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jasmineweber

@jasmineweber

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www.jasmineweber.com

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two months ago, i sat down with carrie mae weems for a brief interview at the park avenue armory. i haven’t stopped thinking about it since. i wrote an essay for @hyperallergic reflecting on that conversation and what weems’s work means to me. link in bio :’) by @jasmineweber

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5 years ago

I’m so grateful for the opportunity to write about Derriann Pharr’s ethereal practice for the text companion to A sustained becoming: Studio Museum Artists in Residence 2026, curated by Adria Gunter. The experience was a dream — Derriann’s talent and warmth blew me away.

You can see the incredible art that Pharr and her co-artists in residence, Simonette Quamina and Taylor Simmons, have been working on at the Studio Museum in Harlem until January 3, where you can grab the book. There are beautiful essays by Gunter, Grace Aneiza Ali on Quamina, and Colony Little (@cultureshockart) on Simmons. Thank you to the many members of the SMH team who helped shepherd the work. 🤎

[Scan of the A sustained becoming book]

I first read “Present” by Sonia Sanchez while writing the essay—I can’t count how many times I’ve read it since. It became so important to how I saw and thought about Pharr’s surreal compositions. Still echoing:

this woman whose body weaves
desert patterns,
this woman, wet with wandering,
reviving the beauty of forests and winds
is telling you secrets

[Scan of “Present” by Sonia Sanchez in I’ve Been a Woman: New and Collected Poems] by @jasmineweber

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15 days ago

reminiscing <3

reminiscing <3

reminiscing <3

reminiscing <3

reminiscing <3

“Eye(s) Open – New Perspectives on Colonial Film Heritage” at the Eye Museum

triple canopy publication intensive mixue party <3

perfect mccormack writing center cohort <3

reminiscing <3

reminiscing <3

reminiscing <3

family in azurest, 1980 <3

reminiscing <3

reminiscing <3

reminiscing <3 by @jasmineweber

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18 days ago

My first published piece of 2026 is also my first article for Essence, on Auudi Dorsey’s speculative depictions of midcentury Black beachgoers, on view at Jonathan Carver Moore through January 31. ⛱️ by @jasmineweber

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9 months ago

Last winter, from his home in Corona, Queens, then-98-year-old artist Frank Wimberley puzzled together a collage. Soon after completion, “Untitled” (2025) went on view in “Frank Wimberley: Before More After Less” at Berry Campbell Gallery in Chelsea, showcasing his paintings, collages, and sculptures spanning 1982 to 2025. It was, in the words of his wife, Juanita Wimberley, “the first one to go.” The show marked a milestone for the artist: a retrospective look at decades of artmaking. “I was looking at work that I had done over the years,” he reflected in an interview with @jasmineweber in February. “It’s like looking at your life.”

Wimberley died earlier this month, at age 99. His death was announced by Berry Campbell Gallery, which represented him. “ I was always sort of floored at how his paintings were so sophisticated and strong, but delicate at the same time,” said Christine Berry, one of the gallery’s co-directors. Wimberley called his artworks “controlled accidents” — his visual language was deeply considered but flowed freely, inviting surprises along the way. Like a jazz composition, a Frank Wimberley work conjures emotion, pushes and tugs at the limits of a medium, evading restrictive qualifications. They unfold before your eyes, offering rewards and revelations in exchange for close looking.

To read the full obituary by Jasmine Weber, visit the link in bio.
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1 - Frank Wimberley in an undated photo (all photos courtesy Berry Campbell Gallery)

2 - Frank Wimberley, “Untitled” (2025), acrylic, mixed media, and collage on museum board

#FrankWimberley #Painting #Collage #Sculpture #AbstractExpressionism by @jasmineweber

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a year ago

Alison Saar has been making art her whole life. “I say it was kind of like my first language,” she tells Hyperallergic. Raised by artists Richard and Betye Saar, she and her sisters “were always making and drawing things, probably even before we were speaking much …. There was really no getting away from it.”

Brought up in Laurel Canyon, an enclave in Los Angeles, @alison_saar and her sisters Lezley and Tracye were always encouraged to experiment and create with abandon, “no matter how funky or weird it was.”

“We always felt that we could just make whatever we wanted to and everything was good and worthwhile and had value,” Saar reflects. “There was no such thing as a bad painting or drawing. I think that was an incredible gift from both my parents, and gave us a lot of freedom to just develop into the artists that we are.”

To read the full interview by @jasmineweber, visit the link in bio.
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1 - Alison Saar at Arion Press, San Francisco, California (2024) (photo by Nicholas Lea Bruno, courtesy L.A. Louver, Venice, California)

4 - Detail of Alison Saar, “Queen of the Boneyard” (2025), wood, ceiling tin, wire, dominoes (© Alison Saar; photo by Matt Emonson, courtesy L.A. Louver, Venice, California)

7 - Alison Saar, “Feral Son” (c. 1980), mixed media (© Alison Saar; courtesy High Museum of Art)

#AlisonSaar #AfricanAmericanArt #DriskellPrize #Interview #Artist by @jasmineweber

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a year ago

Last fall, I was a participant in the @centerforbookarts 2024 Small Press Incubator; this past weekend, I displayed these photo zines — printed on silk, cotton, vellum, and matte paper — at CBA’s BOOKsmART inside the Art on Paper fair 💫 by @jasmineweber

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a year ago

🤎 taken in Chicago by @jasmineweber

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a year ago

bits of spring / summer by @jasmineweber

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a year ago

things i made in 2023 🧶🪡 by @jasmineweber

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3 years ago

sweet blood by @jasmineweber

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3 years ago

september 🫶🏽

*flashing lights slide 3 by @jasmineweber

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4 years ago