Womanism and Black Feminism in the Work of Carrie Mae Weems

Authors

  • Christiane Stephens University of Redlands (EdD)

DOI:

https://doi.org/10.18533/journal.v5i4.928

Keywords:

Social justice, womanism, liberation

Abstract

This article examines the liberatory aspects of Womanisn and Black Feminism in the work of artist Carrie Mae Weems.  Weems, artist and anthropologist creates artwork that highlights the issues of oppression and giving voice to worldwide issues.  Under the theoretical lens of Womanism, the article utilizes  Arts- Based -Educational Research (ABER), a non traidtional methodology, which aligns with Womanism to provide into past and present issues of liberation and equity. Womanism, Black women’s feminism, and ABER have the potential to bring issues of equity and social justice out of the academies and into the everyday world for those most in need of liberation.

Author Biography

Christiane Stephens, University of Redlands (EdD)

I have an EdD from the University of Redlands where I have also been an adjunct professor.

References

References

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Images

Figure 1. Plate 9 in Ritual & Revolution, by Carrie Mae Weems, 2003 1

Figure 2. (Image 1) in From Here I Saw What Happened . . . And I Cried, by Carrie Mae

Weems, 1995-1996 9

Figure 3. House, Field, Yard, Kitchen in From Here I Saw What Happened . . . And I

Cried, by Carrie Mae Weems, 1995-1996 11

Figure 4. (Image 1) in The Hampton Project, by Carrie Mae Weems, 2000 12

Figure 5. (Image 2) in The Hampton Project, by Carrie Mae Weems, 1998 14

Figure 6. Slave Coast in Ritual & Revolution, by Carrie Mae Weems, 1993 17

Figure 7. Plate 15 in Ritual & Revolution, by Carrie Mae Weems, 2003

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Published

2016-04-11

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