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This is an image of a book cover. On the book cover is a The image is of a red three-panel privacy screen (the left panel is cut out of the image so we only see the center and right panels) with strings of green leaves on the center and right panels and on the center panel, a figure of a woman standing as she is completely covered in blue fabric and the only part of her body you can see is her right thigh, right arm and her right hand is touching her head. We also see gold embroidered text which reads "Of Adam's eye." There is a solid black background and to the right of the privacy screen is white text that reads "Carrie Mae Weems The Fabric Workshop/Museum"

A two-page spread preview of text that reads: "Introduction Mary Jane Jacob Depuis epuis les années 70, une grande partie de l'art américain a été consacrée à des questions d'iden- tité—ethnique, raciale, sexuelle. Dans le même temps, un milieu artistique international en expansion s'est intéressé aux questions et aux notions de nationalité. Pendant cette période, les mouvements américains et mondiaux du multiculturalisme ou de l'inter-culturalisme et du féminisme ont con- vergé. Nous vivons aujourd'hui dans une ère culturelle très différente, caractérisée par un grand flux, mais offrant aussi la possibilité d'un échange à travers les frontières politiques and sociales. Carrie Mae Weems fait partie des artistes américains majeurs issus de cette période de critique culturelle, abordant dans son art la complexité de la vie américaine contemporaine. C'est en partie cela qui la conduit à explorer les origines culturelles des Africains-Américains, repérant les références et les résonnances sur les deux continents. Much American art since the 1970s has been devoted to issues of identity-ethnic, racial,Une Américaine gender. At the same time an expanded international art scene has taken up questions and concepts of nationality. During this period American and global movements of multiculturalism or cross-cultural- ism and feminism converged. We find ourselves today in a very different cultural age, one of great flux, but also offering the potential for exchange across political and social boundaries. Carrie Mae Weems is one of the leading American artists to have emerged out of this period of cultural critique, confronting in her art the complexity of contemporary American life. This has, in part, led her to an exploration of the cultural origins of the African-American, locating references and resonances on both continents. An American Carrie Mae Weems was born in 1953 in Portland, Oregon, on the northwest coast of the United States. She was educated in the late 1970s and early 1980s at the California Institute of 8 Carrie Mae Weems est née en 1953 à Portland, Oregon, sur la côte nord-ouest des Etats-Unis. A la fin des années 70 et au début des années 80, elle a étudié au California Institute of Arts, Valencia (duquel sont sortis certains éléments clé de l'art américain d'avant-garde récent et de l'art conceptuel) ainsi qu'à l'Université de Californie, San Diego, l'une des plus avancées dans les domaines de l'art conceptuel, de la performance, et des orientations politiques de l'art. Ella a égale- ment étudié le folklore à l'Université de Californie, Berkeley. Toutefois, c'est à l'autre bout du pays- auprès des communautés côtières du sud-est à la limite des Etats de la Géorgie et de la Caroline du Sud—que Weems a le mieux compris son héritage et la présence de l'Afrique en Amérique. Une Africaine-Américaine L'œuvre photographiée majeure de Weems commence en 1978 avec la série Family Pictures and Stories (Photos et histoires de famille) (1978-84), dans laquelle allie des images de membres de sa famille à des récits écrits et enregistrés relatant leur migration du"

The image is of a two-page spread in a book and there is an image in the center. The image is of a red three-panel privacy screen with green leaves and gold embroidered text. This is an artwork by Carrie Mae Weems. The text describes the work and reads: "The Apple of Adam's Eye This work marks a point of departure for Weems in terms of her use of media which she undertook as part of her residency at The Fabric Workshop/Museum. She worked in collaboration with Mary Anne Friel, who executed the artist's design. Initially, the figure appeared in the round (seen frontally on the face of the central panel, and from behind on the reverse); in Cette œuvre marque un point de départ pour Weems en ce qui con- cerne l'utilisation de moyens explorés au cours de sa résidence au Fabric Workshop/ Museum. Elle a travaillé en collaboration avec Mary Anne Friel, qui a réalisé les dessins de l'artiste. Initialement, le personnage apparais- sait en ronde bosse (vu de devant sur la face du panneau central et de derrière au dos); dans cette version finale, le personnage au dos du panneau a été remplacé par un texte. Des versions this final version, the figure on the back has been replaced with text. Earlier versions linked images plus anciennes associaient des images de pommes et de serpent au texte placé sur le devant des pan- of an apple and snake with the text on the front side panels, but these were later discarded in favor of neaux latéraux, mais elles ont été abandonnées au profit d'un feuillage serpentin qui se déroule serpentine foliage that continues around the figure and on the reverse of the side panels. The autour du personnage et au dos des panneaux latéraux. L'image photographique monochromatique monochromatic photographic image became more sensual as it was saturated with a fiery Chinese red- est devenue plus sensuelle lorsqu'elle a été saturée d'une couleur vive rouge-orangé chinoise pour le orange colored background, the veil in royal blue, and the skin in a bronze hue. Underprinting of gold fond, de bleu royal pour le voile, et d'une teinte de bronze pour la peau. Des impressions sous-jacentes leaves, accidentally arrived at, and overpainting the red background with green and gold foliage à la feuille d'or, obtenues par hasard, et la peinture d'un feuillage vert et or sur le fond rouge offrent offered a rich, glowing resolution. The text, at first intended to be printed, was finally embroidered in un contraste riche et brillant. Le texte, qui devait d'abord être imprimé, a finalement été brodé au fil gold silk thread that added to the sumptuousness of the work. Finally, a printed-fabric covered frame de soie dorée, ajoutant au caractère somptueux de l'œuvre. Pour finir, un premier cadre recouvert de was abandoned in favor of an exposed frame of delicately patterned Australian lacewood. tissu imprimé a été remplacé par un cadre en bois de sycomore australien aux motifs délicats."

A two-page spread that has text on the left and an image on the right. The text describes the image and reads: "Slave Coast Eighteen photographs, each 52.7 x 52.7 cm Silverprint on paper with black wood frames Three texts, each 52.7 x 52.7 cm Three texts, two each 68.6 x 76.2 cm, one 76.2 x 68.6 cm Silkscreen on paper with black wood frames Edition of 10 (La côte des esclaves) 1993 Dix-huit photographies, de 52,7 x 52,7 cm chacune Photos en noir et blanc sur papier avec cadres de bois noir Trois textes, de 52,7 x 52,7 cm chacun Trois textes, deux de 68,6 x 76,2 cm, un de 76,2 x 68,6 cm chacun Sérigraphie sur papier avec cadres de bois noir Edition de 10 This series depicts sites Elmina and Cape Coast in Ghana and Gorée Island in Senegal. Some works are poetic images that point to the sea crossing, leaving behind a rich heritage, symbolized by a group of sculptures. Others, like at Gorée Island, adopt an intense, frontal, and confrontational point of view to show the slave holding facilities located on this island off the coast of Dakar. Within these spaces Africans brought from regions farther in the interior were sorted like commercial goods and imprisoned prior to passage. From this site millions of Africans were shipped against their will to the New World. Weems's text speaks of their tribal origins, the break- down of their social structure into a situation where all the people are valued only as commodities; poetic phrases tell about capture in threatening or ironical terms. Together the works in this series become an ode or chant, an evocation of the souls lost to the crime of slavery."

A two-page spread that has two boxes. One box is on the left margin of the page and contains an image. The second box touches the first box and is to the right, in the center of the page. The second box contains text. The text reads: "Wrapped as they were in their magic, dripping from honey poured from the calabash, they needed more than love to stave off the hunger nipping at their bud. Neither with cer- tainty remembered suggesting eating from the tree in the garden, but somehow or another the decision had been made. It could have been her; she was a curious rebellious woman for sure. On the other hand, he was a man enraptured with the spices of life. One thing was certain, this was the ending and the beginning of things. Square-toed and flat-footed they danced before the lawd with all their might, but evidently it was too late. Banished from the heavenly garden of earthly delight they landed head first smack in the middle of a tradi- tion that denied them both. Even the lion, sovereign beast of the savanna kingdom, cried for them. A woman is like an apricot, eighteen days and she is out of season"

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Carrie Mae Weems

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Description

During her residency at FWM (1991–1993), Carrie Mae Weems experimented with several projects which culminated in the production of a folding screen, The Apple of Adam’s Eye, now part of FWM’s Collection. This work became the centerpiece for a room-sized installation of various objects, including several series of photographs (the medium for which the artist is best known).

With an original essay by bell hooks, this publication includes both English and French language versions of the accompanying text.

Published by The Fabric Workshop and Museum, 1996
Softcover, 40 pages / color, black and white

Includes a Foreword by Marion Boulton Stroud, Artist Acknowledgments by Carrie Mae Weems, an Introduction by Mary Jane Jacob, and an essay, Diasporic Landscapes of Longing, by bell hooks.

ISBN: 0-9619760-4-7