shainman Gallery, New York, October 29 - December 10, 2016. The Blue Notes series features portraits of black artists like Dinah Washington and Jean Michel Basquiat superimposed with boxes of primary colors. The visual layering is a reflection of America's historical erasure of black artists. Weems alters aesthetics to critique politics, race, gender, and the social construct of identity. Her modernist use of color blocking creates a strong contrast in the image and others the individuals as they would've felt society imposing their needs upon them. The original image Weems used is a portrait of Basquait shot by Andy Warhol in 1982.
CARRIE MAE WEEMS (1953 - ) What and Where I Enter - Mussolini's Rome. Digital C-print, 2006. 762x609 mm; 30x24 inches (sheet). Signed, dated and numbered 4/30 in pencil, verso. Published by BAM, New York, part of the BAM Photo Portfolio IV, 2001-2009. From the Roamingseries.
CARRIE MAE WEEMS (1953 - ) Not Manet's Type. Offset photolithograph, 2001. 1016x508 mm; 40x20 inches (sheet). Signed, dated and numbered 14/40 in pencil, lower margin. Printed and published by Segura Arts Studio, Notre Dame Center for Arts and Culture, with the blind stamp lower right.
Carrie Mae Weems b. 1953 Moody Blue Girl blue-toned gelatin silver print, mounted, in the original mat with silkscreened title, framed to the photographer's specifications 30⅞ by 30⅞ in. (78.4 by 78.4 cm.) Executed in 1997, this work is number 5 in an edition of 5.
Carrie Mae Weems (b.1953) Carrie Mae Weems (b.1953) A group of four volumes, including: IN THESE ISLANDS, SOUTH CAROLINA, GEORGIA, 1995. First edition, softback, 68pp. University of Alabama, Sarah Moody Gallery of Art, 1995. THEN WHAT? PHOTOGRAPHS AND FOLKLORE, 1990. Exhibition booklet published to accompany the CEPA Gallery Feb 17-March 23, 1990 exhibition, 8 folded leaves. Buffalo, NY: CEPA Gallery, 1990. AND 22 MILLION VERY TIRED AND VERY ANGRY PEOPLE, 1992. Exhibition booklet published to accopmany the 1992 exhibition held by Walter/McBean Gallery, San Francisco Art Institute, 1992. CARRIE MAE WEEMS, 1993. Exhibition catalogue published to accompany the National Museum of Women in the Arts exhbition January 7-March 21, 1993, 116pp. National Museum of Women in the Arts, 1993.
Carrie Mae Weems Untitled (from the Africa Series) 1997 gelatin silver print image: 10.5 h x 10.5 w in (27 x 27 cm) sheet: 14 h x 11 w in (36 x 28 cm) Signed, dated and numbered to verso 'Carrie Mae Weems, 1997 22/25'. This work is number 22 from the edition of 25. Provenance: Gift from the artist to the present owner This work will ship from Los Angeles, California.
Carrie Mae Weems (American, b.1953) 'Nikkie's Place' Inkjet Print Photograph 2006, ink signed, dated and #29/40 verso, visible through cut-away to backing board having Bill Hodges Gallery, NY label, full sheet behind acrylic in a black wood frame Property from: a private collector from (Austin) Chicago, Illinois Category: Fine Art > Photographs Estimated Sale Time: 1:40 pm CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Download High Resolution Photographs: Photograph #1 Photograph #2 Photograph #3 Photograph #4 Last modified: June 1, 2023, 9:22 am
Carrie Mae Weems b. 1953 Ebo Landing 1992 Two silver gelatin prints and one screen print text panel (three separate panels) 60 x 20 inches (overall) Signed and numbered Edition of 10, 2 AP
Carrie Mae Weems (American, b. 1953), Beacon Waterfront (from Sites for the Record), Iris print, pencil signed, dated and numbered 3/10 verso, loose and unframed, 42"squ
CARRIE MAE WEEMS (1953 - ) All the Boys. Offset lithograph on Somerset paper, 2017. 700x962 mm; 27 1/2x37 7/8 inches (sheet). Signed, dated and numbered 17/30 in pencil, verso. Printed by Derriere L'Etoile Studios, Long Island City, New York. Published by Segura Arts Studio, Notre Dame Center for Arts & Culture, with the blind stamp lower right. Other impressions of this print are in the collections of the National Gallery of Art, Washington, DC and the Snite Museum of Art, the University of Notre Dame.
