Summer 2021 Issue
A pairing of photography and poetry from “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.
Carrie Mae Weems, Lewitt’s Wall, 2006
Carrie Mae Weems, Lewitt’s Wall, 2006
I’d like to be beautiful
Held by the attention of white walls and yet
I forget the statue of my body the artifact I am
Black and woman my survival is studied
A lesson I relearn every day of my life
I slip into the fabric of morning and already know
how the world will greet me
What a bold shoulder or taut bit
of cloth around the hips will invite in the imagination
Who asks admission into the rooms of my body
Art’s mercy divorces the artist from her image
her body’s exhibition
I’m saying not I but the subject is the woman is not I is the topic of discussion
That is to say I am only me when I’m found
in the mouth of another
What nomenclature will you give all my blackness
all my woman What will I represent
What other thing than the fact of myself
Every other thing than the fact of myself
Carrie Mae Weems, The British Museum, 2006
Have you ever thought how the sight of a woman
wandering faceless in a long dress
always looks like a haunting?
Where can I be both a woman and safe
from the horror of my image?
Through this and more I travel unaccompanied
fearsome—
through the scene and the square frame
Defiant! I am to command
the work’s focus and yet keep myself
private
To demand something of the gaze that makes
and remakes me a woman
I am
and again I am disturbing
the scene
The figure of a woman sharp
in all its weaponry itself
without footnote
I stand over the city over the sea in the middle of the street as though offering my body
as a challenge to the gods
I have never owned my own country
But here in the black and white
landscapes that bow around me I stand
something haunting and extraordinary an
interruption
in a black dress
I make myself known watch me becoming
If this thin slice of a world is all I’m granted
then I’ll keep it
and myself no I
won’t turn around
Carrie Mae Weems, Pyramids of Rome—Ancient Rome, 2006
In the half-light half-lidded my mother
at the table in front of a vanity
mirror She is thorough
in her examination saying
Her dark skin is—
The falling light in the room a pause
in the middle of a sentence
You might call this twilight
if the inside of a room could own
a piece of sky There is something flightless
in my mother who complains of the cracks
in the ceiling powders herself with concealer traces
the suggestion of her eyebrows
with the fine point of a pencil
She holds the tip to the flame
I am afraid of what may mark me
My own skin
blemished and splotchy the tiny black hairs
in an audience on my chin
I shouldn’t have to admit this but
I’d rather a house with no rooms
in which to linger, no interrogation
of what blackness I bring
to the space, whole or half, light or dark—
My mother wakes in the morning
before the sun and in the darkness
flicks the light on above the vanity
she traces she erases
She is often called beautiful
Carrie Mae Weems, Untitled (Woman and daughter with makeup), 1990
Artwork © Carrie Mae Weems, courtesy the artist and Jack Shainman Gallery, New York
Social Works: Curated by Antwaun Sargent, Gagosian, 555 West 24th Street, New York, June 24–August 13, 2021
The “Social Works” supplement also includes: “Notes on Social Works” by Antwaun Sargent; “Lauren Halsey and Mabel O. Wilson”; “The Archives of Frankie Knuckles: Organized by Theaster Gates”; “Sir David Adjaye OBE”; “Allana Clarke and Zalika Azim”; “Rick Lowe and Walter Hood”; and “Linda Goode Bryant and DeVonn Francis”
Maya Phillips was born and raised in New York. Her poetry has appeared or is forthcoming in American Literary Review, At Length, the Baffler, boaat, the Gettysburg Review, the New Yorker, the New York Times Magazine, and others. Her second book, Nerd: On Navigating Heroes, Magic, and Fandom in the 21st Century, is forthcoming in the summer of 2022 from Atria Books. Photo: Molly Walsh
Carrie Mae Weems is considered one of the most influential American artists working today. She investigates family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Weems has received numerous awards, grants, and fellowships, including the Prix de Rome, the Alpert, Anonymous was a Woman, and a MacArthur “genius” grant. Photo: Rolex/Audoin Desforges
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
From their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
The most recent edition of Picture Books, an imprint organized by Emma Cline and Gagosian, pairs Mary Gaitskill’s novella STAUF: A Tragedy with Jill Mulleady’s painting The Shift. In celebration of this forthcoming publication, Gaitskill and Mulleady discuss the myth of Faust, good and evil in the digital age, and the channeling of raw matter into art.
As part of a growing posthumous appreciation of the feminist writer Elaine Kraf, her previously unpublished novel Memory House was released by the Modern Library. Here, Alana Pockros explores Kraf’s iterative worlds.
Helen Oyeyemi continues her four-part story cycle with the second installment, “At the Auspicious Hour.”
Mark Franko considers how Emily Coates resurrects the spirit of George Balanchine’s American beginnings through archival research, spoken dialogue, and movement in her performance Tell Me Where It Comes From.
On the occasion of the exhibition Francesca Woodman: Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid at Gagosian, Rome, Alyce Mahon explores the artist’s engagements and affinities with Surrealism, from the writings of André Breton to the photographs of Hans Bellmer. Mahon focuses on the time Woodman spent in Rome while she was a student at the Rhode Island School of Design.
Sharad Chari reflects on a recent visit to Ellen Gallagher’s studio in Rotterdam, Netherlands, thinking through the artist’s intertextual interrogation of the oceanic and the ways in which her practice is informed by a wider Black intellectual and artistic world, an abiding interest in Herman Melville’s Moby-Dick, and the imperatives that surround this studio by the Port of Rotterdam.
Sally Mann joined novelist Amor Towles in a conversation about her widely celebrated new book, Art Work: On the Creative Life (2025), at an event hosted by the New School and the Strand in New York. Published by Abrams, Art Work is about the challenges and pleasures of the creative process. Its mix of illuminating stories, practical advice, and life lessons, illustrated throughout with photographs, letters, and journal entries, offers insights into Mann’s own experience of making art. Here, Mann and Towles speak about the writing process, historical ghosts, and fortunate mistakes.