ART21 PROJECTBY ANTHONY BARNES II

CARRIE MAE WEEMS: THE KITCHEN TABLE SERIES

CARRIE MAE WEEMS: THE KITCHEN TABLE SERIES

• THE PURPOSE OF THE KITCHEN TABLE SERIES WAS TO DEPICT THE MANY SCENARIOS EXPERIENCES OF NOT ONLY BLACK WOMEN, BUT ALL WOMEN. SOME OF THE PHOTOS PORTRAY ROLES OF WOMEN SUCH AS MOTHER AND WIFE, WHILE OTHERS SEEM TO SHOW STEREOTYPICAL HAPPENINGS OF THE HOUSEHOLD. HOWEVER, WEEMS USED THE KITCHEN TABLE AS A SYMBOL TO REPRESENT THE ENTIRE HOME BECAUSE TO THE HOUSEHOLD SEEMS TO REVOLVE AROUND THIS SIMPLE PIECE OF FURNITURE. THIS IS NORMALLY WHERE FAMILIES GATHER TO EAT, SOME TIMES COMMUNICATE EACH OTHER’S STRUGGLES AND HAVE IMPORTANT CONVERSATIONS.

ANTHONY BARNES II: WHAT MEN ARE MADE OF

ABIGAIL DEVILLE: INTERSECTION

ABIGAIL DEVILLE: INTERSECTION

• THE HOLE FILLED STRUCTURE SURROUNDING THE TWO PEOPLE IN THE PICTURE, ACCORDING TO DEVILLE, IS TRYING TO DEPICT A PLACE WHERE TIME AND SPACE CEASE TO ACT AS INSURMOUNTABLE LIMITS TO HUMAN BEINGS. SHE ALSO WANTED TO EXPRESS THE FACT THAT WE DO NOT KNOW THE PAST OR THE PRESENT IN THEIR ENTIRETIES. WE ONLY HAVE OUR OWN PERSPECTIVES AND THEY ARE ONLY A SMALL PART OF THE COMPLETE PICTURE.

ANTHONY BARNES II: PORTAL TO THE MASTER

LATOYA RUBY FRAZIER: UNTITLED

LATOYA RUBY FRAZIER: UNTITLED

• LATOYA RUBY FRAZIER WAS BORN AND RAISED IN BRADDOCK, PENNSYLVANIA. SHE WITNESSED THE EFFECTS OF RACIAL INJUSTICE COUPLED WITH THE THOSE OF THE INDUSTRIAL REVOLUTION. THIS PIECE IS AN ACT OF PROTEST AGAINST “LEVI’S” FOR TRYING TO USE THE HISTORY OF BRADDOCK AS A FOUNDATION TO PUSH THEIR “GO FORTH” CAMPAIGN. THERE WAS ALSO A POSTER WITH A PICTURE OF A BLACK MAN CARRYING A WHITE BABY. ABOVE HIM IT READ “EVERYONE’S WORK IS EQUALLY IMPORTANT.”

ANTHONY BARNES II: UNTITLED