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Jack Shainman Gallery

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Three young Black girls lie on the grass in this closely cropped, sepia-toned, circular photograph so their faces roughly line up near the center. At the bottom of the composition, one girl lies on her back and looks up into the sky. Her head, torso, and right arm are visible. She wears a floral-patterned dress and holds her right hand up to the top of her head. The second girl reclines on her right side behind the first, so she is angled to our left. She props her head in her right hand and looks steadily at us. Her face hovers at the center of the composition. She wears a white t-shirt and a garland encircles her head. The third girl, at the top of the composition, seems to prop her body up on her left elbow. She wears a floral dress and looks down and to our right. Grass and paving rocks fill the space behind her.
Carrie Mae Weems, May Flowers, 2002, printed 2013, chromogenic print, Alfred H. Moses and Fern M. Schad Fund, 2014.3.1

May Flowers

Carrie Mae Weems · 2002, printed 2013 · chromogenic print ·  Accession ID  2014.3.1

Malick Sidibé, Vues de dos (Back views), 2003/2004, gelatin silver print, glass, paint, cardboard, tape, string, Robert B. Menschel and the Vital Projects Fund, 2018.103.2

Vues de dos (Back views)

Malick Sidibé · 2003/2004 · gelatin silver print, glass, paint, cardboard, tape, string ·  Accession ID  2018.103.2

Twelve lines of black text in all capital letters are printed on a square, beige-colored sheet of paper. The lines are centered down the page and divided into four groups set in progressively smaller type sizes. Near the top, the largest text reads, “THE KITCHEN TABLE SERIES.” In smaller text below, “CARRIE MAE WEEMS.” Immediately below that, again in smaller text, “A PORTFOLIO OF TWENTY PLATINUM PRINTS, FOURTEEN TEXT SHEETS, EDITION OF TEN, TWO ARTIST’S PROOFS, WINTER 2003.” The remaining text is printed in five lines at the bottom center of the sheet: “DESIGNED WITH PAMELA VANDERZWAN, PHOTOGRAPHS PRINTED BY JOHN MARCY OF NORTHAMPTON PHOTOGRAPHIC, TEXT PRINTED BY PETER KRUTY EDITIONS, FUNDED WITH GENEROUS SUPPORT, BY PETER NORTON.” Between the text at the center of the sheet and the five lines along the bottom, the artist signed the sheet in graphite: “Carrie M. Weems 9/10.”
Carrie Mae Weems, Kitchen Table Series, 1990, printed 2003, portfolio of 20 platinum/palladium prints and 14 screenprints, Gift of the Collectors Committee, and Robert B. Menschel and the Vital Projects Fund, 2017.4.1.1-34

Kitchen Table Series

Carrie Mae Weems · 1990, printed 2003 · portfolio of 20 platinum/palladium prints and 14 screenprints ·  Accession ID  2017.4.1.1-34

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Incoming

Richard Mosse · 2014–2017 · three-channel digital video, color, sound, 52:12 minutes ·  Accession ID  2019.116.1

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Charity Still and William Lloyd Garrison

Hank Willis Thomas · 2009 · flocking on two sheets of wove paper ·  Accession ID  2015.19.3474.a-b

Carrie Mae Weems, After Manet, 2002, printed 2015, chromogenic print, Alfred H. Moses and Fern M. Schad Fund, 2015.75.1

After Manet

Carrie Mae Weems · 2002, printed 2015 · chromogenic print ·  Accession ID  2015.75.1

Malick Sidibé, Les Beatles Bayada Di, 1966/2004, printed 2008, gelatin silver print, glass, paint, cardboard, tape, string, Scott Nathan and Laura DeBonis Fund, 2018.103.3

Les Beatles Bayada Di

Malick Sidibé · 1966/2004, printed 2008 · gelatin silver print, glass, paint, cardboard, tape, string ·  Accession ID  2018.103.3

Diedrick Brackens, the forks in the creek, 2023, cotton and acrylic yarn, New Century Fund and Eugene L. and Marie-Louise Garbáty Fund, © Diedrick Brackens, Courtesy of the artist, Jack Shainman Gallery, New York and Various Small Fires, Los Angeles. , 2024.139.1

the forks in the creek

Diedrick Brackens · 2023 · cotton and acrylic yarn ·  Accession ID  2024.139.1

Four people with black skin are squeezed into a narrow boat on bright, turquoise-colored water that nearly fills this stylized, square painting. All four sides of the unstretched canvas are lined with six gromets spaced along each edge. The boat approaches a carnival-like tunnel near the upper right corner. Cartoon ghosts loom at the tunnel entrance and a translucent, veil-like ghost hovers over the left half of the painting. The horizon comes almost to the top of the canvas, where white clouds float against an azure-blue sky. A long, lemon-yellow line curls back and forth in a tight, curving zigzag pattern that widens out from a tiny sun setting on the horizon. A red cross on a white field floats near the upper left. At the top center, the word “WOW” appears in white letters within a crimson-red, bursting speech bubble with long trailing tendrils, like an exploded firework. Below the boat and against the water to our right, the word “FUN” has been overlaid with a white square so the tall, white letters are barely visible. The words “GREAT AMERICA” appear in a curling banner across the bottom half of the painting.
Kerry James Marshall, Great America, 1994, acrylic and collage on canvas, Gift of the Collectors Committee, 2011.20.1

Great America

Kerry James Marshall · 1994 · acrylic and collage on canvas ·  Accession ID  2011.20.1

A man and a woman with black skin stand in a sage and olive-green boat that comes toward us on a wavy, dripping band of cobalt blue that spans the lower edge of this loosely hanging, square canvas. The word “WANDERER” is written in white capital letters along the bow of the boat. Closer to us, in the boat, a woman is seen from the hips up. An oval, cloud-like form covers her torso, shoulders, and the area behind her head. It is white with rose-pink swirls, and has a few black lines creating scallops around the edge. A black shape at her waist, just over a cobalt-blue skirt, could indicate that at least one arm is bent behind her back. The penis, thighs, and knees of a man are seen between the boat and the triangular, pale lilac-purple sail. The sail is painted with long, curling strokes of violet purple up its center. A long, white pennant with two gold stars flutters from the boat’s burgundy-red mast, which has a crosspiece just below the pennant. The water is painted with strokes of royal blue, which partially drip over a white skull at the lower center. The boat is set against a background layered in washes of white, shell pink, and baby blue, with swirls and thin strokes of brick red scattered across it. A yellow sun outlined in deeper gold peeks above the horizon in the lower left, and is repeated with more orbs that together make an arc that curves to the upper right corner. A few geometric line drawings hover next to the woman, on our left, such as a compass-like cross with a crosshatched oval at each end. A black number "1" floats in the lower left, above the water, and a black number "7" floats near the upper left. Two more black sevens float near the upper right, next to another heart-shaped line drawing. The background transitions from the pale washes to darker orbs of pink and blue, that overlap a band of black that nearly spans the top edge. In that upper zone, a black, gold, and red compass floats near the top of the mast, to our left. A sheet with anatomical illustrations hangs from the left arm of the mast. The drawings show cell clusters and human fetuses, some circled in red. A second drawing of a house circled in lilac purple hangs on the right arm, next to a third drawing of concentric circles.
Kerry James Marshall, Voyager, 1992, acrylic and collage on canvas, Corcoran Collection (Gift of the Women’s Committee of the Corcoran Gallery of Art), 2014.79.52

Voyager

Kerry James Marshall · 1992 · acrylic and collage on canvas ·  Accession ID  2014.79.52