摘要：African-American artist Carrie Mae Weems is known in modern American lifestyle, especially for her fictional photographs as a reflection of her own reality. Since the beginning of 1989, Weems' photographs named "Kitchen Table Series" are critical studies on both the contradictions of the black culture it comes from and the stereotypes of the wider society. It can be said that the American contemporary art movements in the 1970s were influential on Weems's approach to art. In this historical period, a young generation of artists; they structured their art by uniting around universal phenomena such as anti-war, identity and gender equality. In this context the a for mentioned photographs of Weems; It is remarkable in terms of being both a formative (composition) and a carrier of a certain content on the basis of the visual culture created by the art of painting from the late 19th century to the late, from Henry Ossawa Tanner to Romare Bearden in American and European art. With the technical means of photography, the artist has the idea to turn it into a kind of art object, and has both received his education in this direction and developed his art in this direction, based on the facts he has internalized and knows best. Weems suffered from the discrimination of almost every African-American family when they started school. This situation has been one of the socio-psychological factors that shaped both his outlook on life and his relationship with art. In this article, Weems's fictional photo series named "Kitchen Table Series"; The relations of image, form / content and painting art with historical references are discussed in the context of modern culture and personal reality fields, through selected examples.
