Kara Walker
Kara Walker | |
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MacArthur fellowship | |
Website | karawalkerstudio |
Kara Elizabeth Walker (born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who explores
Walker is regarded as among the most prominent and acclaimed Black American artists working today.[4][5][6][7]
Early life and education
Walker was born in 1969 in
When Walker was 13, her father accepted a position at
Walker received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994.[16] Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as "typical" or "obvious"; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.
Walker recalls reflecting on her father's influence: "One of my earliest memories involves sitting on my dad's lap in his studio in the garage of our house and watching him draw. I remember thinking: 'I want to do that, too,' and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad."[17]
Work and career
Walker is best known for her panoramic
She first came to the art world's attention in 1994 with her mural "Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart." This cut-paper silhouette mural, presenting an Antebellum south filled with sex and slavery, was an instant hit.[20] The artwork's title references the popular novel Gone with the Wind by Margaret Mitchell, and the individual figures in the tableau index the fairy-tale universe of Walt Disney in the 1930s.[21] At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's "genius" grant,[22] second only to renowned Mayanist David Stuart. In 2007, the Walker Art Center exhibition "Kara Walker: My Complement, My Oppressor, My Enemy, My Love" was the artist's first full-scale US museum survey.
Her influences include Andy Warhol, whose art Walker says she admired as a child,[12] Adrian Piper,[23][24] and Robert Colescott.[20]
Walker's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African-American women in particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South.[12] The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.
Walker incorporates ominous, sharp fragments of the South's landscape, such as Spanish moss trees and a giant moon obscured by dramatic clouds. These images surround the viewer and create a circular, claustrophobic space. This circular format paid homage to another art form, the 360-degree historical painting known as the cyclorama.[19]
Some of her images are grotesque; for example, in "The Battle of Atlanta," [25] a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock; and a male black slave rains tears all over an adolescent white boy. The use of physical stereotypes such as flatter profiles, bigger lips, straighter nose, and longer hair helps the viewer immediately distinguish the black subjects from the white subjects. Walker depicts the inequalities and mistreatment of African Americans by their white counterparts. Viewers at the Studio Museum in Harlem looked sickly, shocked, and appalled upon seeing her exhibition. Thelma Golden, the museum's chief curator, said that "throughout her career, Walker has challenged and changed the way we look at and understand American history. Her work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling."[26] Walker has said that her work addresses the way Americans look at racism with a "soft focus," avoiding "the confluence of disgust and desire and voluptuousness that are all wrapped up in [...] racism."[19]
In an interview with New York's Museum of Modern Art, Walker stated: "I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things– genre paintings, historical paintings– the sort of derivatives we get in contemporary society."[10]
Process: Silhouette Installations
Walker is most widely known for her immersive site-specific installations. Walker plays and almost blurs the lines between types of art forms. Her installations could be fluid between visual art and performance art. Elements of her installations like the theatrical staging or the life-size cut figurines contribute to and somewhat evoke this performative behavior. As Walker has mentioned before, she focuses more on the ideas and concepts behind the artwork rather than focusing on the initial aesthetic and visual aspect of the artwork, creating more of a conceptual outlook.
Moreover, Shelly Jarenski discusses Waker’s art in the context of panoramas. For background context, panoramas were very popular in the nineteenth century and were used as a form of entertainment.[27] They usually depicted historical scenes or vast landscapes. Walker’s work demonstrates that the aesthetic experiences embedded in the panorama (though those experiences are rooted in the particular contexts of the nineteenth century) persist as a concern in African American art, just as the social consequences of slavery and the racial narratives that structured it persist in shaping our contemporary cultural narratives of race and space. Walker's work also provides a second visual example of the way panoramas can affect spectators, since it is a continual struggle for contemporary scholars to apprehend the visuality of panoramas, given that written sources are often all that survive in the historical archive[28]. When viewing Walker’s panoramas, they are illustrative of past events or depictions of the enslavement of African Americans. Her ability to combine devices that were used in the past and recontextualize with the sinful scenes she creates in her large-scale installations deconstructs the aesthetic of these installations. As Jarenski mentioned in her article, Walker’s panoramas provide a visual example of how her panoramas affect the viewers which is different from 19th-century panoramas which were limited to written sources. Walker’s installations are able to create a contemporary visual interpretation and reinforce one of the themes of panoramas; depict historical events. Thus, further shedding light and interconnectedness on the artistic process and the final artistic output.
Kara Walker once explained her artistic process as “two parts research and one part paranoid hysteria,” a description that captures the entanglement of history and fantasy that pervades her work.[29] In that sense, through the process of Walker creating her art, 2/3 of it has to do with logical analysis, research, and other rational minded resources. While on the other hand, she suggests a component of rational fear or paranoia. Even despite the rational aspect, there's a sense of uneasiness and complexity that ties and illustrates itself through her work.
Notable works
In her piece created in 2000, "Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)", the silhouetted characters are against a background of colored light projections. This gives the piece a transparent quality, evocative of the production cels from the animated films of the 1930s. It also references the plantation story " Gone With the Wind" and the Technicolor film based on it. Also, the light projectors were set up so that the shadows of the viewers were cast on the wall, making them characters and encouraging them to assess the work's tough themes.[19] In 2005, she created the exhibit "8 Possible Beginnings" or: "The Creation of African-America, a Moving Picture," which introduced moving images and sound. This helped further immerse the viewers into her dark worlds. In this exhibit, the silhouettes are used as shadow puppets. Additionally, she uses the voice of herself and her daughter to suggest how the heritage of early American slavery has affected her image as an artist and woman of color.[19]
In response to Hurricane Katrina, Walker created "After the Deluge" since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality." She likened these casualties to enslaved Africans piled onto ships for the Middle Passage, the Atlantic crossing to America.[12]
I was seeing images that were all too familiar. It was black people in a state of life-or-death desperation, and everything corporeal was coming to the surface: water, excrement, sewage. It was a re-inscription of all the stereotypes about the black body.[30]
Walker took part in the 2009 inaugural exhibition at Scaramouche Gallery in New York City with a group exhibit called "The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You."[31] Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, "Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker," opened at Sikkema Jenkins on the same day.[32]
Walker created "Katastwóf Karavan" for the 2018 art festival "Prospect.4: The Lotus in Spite of the Swamp" in New Orleans. This sculpture was an old-timey wagon, with Walker's signature silhouettes portraying slaveholders and enslaved people making up the sides and a custom-built steam-powered calliope playing songs off "black protest and celebration."[33]
Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on "humor and viewer interaction." Walker has stated, "I didn't want a completely passive viewer" and "I wanted to make work where the viewer wouldn't walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful."[34]
Commissions
In 2002, Walker created a site-specific installation, "An Abbreviated Emancipation (from a larger work: The Emancipation Approximation)," which was commissioned by The University of Michigan Museum of Art, Ann Arbor.[35] The work represented motifs and themes of race relations and their roots in the system of slavery before the Civil War. Several years later, in 2005, The New School unveiled Walker's first public art installation, a site-specific mural titled "Event Horizon," and placed along a grand stairway leading from the main lobby to a major public program space.[36]
Walker's most well-known commission debuted in May 2014. Her first sculpture, this work was a monumental public artwork entitled "
Walker has hinted that the whiteness of the sugar references its "aesthetic, clean, and pure quality." The slave trade is highlighted in the sculpture as well. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that "the exhibit itself is a striking and incredibly well-executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere. So the presence of so many white people -- and my presence as a black woman who's a descendant of slaves -- seemed to also be part of the show."[43] The work attracted over 130,000 visitors in its eight-weekend run. In his commentary on the sculpture, art historian Richard J. Powell wrote, "No matter how noble or celebratory in tone Walker's title for this work seemed, in this post-modern moment of moral skepticism and collective distrust, a work of art in a public arena—especially a visually perplexing nude—would be subjected to not just serious criticism, but Internet trolling and mockery."[44]
In 2016, Walker revealed "Slaughter of the Innocents (They Might be Guilty of Something)." In the painting, Walker depicts an African American woman slicing a baby with a small scythe. The influence for this detail was that of Margaret Garner, an enslaved person who killed her daughter to prevent her child from returning to slavery.
In 2019, Walker created "Fons Americanus," the fifth annual Hyundai Commission at
In 2023, the San Francisco Museum of Modern Art (SFMOMA) commissioned Walker to create the first site-specific installation for its Roberts Family Gallery.[48]
Other projects
For the season 1998/1999 in the
In March 2012, artist Clifford Owens performed a score by Walker at MoMA PS1.[51]
In 2013, Walker produced 16
.Controversy
The
A Walker piece entitled "The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos" caused controversy among employees at Newark Public Library who questioned its appropriateness for the reading room where it was hung. The artwork included depictions of the Ku Klux Klan accompanied by a burning cross, a naked black woman fellating a white man, and Barack Obama.[53] The piece was covered but not removed in December 2012.[54] After discussion among employees and trustees the work was again uncovered.[55] In March 2013 Walker visited the New Jersey Newark Public Library to discuss the work and the controversy. Walker discussed the content of the work, including racism, identity, and her use of "heroic" figures such as Obama. Walker asked, "[d]o these archetypes collapse history? They're supposed to expand the conversation, but they often collapse it."[53] Walker described the overwhelming subject matter of her works as a "too-muchness".[53]
In the 1999 PBS documentary "I'll Make Me a World," African-American artist Betye Saar criticized Walker's work for its "revolting and negative" depiction of black stereotypes and enslaved people. Saar accused the art of pandering to the enjoyment of "the white art establishment." In 1997 Saar emailed 200 fellow artists and politicians to voice her concerns about Walker's use of racist and sexist imagery and its positive reception in the art world.[56] This attention to Walker's practice led to a 1998 symposium at Harvard University, Change a Joke and Slip the Yoke: A Harvard University Conference on Racist Imagery, which discussed her work.[57]
Exhibitions
Walker's first museum survey,
Solo exhibitions
- 2007: "Kara Walker: My Complement, My Enemy, My Oppressor, My Love"[61]- Walker Art Center
- 2013: "Kara Walker, Rise Up Ye Mighty Race!"[62]- The Art Institute of Chicago
- 2013: We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress, )
- 2014: "A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant," Creative Time, Brooklyn, NY.[40]
- 2016: "The Ecstasy of St. Kara," Cleveland Museum of Art.[65][66]
- 2017: "Sikkema Jenkins and Co. is Compelled to Present the Most Astounding And Important Painting Show of the Fall Art Show Viewing Season!", Sikkema Jenkins & Co., New York, NY.[67]
- 2019: Untitled – Hyundai Commission, Tate Modern.[68]
- 2021: "A Black Hole is Everything a Star Longs to Be," Kunstmuseum Basel, Switzerland[69]
- 2021-21: Kara Walker: Cut to the Quick, Cincinnati Art Museum, Cincinnati, OH[70]
- 2023: Kara Walker: Harper’s Pictorial History of the Civil War (Annotated), New york Historical Society Museum and Library, New York, NY[71]
Collections
Among the public collections holding work by Walker are the
Recognition
In 1997, Walker, who was 28 at the time, was one of the youngest people to receive a
Walker has received the
Walker has been featured on
Her name appears in the lyrics of the
In 2017, a large scale mural portrait of Kara Walker done by artist Chuck Close was installed in a New York City subway station (Q line, 86th Street), part of a MTA public arts program.[91]
In 2019 Walker was elected to the Royal Academy of Arts in London, as an Honorary Royal Academician (HonRA).[92]
Personal life
Early in her career, Walker lived in Providence, Rhode Island with her husband, German-born jewelry professor Klaus Bürgel,[93][94] whom she married in 1996. In 1997, she gave birth to a daughter.[95][89] The couple separated, and their divorce was finalized in 2010.[96][89] As of 2017, Walker is in a relationship with photographer and filmmaker Ari Marcopoulos.[89]
Walker moved to Fort Greene, Brooklyn in 2003 and has been a professor of visual arts in the MFA program at Columbia University since then. She maintained a studio in the Garment District, Manhattan from 2010 until 2017.[89] In May 2017, she moved her art practice to a studio in Industry City.[89] She also owns a country home in rural Massachusetts.[93]
In addition to her own practice, Walker served on the board of directors of the Foundation for Contemporary Arts (FCA) between 2011[97] and 2016.[98]
Further reading
Articles
- D'Arcy, David. "Kara Walker Kicks Up a Storm," "Modern Painters" (April 2006).
- Garrett, Shawn-Marie. "Return of the Repressed," "Theater" 32, no. 2 (Summer 2002).
- Kazanjian, Dodie. "Cut it Out," "Vogue" (May 2005).
- Szabo, Julia. "Kara Walker's Shock Art," "New York Times Magazine" 146, no. 50740 (March 1997).
- Walker, Hamza. "Kara Walker: Cut it Out," "Nka: Journal of Contemporary African Art" no. 11/12 (Fall/Winter 2000).
- Als, Hilton. "The Shadow Act," "The New Yorker", October 8, 2007
- Als, Hilton. "The Sugar Sphinx," "The New Yorker", May 8, 2014
- Scott, Andrea K. "Kara Walker's Ghosts of Future Evil", the "New Yorker", September 9, 2017
- Wall, David. "Transgression, Excess, and the Violence of Looking in the Art of Kara Walker," "Oxford Art Journal" vol. 33, no. 3 (2010). https://www.jstor.org/stable/40983288
Non-fiction books and catalogues
- Barrett, Terry. "Interpreting Art: Reflecting, Wondering, and Responding", New York: McGraw Hill (2002).
- Berry, Ian, Darby English, Vivian Patterson, Mark Reinhardt, eds. "Narratives of a Negress, Boston: MIT Press (2003).
- Carpenter, Elizabeth and Joan Rothfuss. "Bits & Pieces Put Together to Present a Semblance of A Whole: Walker Art Center Collections". Minneapolis: Walker Art Center, 2005.
- Géré, Vanina. "Kara Walker", October Files series, The MIT Press (2022). https://mitpress.mit.edu/9780262544474/kara-walker/
- Jacobs, Harriet. "Incidents in the Life of a Slave Girl" (1858).
- Shaw, Gwendolyn Dubois. "Seeing the Unspeakable: The Art of Kara Walker", Durham and London: Duke University Press (2004). http://www.worldcat.org/oclc/55008318
- Vergne, Philippe, et al. "Kara Walker: My Complement, My Enemy, My Oppressor, My Love". Minneapolis: Walker Art Center, 2007. http://www.worldcat.org/oclc/602217956
- Walker, Kara E. "Kara Walker: After the Deluge". New York: Rizzoli, 2007. http://www.worldcat.org/oclc/144225309
- Walker, Kara E., Olga Gambari, and Richard Flood. Kara Walker: A Negress of Noteworthy Talent. Torino: Fondazione Merz, 2011. http://www.worldcat.org/oclc/768397358
Web sources
- The Art Story: Kara Walker, Modern Art Insight. 2016
Notes
- ^ Bravo, Doris Maria-Reina, "Kara Walker, Darkytown Rebellion", Khan Academy.
- ^ Green, Adrienne (March 3, 2018). "How Kara Walker Recasts Racism's Bitter Legacy". The Atlantic. Retrieved February 16, 2022.
- ^ Intrabartola, Lisa (September 25, 2015). "Esteemed Artist Kara Walker Named Tepper Chair". www.rutgers.edu.
- ISSN 0362-4331. Retrieved February 16, 2022.
- ISSN 0190-8286. Retrieved February 16, 2022.
- ^ Sutton, Benjamin (August 30, 2017). "Dear Kara Walker: If You're Tired of Standing Up, Please Sit Down". Hyperallergic. Retrieved February 16, 2022.
- S2CID 151909296.
- ^ ISBN 0-8223-3396-1.
- ^ Belkove, Julie L. (March 2007). "History Girl". www.wmagazine.com. Condé Nast. Archived from the original on February 7, 2016. Retrieved February 6, 2016.
- ^ a b "Kara Walker". Biography. Retrieved March 30, 2017.
- ^ a b c Als, Hilton (October 8, 2007), "The Shadow Act", The New Yorker.
- ^ a b c d "Looking at the History of the United States, Including the Shocking Parts". Archived from the original on September 14, 2011. Retrieved March 25, 2012.
- ^ Cotter, Holland (October 12, 2007). "Black and White, but Never Simple". The New York Times.
- ^ a b c Gopnik, Blake (April 25, 2014). "Rarely One for Sugarcoating Kara Walker Creates a Confection at the Domino Refinery". The New York Times. Retrieved February 6, 2016.
- ^ "Kara Walker American Artist". The Art Story Foundation. Retrieved April 20, 2017.
- ^ "The Art of Kara Walker". Walker Art Center. Archived from the original on March 8, 2012. Retrieved March 13, 2012.
- ^ Wilson, Flo, "On Walls and the Walkers," "The International Review of African American Art" 20.3: 17–19.
- ^ Kara Walker Archived May 25, 2014, at the Wayback Machine Solomon R. Guggenheim Museum, New York.
- ^ ISBN 978-3-7913-4530-7.
- ^ a b Cotter, Holland. "Kara Walker." "The New York Times," n.d.
- ISBN 978-1633450349.
- ^ "MacArthur Fellows/Meet the Class of 1997". www.macfound.org. Retrieved February 13, 2017.
- ISSN 0362-4331. Retrieved March 4, 2016.
- ^ "MoMA | Projects | 1999 | Conversations | Kara Walker". www.moma.org. Retrieved March 4, 2016.
- ^ Sikkema Jenkins & Co.—Kara Walker
- ^ Trotman, Krishan (July 2003). "Kara Walker electrifies the Studio Museum in Harlem". New York Amsterdam News. Archived from the original on October 20, 2014. Retrieved March 7, 2015.
- ^ "Kara Walker | Biography, Art, & Facts | Britannica". www.britannica.com. April 29, 2024. Retrieved May 15, 2024.
- JSTOR 41809550.
- ISBN 978-1-884446-05-4, retrieved May 15, 2024
- ^ David D'Arcy (April 2006). "The Eyes of the Storm: Kara Walker on Hurricanes, Heroes and Villains". Modern Painters. Retrieved April 22, 2008.
- ^ info(at)scaramoucheart(dot)com, Scaramouche NY. "The Practice of Joy Before Death | Scaramouche Gallery". www.scaramoucheart.com. Retrieved May 17, 2022.
- ^ "Professor Kara Walker: Exhibition Opens at Lehmann Maupin, Sikkema Jenkins". Archived from the original on September 6, 2011. Retrieved March 25, 2012.
- ISSN 0362-4331. Retrieved November 20, 2020.
- ^ "Kara Walker – 53 Artworks, Bio & Shows on Artsy". www.artsy.net. Retrieved February 13, 2016.
- ^ Kara Walker Pictures From Another Time, published in conjunction with the exhibition "Kara Walker: An Abbreviated Emancipation (from The Emancipation Approximation)"
- ^ "New School University Unveils 'Event Horizon' the First Major Public Art Commission by Artist Kara Walker". Press release of April 26, 2005.
- ^ "CreativeTime Presents Kara Walker". Creative Time, Inc. Retrieved April 20, 2017.
- ^ "Kara Walker - A Subtlety or the Marvelous Sugar Baby". Artsy. June 17, 2014. Retrieved February 13, 2016.
- ^ "How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory". www.vice.com. May 8, 2014. Retrieved May 17, 2022.
- ^ a b Creative Time Projects. Kara Walker.
- ^ "A Sonorous Subtlety: KARA WALKER with Kara Rooney", Brooklyn Rail, May 6, 2014.
- YouTube.
- ^ King, Jamilah (May 21, 2014). "The Overwhelming Whiteness of Black Art".
- OCLC 1226601331.
- ^ a b c Rea, Naomi (September 30, 2019). "Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That". artnet news. Retrieved March 28, 2020.
- ^ Rea, Naomi (September 30, 2019). ""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That"". Artnet. Retrieved May 2, 2024.
- ^ Smith, Zadie. "What Do We Want History to Do to Us?". The New York Review of Books. Retrieved March 28, 2020.
- ^ Francesca Aton (26 May 2023), Kara Walker Receives Major Commission from SFMOMA ARTnews.
- ^ "Safety Curtain 1998/1999", museum in progress, Vienna.
- ^ Jori Finkel (June 17, 2010), Mark Bradford leads Kara Walker, Cathy Opie and more to create online teacher resource for Getty, "Los Angeles Times."
- ^ Rozalia Jovanovic. "Clifford Owens and Kara Walker at MoMA PS1: An Epilogue With RoseLee Goldberg", "Observer," March 15, 2012.
- ^ "Art Until Now No More". Archived from the original on February 22, 2014. Retrieved June 21, 2013., http://faculty.risd.edu/bcampbel/dubois-Censoreship.pdf [sic]
- ^ a b c Kramer, Jessica (March 13, 2013). "Kara Walker Addresses Art and Controversy at the Newark Public Library". HuffPost. Retrieved April 26, 2014.
- ^ Carter, Barry (December 2, 2012). "Censorship or common decency? Newark Library covers up controversial artwork". The Star-Ledger. Retrieved January 19, 2012.
- ^ Carter, Barry (January 20, 2013). "Controversial painting in Newark Library is bared once again". The Star-Ledger. Retrieved January 20, 2012.
- ]
- ^ Mary Chou. Walker, Kara. "The Grove Encyclopedia of American Art," Vol. 5, pp. 139–140.
- ^ "Kara Walker: My Complement, My Enemy, My Oppressor, My Love". walkerart.org. Retrieved February 22, 2018.
- ^ "Home - Hammer Museum". The Hammer Museum. Retrieved February 22, 2018.
- ^ agence, GAYA - La nouvelle. "City of Paris Museum of Modern Art |". www.mam.paris.fr. Retrieved February 22, 2018.
- ^ "Kara Walker: My Complement, My Enemy, My Oppressor, My Love". walkerart.org. Retrieved March 21, 2023.
- ^ "Kara Walker, Rise Up Ye Mighty Race!". The Art Institute of Chicago. February 21, 2013. Retrieved March 21, 2023.
- ^ "Archive - Camden Arts Centre". archive.camdenartscentre.org. Retrieved March 30, 2020.
- ^ "Kara Walker | Art Exhibitions | The MAC Belfast". themaclive.com. Retrieved March 30, 2020.
- ^ Seals, Tyra A. (2016). "Exhibition: The Ecstasy of St. Kara".
- )
- New York Review of Books," November 9, 2017.
- ^ Tate. "Hyundai Commission: Kara Walker – Exhibition at Tate Modern". Tate. Retrieved August 6, 2019.
- ^ Tate. "KARA WALKER. A BLACK HOLE IS EVERYTHING A STAR LONGS TO BE". museenbasel (in German). Retrieved August 18, 2021.
- ^ "Cincinnati Art Museum: Kara Walker: Cut to the Quick, From the Collections of Jordan D. Schnitzer and His Family Foundation". Cincinnati Art Museum. Retrieved March 17, 2023.
- ^ "Kara Walker: Harper's Pictorial History of the Civil War (Annotated)". www.nyhistory.org. Retrieved March 17, 2023.
- ^ Walker, Kara (January 24, 2017). "African-American". Minneapolis Institute of Art.
- ^ Kara Walker in AskArt.com
- ^ "Kara Walker Collection". tate. Retrieved March 4, 2016.
- ^ "Securing a Motherland Should Have Been Sufficient • Pérez Art Museum Miami". Pérez Art Museum Miami. Retrieved August 16, 2023.
- ^ "30 Americans: Kara Walker". Archived from the original on March 8, 2012. Retrieved March 25, 2012.
- ^ "Home - The Menil Collection". The Menil Collection. Retrieved March 18, 2016.
- ^ "Kara Walker, American, born 1969 - Freedom Fighters for the Society of Forgotten Knowledge, Northern Domestic Scene - The Menil Collection - The Menil Collection". The Menil Collection. Retrieved March 18, 2016.
- ^ "You Cannot Win, (Ink wash and graphite on white wove paper)". Curators at Work III. Muscarelle Museum of Art. 2013. Retrieved June 26, 2018.[permanent dead link]
- New York Times Magazine.
- ^ Solange James (January 24, 2008). "Art Critique: Kara Walker". Copious Magazine.
- ^ Barbara Kruger (2007). "Kara Walker" Time. Retrieved July 26, 2007.
- ^ Visual Arts Faculty Kara Walker Inducted into The American Academy of Arts and Letters Archived February 26, 2014, at the Wayback Machine Columbia University School of the Arts, March 20, 2012.
- ^ "Election of New Members at the 2018 Spring Meeting", American Philosophical Society, April 28, 2018,
- ^ www.absoluto.de, martin weise //. "db artmag - all the news on Deutsche Bank Art / db artmag - alle Infos zur Kunst der Deutschen Bank". db-artmag.com. Retrieved February 22, 2018.
- ^ Kara Walker: Fall Frum Grace, Miss Pipi's Blue Tale, April 21 – June 25, 2011 Archived February 23, 2014, at the Wayback Machine Lehmann Maupin Gallery, New York.
- ^ "Kara Walker: My Complement, My Enemy, My Oppressor, My Love — Calendar — Walker Art Center". www.walkerart.org. Retrieved February 13, 2016.
- ^ "Kara Walker Named 2005 Larry Aldrich Award Recipient". www.aldrichart.org. December 12, 2005. Retrieved April 13, 2019.
- ^ New York Magazine.
- ^ Oler, Tammy (October 31, 2019). "57 Champions of Queer Feminism, All Name-Dropped in One Impossibly Catchy Song". Slate.
- ISSN 0362-4331. Retrieved March 25, 2022.
- ^ "Kara Walker | Artist | Royal Academy of Arts". Royal Academy of Arts. Archived from the original on February 19, 2023.
- ^ a b Julie L. Belcove (March 2007), History Girl Archived February 7, 2016, at the Wayback Machine W.
- ^ Klaus Bürgel, January 27 - March 17, 1999 Wattis Institute for Contemporary Arts, San Francisco.
- ^ Curtis, Cathy (November 12, 1997), "Finding Direction: A Fantasy Self Put Artist Kara Walker on the Path to Personal, Professional Identity", "Los Angeles Times."
- ^ Blake Gopnik (April 25, 2014), "Rarely One for Sugarcoating: Kara Walker Creates a Confection at the Domino Refinery", The New York Times.
- ^ Foundation for Contemporary Arts Announces 2011 Grants to Artists Foundation for Contemporary Arts (FCA), press release of January 2011.
- ^ "Foundation for Contemporary Arts Announces 2016 Grants to Artists", Foundation for Contemporary Arts (FCA), press release of January 19, 2016.
References
- Hans Werner Holzwarth, ed. (2008). Art Now, Vol. 3: A cutting-edge selection of today's most exciting artists. Taschen. p. 488. ISBN 978-3-8365-0511-6.
- Goldbaum, Karen, ed. "Kara Walker: Pictures From Another Time." Seattle: Marquand Books, Inc. ISBN 1-891024-50-7
- Smith, Zadie. "What Do We Want History to Do to Us?" "The New York Review of Books", February 27, 2020. https://www.nybooks.com/articles/2020/02/27/kara-walker-what-do-we-want-history-to-do-to-us/
- Vergne, Phillppe. "Kara Walker: My Complement, My Enemy, My Oppressor, My Love." Minneapolis: Walker Art Center. ISBN 978-0-935640-86-1
External links
- Kara Walker website
- The "Time" 100: "Time" magazine's profile of Walker
- Biography, interviews, essays, artwork images and video clips from Art:21 -- Art in the Twenty-First Century- Season 2 (2003)
- Kara E. Walker's Song of the South at REDCAT
- Kara Walker at Ocula
- Kara Walker at Smithsonian American Art Museum