CARRIE MAE WEEMS
Case, Dick. “Artist Carrie Mae Weems spearheads public-art campaign against violence.” Syracuse.com, 9 January 2011. Web. 12 February 2011.
Kaufman, Jason Edward. “Philadelphia Museum photography exhibit ‘Unsettled’” (Philadelphia Museum of Art exhibition review). The Washington Post, 2 May 2011: illustrated.
Leonardi, Kevin. “Exhibition explores approaches to art and civic dialogue.” Inside SU, 4 April 2011:
Motley, John. “Safety in Numbers?: Images of African American Identity and Community at Portland Art Museum” (exhibition review). Organ Live, 30 March 2011:
Neal, Mark Anthony. “Artist Aims Latest Campaign at Senseless Gun Violence in Syracuse.” The Loop 21 Blog. 22 February 2011. Web. 28 July 2011.
Pearson, Lisa, ed. It Is Almost That: A Collection of Image + Text Work by Women Artists & Writers. Los Angeles: Siglio, 2011: 120–135, illustrated.
Posing Beauty: African American Images From the 1980s to the Present (exhibition catalogue). New York: W.W. Norton & Company, Inc., 2011.
Salisbury, Stephan. “Scenes from the Culture Wars” (Philadelphia Museum of Art exhibition review). The Philadelphia Inquirer, 21 April 2011: D5.
Solomon-Godeau, Abigail. “Book Reviews: Witnessing For Women.” Art in America, no. 4 (April 2011): 43–48, illustrated p. 46.
Carrie Mae Weems: Social Studies. Texts by Elvira Dyangani Ose, Annie E. Coombes, and Greg Tate. Centro Andaluz de Arte Contemporáneo, 2010.
Embodied: Black Identities in American Art from the Yale University Art Gallery (exhibition catalogue). New Haven: Yale University Press, 2010.
The Record: Contemporary Art and Vinyl (exhibition catalogue). Durham: Duke University Press, 2010.
Ramchandani, Ariel. “Women Artists at MOMA,” moreIntelligentlife.com, 25 July 2010.
Simmons, Xaviera. “Carrie Mae Weems: Untitled (Black Love).” In Re:Collections; Selected Works from the Studio Museum in Harlem, edited by Thelma Golden. New York: Studio Museum in Harlem, 2010.
Bey, Dawoud. “Carrie Mae Weems.” Bomb 108 (Summer 2009). <http://www.bombsite.com/issues/108/articles/3307>.
Cotter, Holland. The New York Times, 26 April 2009.
Encyclopedia of African America Artists (Artists of the American Mosaic). Westport: Greenwood Press, 2009.
Weaver, A.M. “Carrie Mae Weems: History and Dreams.” Aperture Magazine (Winter 2009).
Willis, Deborah. Posing Beauty: African American Images from the 1980s to the Present. New York: W.W. Norton & Company, Inc., 2009.
Black Womanhood: Images, Icons, and Ideologies of the African Body (exhibition catalogue). Edited by Barbara Thompson. Hanover: Hood Museum of Art, Dartmouth College, 2008.
Cotter, Holland “Art in Review.” The New York Times, 25 July 2008.
Farrell, Laurie Ann, and Carrie Mae Weems. Constructing History: A Requiem to Mark the Moment. Savannah, GA: Savannah College of Art & Design, 2008.
Maddox, David. “The Louisiana Project, From Here I Saw What Happened.”Fall/Winter 2007/2008 No. 60.
Martin, Courtney J. “Critic’s Picks: Carrie Mae Weems” Artforum (August 2008).
Perree, Rob. “Reviews.” Kunstbleed.nl Magazine, no. 4 (2008): 86.
Glueck, Grace. “Photography and the Self: The Legacy of F. Holland Day.” The New York Times, 22 June 2007: E3.
Hume, Susie. “"All About Eve" by Carrie Mae Weems.” Rochester City Newspaper, 28 February 2007.
Kaplan, Cheryl. “All About Eve: A profile of Carrie Mae Weems” (catalogue). Rochester: University of Rochester, 2007.
Kaplan, Cheryl. “Madame X: The Recent Work of Carrie Mae Weems.” Women's Review of Books, Wellesley University, MA (September/October, 2007).
Kaplan, Cheryl. “The Screen Test: The Films of Carrie Mae Weems.” Harvard University, W. E. B. Du Bois Institute, October, 2007.
Schwendener, Martha. “Seen on the Street: Photographers’ ‘Everyday Epiphanies.’” The New York Times, 22 June 2007: E1.
Brewinska, Maria. Black Alphabet – Contexts of Contemporary African American Art. Zacheta Narodowa Galeria Sztuki. Warsaw, Poland, 2006.
Cotter, Holland. “Emancipation Remains a Work in Progress.” The New York Times, 20 June 2006.
Cotter, Holland. “Power, Injustice, Death, Loss: At Sea in the Here and Now.” The New York Times, 1 September 2006.
Genoccio, Benjamin. “Double Exposure.” The New York Times, 23 April 2006.
Cotter, Holland. “Creating Their Own Image.” The New York Times, 7 January 2005: E5.
Cotter, Holland. “Imaginings of Africa, Chained or Unchained, Dispersed or Together.” The New York Times, 25 February 2005: E1.
Olds, Kirsten. “Recent Museum of Art Acquisition: Historically Resonant Portrait by Photographer Carrie Mae Weems.” Bulletin of the University of Michigan Museums of Art and Archeology Online. From the print edition archive. Volume 16, 2005. <http://hdl.handle.net/2027/spo.0054307.0016.110>
Sheets, Hilarie M. “Using Art to Build Pride.” The New York Times, 1 June 2005: E1.
Smith, Roberta. “Wide Open Spaces, Within and Between the Frames.” The New York Times, 2 September 2005: E5.
Vendryes, Margaret Rose. “African American Women Get Their Due (and Pay Them).” The International Review of African American Art 20, no. 2 (2005): 30–36: <http://gateway.proquest.com/openurl?url_ver=Z39.882004&res_dat=xri:bsc:&rft_dat=xri:bsc:ft:iibp:002840936>.
Berkovitch, Ellen. “Carrie Mae Weems, Newcomb Art Gallery, Tulane University.” Artforum 42 (April 2004): 163.
Bonetti, David. “Eye of an Artist, heart of an activist.” St. Louis Post Dispatch, 14 March 2004: F1, F11.
Cahan, Susan and Pamela R. Metzger and Erik H. N. Carrie Mae Weems: The Louisiana Project (exhibition catalogue). New Orleans: Newcomb Art Gallery, 2004.
Cohen, Keri Guten. “Carrie Mae Weems’ photos detail intimate experiences.” Detroit Free Press, 15 February 2004: 8F.
Crawford, Lynn. “Fold Elegance, Weems Gives Stunning Show at Hilberry.” Metrotimes, 18–24 February 2004: 24.
Everline, Theresa. “Carrie Mae Weems, transporting her still life to video.” The Independent Film & Video Monthly (17–19 2004).
Haddad, Natalie. “The Art of Identity, Carrie Mae Weems, exhibiting at Hilberry Gallery, taps into themes of race, class, and gender.” Real Detroit Weekly, 18–24 February 2004: 18.
Oppenheim, Phil. “A Little of Everything: Carrie Mae Weems and the Stuff of African-American Experience.” Art Papers 28 (September/October 2004): 10–12.
Bey, Dawoud, Lonnie Graham, Carrie Mae Weems, and Deborah Willis. Contact Sheet: Embracing
Eatonville (exhibition catalogue). Syracuse: Light Work, 2003.
Boxer, Sarah. “A Harsh Romance in a Land of Ruins and Revolution,” The New York Times, 11 July 2003: E1.
Brooks, Adams. Subjective Realities: Works from the Refco Collection of Contemporary Photography. New York and Chicago: Refco Group, Ltd, 2003: 238–241.
Camhi, Leslie. “Hudson River School.” Travel & Leisure (April 2003).
Carr, C. “More Than Meets the Eye, the Quiet Revolution of Carrie Mae Weems.” Village Voice, 28 February 2003.
Company, David, ed. Art and Photography. London: Phaidon, 2003: 21–22, 202.
Elie, Lolis Eric. “Artist Shows Ambiguity in History.” The Times—Picayune East, Jefferson (October 2003). B1.
Fairbrother, Trevor. Family Ties. Salem: Peabody Essex Museum and Marquand Books, 2003: 85–87.
Favor, J. Martin. “A Discussion with Carrie Mae Weems.” Hood Museum of Art Quarterly (Winter 2003): 4–5.
Foster, Mark. “‘Selections: Photography 2003’: Stimulating and Diverse.” The Lion’s Voice, November 2003: 3.
Garner, Gretchen. Disappearing Witness, Change in 20th Century American Photography. Baltimore: Johns Hopkins University Press, 2003: 226.
Gopnik, Blake. “Art and Race, Making a Memorable Appearance.” The Washington Post, 6 April 2003.
Guice, Charles. “Carrie Mae Weems.” B&W Magazine, 28 (December 2003): 64–65.
Harrison, Helen. “Twists on Tradition In Photography Shows.” The New York Times, 19 October 2003.
Leffingwell, Eduard. “Focus on Cuba.” Art in America (November 2003): 66.3.
Orvell, Miles. Oxford History of Art: American Photography. Oxford: Oxford University Press, 2003: 146.
Princental, Nancy. “Carrie Mae Weems at P·P·O·W.” Art in America (June 2003).
Sirmans, Franklin. “Carrie Mae Weems, Coming Up for Air.” Time Out New York, 13–20 March 2003.
Yuablonsky, Linda. Curve the Female Nude Now, Universe Publishing, 2003: 198–199.
Ackman, Kate. “For Every Action: Re:Action exhibit focuses on cultural and political issues.” The Kansas City Star, 18 January 2002.
Annas, Theresa. “Artist who focuses on images of African Americans visits Beach.” The Virginian-Pilot, 30 May 2002: B2.
Cravens, Richard H. “Photography Past Forward, Aperture at 50.” Aperture (2002): 205.
Doss, Erika. Oxford History of Art: Twentieth-Century American Art. Oxford: Oxford University Press, 2002: 218.
Marien, Mary Warner. Photography, A Cultural History. London: Laurence King Publishing, 2002: 466.
Mayer, Ruth. Artificial Africas, Colonial Images in the Times of Globalization. Hanover and London: University Press of England, 2002: 240–245.
Myers, Holly. “Black and White and Black, Carrie Mae Weems and The Hampton Project.” LA Weekly, 1–7 March 2002: 44.
Sontag, Susan. “Solnedgangara ar moderna igen” Dagens Nyheter, October 20 af Petersens, Magnus, History Now: The Presence of the Past in Contemporary Photography, Riksutstallningar, Stockholm, Sweden, 68-9.
Visions from America: Photographs from the Whitney Museum of American Art 1940–2001. Munich: Prestel Verlag Publishers, 2002: 150.
Budick, Ariella. “Witnesses to History-in-the-Making.” Newsday, 1 April 2001: D18–D19.
Burch, Peggy. “Artist Carrie Mae Weems tackles race and gender in powerful portraits.” The Commercial Appeal, 30 March 2001: G1, G7.
Cotter, Holland. “Carrie Mae Weems ‘The Hampton Project.’” The New York Times, 23 March 2001: E35.
Davis, Chris. “You Became an Accomplice.” The Memphis Flyer, 22–28 March 2001: 16–19.
Ebony, David. “David Ebony’s Top Ten: Carrie Mae Weems at the ICP” Artnet.com Magazine Reviews, 20 March 2001.
Exploring Identity 4x4 (exhibition catalogue). Lynchburg: Maier Museum of Art, 2001. Published in conjunction with the exhibition “Exploring Identity 4x4” shown at the Maier Museum of Art, Lynchburg, VA.
Fineman, Mia. “Leaning Curve: Carrie Mae Weems at the International Center of Photography.” Village Voice, 7–13 February 2001.
Hand Print Workshop Intl, The View From Here: Issues of Cultural Identity and Perspective in Contemporary Russian and American Art. State Tretyakov Gallery, Moscow.
Harrison, Helen. “The Jefferson Suite at the Parrish Art Museum.” The New York Times, 15 April 2001.
Lovelace, Carey. “Carrie Mae Weems at the International Center of Photography, Uptown.” Art in America (June 2001): 124–125.
Modern Contemporary Art at MOMA Since 1980 (exhibition catalogue). New York: Museum of Modern Art, 2001: 399.
Oostindie, Gert. Facing Up to the Past. Jamaica: Ian Randle Publishing, Prince Claus Fund Library, 2001: XXX.
Patterson, Vivian. “Carrie Mae Weems Serves Up Substance.” Gastronomica (Fall 2001): 21–24, 27.
Patterson, Vivian. “Carrie Mae Weems: The Hampton Project.” Aperture in association with Williams College Museum of Art, New York.
Tannenbaum, Kahan and Grove. Akron Art Museum: Art Since 1850, An Introduction to the Collection. Seattle: University of Washington Press, 2001: 241.
Thornson, Alice. “Carrie Mae Weems looks at ‘What was gained and what was lost’ at the Hampton Institute.” The Kansas City Star, 18 November 2001.
Tele[Visions], Kunst Sicht Fern, Kunsthalle Wein, 125. Published in conjunction with the exhibition “ Tele[Visions]” shown at the Museumsquartier, Vienna, Austria.
“Two Exhibitions Exploring Modern History.” The Southampton Press, 15 March 2001.
W, Musée des beaux-arts de Dole, Dole, France. Published in conjunction with the exhibition “W” shown at the Musée des Beaux-Arts, Dole, France.
Weissman, Katherine. “The Artist’s Way.” Oprah Magazine (November 2001).
Weiss, Marion Wolberg. “The Jefferson Suite at the Parrish.” Dan’s Papers, 30 March 2001: 40.
Art-Worlds in Dialogue (exhibition catalogue). Cologne: Museum Ludwig, 2000.
Berrett, Terry. Criticizing Photographs. California: Mayfield Publishing Company, 2001: 79.
Cornell, Daniel & Finley, Cheryl. Imaging African Art. New Haven: Yale University Art Gallery, 2000: 9, 26, 27.
Crowder, Joan. “Different Strokes.” Santa Barbara News, 7 January 2000: 6–7.
Goldberg, Vicki. “When Asserting a Self-Image Is Self-Defense.” The New York Times, 9 April 2000.
Hanzal, Carla. “Southern Exposure.” Contemporary Art Center of Virginia. Brochure.
“Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman” (exhibition catalogue). Edited by Shelley Rice. Cambridge: MIT Press, 2000.
Jones, Malcolm. “Black on Black.” Newsweek, 24 April 2000: 70–71.
Jones, Malcolm. “Reflections in Black.” The Independent on Sunday, 30 July 2000: 16.
Levine, Arthur. “Diversity is personal.” Lincoln Center Theater Review, no. 25 (Summer 2000): 12, 15.
Miliotes, Diane. “Surface Depth.” Hanover, New Hampshire: Hood Museum of Art: 10.
Ortiz, Edward A. “Exhibit to explore African-Americans, Native Americans at Hampton.” North Adams Transcript, 2000: A3.
Patterson, Vivian. Carrie Mae Weems: The Hampton Project (exhibition catalogue). New York: Aperture Foundation, Inc., 2000. Published in conjunction with the exhibition “Carrie Mae Weems: The Hampton Project” shown at the Williams College Museum of Art, Williamstown, Massachusetts.
Rust, Lindsey. “The 13th Floor” (exhibition review). The Independent (Santa Barbara), 16 December 2000.
Scheps, Marc. Kunst-Welten im Dialog. Cologne: Museum Ludwig, 2000: 492–495.
Sills, Leslie. In Real Life: Six Women Photographers. New York: Holiday House Press, 2000: 40–50.
Smith, Roberta. “The Hampton Project.” The New York Times, 11 August 2000: E34.
Tromble, Meredith. “DNA and Difference.” Limn, no. 5 (2000): 14.
Art-Worlds in Dialogue (exhibition catalogue). Cologne: Museum Ludwig, 1999.
Bal, Mieke. Quoting Caravaggio: Contemporary Art, Preposterous History. Chicago: The University of Chicago Press, 1999.
Bonetti, David. “So, Where Are We Now?” Art New England (December 1999/January 2000).
Davis, Keith F. An American Century of Photography: The Hallmark Photographic Collection. New York: Hallmark Cards and Harry N Abrams, Inc., 1999: 491.
Inverted Odysseys: Claure Cahun, Maya Deren, Cindy Sherman (exhibition catalogue).Edited by Shelley Rice. Cambridge: MIT Press, 1999.
Jaeger, William. “Everson Museum of Art / Syracuse: Recent Work, 1992–1998.” Art New England (April/May 1999): 53.
Know Your Art: Avon Products, Inc. Corporate Art Collection (exhibition catalogue). Avon Products, Inc. An exhibition catalogue.
Larsen, Ernest. “Between Worlds.” Art in America (May 1999): 122–129, cover.
“Looking Forward, Looking Black” (exhibition catalogue). Geneva, New York: Hobart and William Smith Colleges Press, 1999.
McHenry, Eric. “Telling Her Stories, Telling Histories: Installation Artists Assemble New Narratives from Fragments of the Past.” The B.U. Bridge, 5 November 1999.
McInnes, Mary Drach. Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems (exhibition catalogue). Boston: Boston University Art Gallery, 1999.
Other Narratives (exhibition catalogue). Houston: Contemporary Art Museum, 1999: 50, 51.
Piché, Jr., Thomas and Thelma Golden. Carrie Mae Weems: Recent Work. Syracuse: George Brazillier Publishers, 1999.
Re/Righting History (exhibition catalogue). Katonah: Katonah Museum of Art, 1999: 9, 23.
Rust, Lindsay. “The Jefferson Suite.” Santa Barbara Independent, 16 December 1999.
Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems (exhibition catalogue). Edited by Mary Drach McInnes, 1999. Boston: Boston University Art Gallery. Published in conjunction with the exhibition “Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems” shown at the Boston University Art Gallery.
Act/Language: Power & Display (exhibition catalogue). Tallahassee: Florida Agricultural and Mechanical University, 1998: 5.
Armitage, Diane. Review. THE Magazine (May 1998): 39.
Berkovitch, Ellen. “Documentary or Fiction? Photographer Establishes Scenes, Then Exits.” Journal North, 10 April 1998: 4.
Brockington, Horace. “Re/Positioning and Hierarchy.” NY Arts (December 1998): 19.
Carrie Mae Weems Ritual and Revolution (exhibition catalogue). Berlin: Philip Morris Kunstforderung and
Kunstlerhaus Bethanien, 1998.
Chandler, Mary Voelz. “Artists exhibit visual autobiographies.” Rocky Mountain News, 14 September 1998: 16D.
Claustrophobia (exhibition catalogue). Birmingham, England: Ikon Gallery, 1998: 88–93.
Collins, Lisa Gail, Ph.D. “‘Revolutions in Visions’: African-American Women, Aesthetics, and Visual Politics.” PhD diss., University of Minnesota, 1998, http://proquest.umi.com.
Grimley, Terry. “Haunting Art from the Kosovo frontline.” Birmingham Post, 10 June 1998: 15.
Hofstadter, Dan. “A Parade of Immigrants Passing Before the Lens.” The New York Times, 16 May 1998: C1.
Jackson, Phyllis J. “(In)Forming the Visual: (Re)presenting Women of African Descent.” The International Review of African American Art 14, no. 3 (1998): 31.
Johnson, Ken. The New York Times, 22 May 1998: E35.
Joselit, David. “Exhibiting Gender.” Art in America (January 1998): 36–39.
Kashara, Michiko. The Politics Behind the Nude, Chikuma Shobo Pub Co, 1998,p.215.Catalogue, From the heart: The Power of Photography-A Collector’s Choice, Aperture, pp. 88, 89.
Kimmelman, Michael. “When a Glint in the Eye Showed Crime in the Genes.” 22 May 1998: E31.
McCloud, Kathleen. “Twist and Turn of Truth.” Pasatiempo, 4 April 1998: 42.
Photography’s multiple roles: art, document, market, science (exhibition catalogue). Chicago: The Museum of Contemporary Photography, Columbia College, 1998.
Perre, Rob. Postcards from Black America. Amsterdam: Con Rumere Uitgevers, 1998: 102, 150, 151.
Pindella, Howardena. “Johannesburg Biennale and Interview with Ola Oguibe.” International Review of African American Art 15, no. 3 (1998): 15.
Roots and Reeds: The Amazing Grace of the Gullah People (exhibition catalogue). New York: Bertha and Karl Leubsdorf Art Gallery, Hunter CUNY, 1998.
Roland, Marya. “Tragic Wake...,” Art Papers (March/April 1998): 68.
Skuggan av Ljuset (exhibition catalogue). Stockholm: Moderna Museet, 1998.
Steele, Margaret & Kimberly Estes. The Art of The Body. Los Angeles: Museum of Contemporary Art, 1998: 11, 12.
Defining Eye, Women Photographers of the 20th Century (exhibition catalogue). St. Louis: St. Louis Art Museum, 1997: 115.
Dislocations (exhibition catalogue). Finland: Rovaniemi Art Museum and Harper Collins Publishers, 1997.
Feminine Image (exhibition catalogue). Roslyn Harbor, New York: Nassau County Museum of Art, 1997: 83. .
Heller, Nancy G. Women Artists, An Illustrated History. New York: Abbeyville Press, 1997: 239–242.
Original Visions, Shifting the Paradigm, Women’s Art 1970–1996 (exhibition catalogue). Boston: McMullen Museum of Art, Boston College Office of Publications, 1997.
Powell, Richard J. Black Art and Culture in the 20th Century. London: Thames & Hudson, 1997.
Robert Colescott. Recent Paintings (exhibition catalogue). Venice: US Pavilion 47th Biennale, Venice, Italy, 1997: 8, 9, Contact Sheet ’97, page 60.
Weibel, Peter. Inclusion Exclusion (exhibition catalogue). Austria: DuMont Buchverlag, 1997.
“African American Prints Display Historical Presence.” Observer (Sacramento) 16 March 1996.
Aletti, Vince. Review. The Village Voice, 30 January 1996.
Anderson, Michael. “Carrie Mae Weems at the J. Paul Getty Museum.” ArtIssues (Summer 1996): 42.
Berger, Wallis and Watson. Construction Masculinity, New York: Routledge Press, 1996: 289.
Beyond the Borders (exhibition catalogue). Korea: Kwangju Bienale, 1996: 424, 425.
Burning Issues: Contemporary African-American Art (exhibition catalogue). Fort Lauderdale: Museum of Art, 1996: 17.
Bonetti, David. “In search of a Better Life.” San Francisco Examiner, 15 September 1996: C15.
Bonetti, David. “Visual History of African America.” The San Francisco Examiner, 9 May 1996: C3.
Carrie Mae Weems (exhibition catalogue). Philadelphia: Fabric Workshop/Museum in conjunction with
the 10th Dakar Biennale, 1996.
Cottman, Michael H. and Deborah Willis. The Family of Black America. New York: Crown Trade
Paperbacks, 1996: 98–103.
Canning, Susan. “Carrie Mae Weems: Projects at MOMA/P·P·O·W.” Art Papers 20, no. 2 (March/April 1996): 50.
“Carrie Mae Weems to Create Installation Exploring Representation of African Americans in Photography.” Los Angeles Bay News, 23 February 1996.
Civil Rights Now (exhibition catalogue). Winston-Salem, North Carolina: South Eastern Center for Contemporary Art, 1996: 12.
“Dialog Der Kulturen.” Configurar 2, page 154, plate 79.
Donohue, Marlena. “The Power of Pictures.” The Evening Outlook, Rave!, March 3.
Dugan, Ellen. Picturing the South, 1860 to the Present. San Francisco: Chronicle Books, 1996: 189.
Equal Rights and Justice (exhibition catalogue). Washington, D.C.: Center for African American History and Culture, Smithsonian Institute, 1996: 13.
“Everything that Lives, Eats.” Aperture, no. 143 (Spring 1996): 48, 49.
Frank, Peter. “Art Picks of the Week: Carrie Mae Weems, Charles Gaines, Noah Purifoy.” L.A.
Weekly, 9–15 June 1996.
Galassi, Peter. “Pleasures and Terrors of Domestic Comfort.” Papel Alpha, no. 2 (1996): 20.
“Gender Beyond Memory-the Works of Contemporary Women Artists,” Tokyo. An exhibition catalogue.
Halle, Howard. Review. Time Out (24–31 January 1996): 26.
“If They Built a Memorial to the War in the Streets: Seven Proposals to Honor the Urban Dead,” organized by Ellen F. Salpeter and Anne R. Pasternak, text by Herbert Muschamp, The New York Times Magazine, 9 April 1996: 56–61.
Jones, Amelia. Sexual Politics. Berkeley: University of California Press, 1996: 28.
Johnson, Patricia J. “Balance the Table.” The Houston Chronicle, 8 April 1996.
Laughter Tens Years After (exhibition catalogue). Geneva, New York: Hobart and William Smith Colleges Press, 1996: 60–61.
Meyerowitz, Lisa. “Carrie Mae Weems, Kitchen Table Theater.” Contemporary Arts Museum Magazine (April 1996).
Muchnic, Suzanne. “Going for a Gut Reaction.” The Los Angeles Times, 26 February 1996.
Neumaier, Diane. “Reframings: New American Feminist Photographies.” Philadelphia: Temple University Press, 1996.
Patterson, Tom. “‘Wake’ a Potent Look at Slavery’s Legacy.” The Charlotte Observer, 29 December 1996.
Points of Entry-Trading Cultures (exhibition catalogue). Friends of Photography, 1996: 68–73.
Polzer, Brita. Herkunft, Fotomuseum Winterhur, pages 34–39.
Robinson, Jontyle Theresa. Bearing Witness: Contemporary Works by African American Women