Pg 94 PDF: "The assumption that our ability as artists is restricted to our only being able to deal meaningfully with the question of race and rage overdetermines critical perception. ."
Bell Hooks brings up white critics that has greatly missed the meaning that is happening with Carrie Mae Weems's work. She emphasizes how the audience that are viewing the artwork only focuses on race itself, not realizing there is more underneath the surface. Most white people assume that they can't relate to Carrie Mae Weems's paintings, just because the subject is black. However, it should be seen as just a subject around their surrounds that makes the story, rather than the subject being black as the story, such as the kitchen table series.
Pg 104 PDF: "The work is very, very, class-based. It is working class-based; I think that reality shapes the pictures-the way the images are constructed. I'm very interested in ideas about blues and jazz, that expressive musical culture. That's where I function."
Carrie Mae Weems replies to Bell Hooks when it comes to different types of blues, she brought up how she thought of her work when listening to one of the singers. Carrie Mae Weems compares her work to the blues, where people listen to more of the music rather than the words that the singer is saying, explaining how there is a deeper meaning within the lyrics. Bell Hooks mentions one line "I've had my fun if I don't get well no more", Muddy Waters, and it hints to different types of alinements such as AIDS, cancer, diseases and more.
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