Skip Ribbon Commands
Skip to main content
menu

Now On View


< >
Photograph of a young man resting his arms and head upon bike handlebars and gazing into the camera

A Young Man Resting on an Exercise Bike, Amityville, NY, 1988, Dawoud Bey

Photograph of a woman hiding her face in the corner between a wall and a fireplace mantle

First Self Portrait, 1975, Carrie Mae Weems


A CHANCE MEETING​​​​​​

Photograph of a woman reading a book and three young girls sitting at a kitchen table playing cards

Untitled (Woman and Daughter with Children), from The Kitchen Table Series, 1990, Carrie Mae Weems

Image Placeholder 940px

Couple in Prospect Park, 1990 (printed 2018), Dawoud Bey


We were very early on deeply interested in the field of photography, with a sense of not only what we wanted to do in it, but with a sense of what was happening in it.


Carrie Mae Weems


RESURRECTING BLACK HISTORIES

Photo of a framed image of a woman in black and red in profile pose, nude, cropped to a circle with the text You Became a Scientific Profile overlaied on top in light serif text

You Became a Scientific Profile, from the series Sea Islands, 1992, Carrie Mae Weems

Black people have been killed for directing their gaze at the wrong person. I want my subjects to reclaim their right to look, to see, and to be seen.


Dawoud Bey

A deeply dark, textural photo of ivy creeping up a tree trunk, on the left is a white picket fence and in the distance is a house

Untitled #5 (Tree Trunk, Picket Fence, and House), from the series Night Coming Tenderly, Black, 2017, Dawoud Bey


Revelations in the Landscape

A woman in a dark gown faces away from the camera, looking out at a city and ancient buildings in white

The Edge of Time–Ancient Rome, from the series Roaming, 2006, Carrie Mae Weems

Photograph looking through a small plywood peephole at a unfocused construction site

Former Renaissance Ballroom Site, Harlem, NY, from the series Harlem Redux, 2015, Dawoud Bey

The camera gave me an incredible freedom. It gave me the ability to parade through the world and look at people and things very, very closely.

Carrie Mae Weems


Memorial and Requiem​​​​​​

Two photographic portraits of a older man and younger man, both gaze into the camera

The Birmingham Project: Wallace Simmons and Eric Allums, 2012, Dawoud Bey

When people ask me who is my audience? I always say history, I’m working for history. I’m working to leave something here. So, when the accounting is done, did you make something that matters?

Dawoud Bey

Photograph of a Japanese woman holding a girl in the center of a room on a floor cushion in the middle of the floor, between two windows and framed portraits, next to a small barren tree,

The Tragedy of Hiroshima, from the series Constructing History: A Requiem to Mark the Moment, 2008, Carrie Mae Weems





Images: A Young Man Resting on an Exercise Bike, Amityville, NY, 1988, Dawoud Bey, American, born 1953, gelatin silver print, 20 x 24 inches, © Dawoud Bey, courtesy of Stephen Daiter Gallery. First Self Portrait, 1975, Carrie Mae Weems, American, born 1953, gelatin silver print, 8 5/8 x 8 5/8 inches, © Carrie Mae Weems, courtesy of the artist and Jack Shainman Gallery, New York. Couple in Prospect Park, 1990 (printed 2018), Dawoud Bey, American, born 1953, gelatin silver print, 21 7/8 x17 1/2 inches, Grand Rapids Art Museum, museum purchase, 2018.22. © Dawoud Bey, courtesy of Stephen Daiter Gallery. Untitled (Woman and Daughter with Children), from The Kitchen Table Series, 1990, Carrie Mae Weems, American, born 1953, gelatin silver print, 40 x 40 inches, © Carrie Mae Weems, courtesy of the artist and Jack Shainman Gallery, New York. You Became a Scientific Profile, from the series Sea Islands, 1992, Carrie Mae Weems, American, born 1953, chromogenic print with etched text on glass, 26 1/2 x 22 3/4 inches, © Carrie Mae Weems, courtesy of the artist and Jack Shainman Gallery, New York. Untitled #5 (Tree Trunk, Picket Fence, and House), from the series Night Coming Tenderly, Black, 2017, Dawoud Bey, American, born 1953, gelatin silver print, 48 x 56 inches, © Dawoud Bey, courtesy of Stephen Daiter Gallery. The Edge of Time–Ancient Rome, from the series Roaming, 2006, Carrie Mae Weems, American, born 1953, digital chromogenic print, 73 x 61 in., © Carrie Mae Weems, courtesy of the artist and Jack Shainman Gallery, New York. Former Renaissance Ballroom Site, Harlem, NY, from the series Harlem Redux, 2015, Dawoud Bey, American, born 1953, archival pigment print, 40 x 48 inches, © Dawoud Bey, courtesy of Stephen Daiter Gallery. The Birmingham Project: Wallace Simmons and Eric Allums, 2012, Dawoud Bey, American, born 1953, archival pigment prints mounted to dibond, 40 x 64 inches (two separate 40 x 32 inch photographs), © Dawoud Bey, courtesy of Stephen Daiter Gallery. The Tragedy of Hiroshima, from the series Constructing History: A Requiem to Mark the Moment, 2008, Carrie Mae Weems, American, born 1953, archival pigment print, 60 x 50 inches, © Carrie Mae Weems, courtesy of the artist and Jack Shainman Gallery, New York.


Seattle Art Museum respectfully acknowledges that we are on Indigenous land, the traditional territories of the Coast Salish people. We honor our ongoing connection to these communities past, present, and future.

Learn more about Equity at SAM