- Select any 1 of Carrie Mae Weems’ photographs from her Kitchen Table series (1990)and provide an in-depth analysis of her choices in form, subject matter, and symbolism.
Be sure to clearly identify your chosen photograph and include a thumbnail.
- Provide a working definition of “the oppositional gaze,” in your own words. How does this concept help us to think critically about representation, the larger cultural themes, and interventions found within Weems’ work?
- Think critically about and discuss how Weems’ From Here I Saw What Happened and I Cried series (1995)offers an example of how the history of photography can be re-viewed and critiqued through an oppositional gaze.
- Offer some ideas about how “the oppositional gaze” informs contemporary visual culture. Are there any photographs, filmmakers, or artists that seem to be engaging with this concept in their work?
- Select any 1 of Catherine Opie’s photographs (in particular, her works of portraiture or self-portraiture) and provide an in-depth analysis of her choices in form, subject matter, and allusions to classical art history.
6.In your own words, provide a working explanation of Laura Mulvey’s concept/theory of “the male gaze.” What does she mean by this and how does this influential concept/theory help us to think critically about representation and the power dynamics underlying photography (ie: looking vs. being looked at or taking a photograph vs. having your photograph taken)?
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