Kara Walker-no, Kara Walker-yes, Kara Walker-?
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Publisher | : |
Total Pages | : 0 |
Release | : 2009 |
Genre | : African American artists |
ISBN | : 9781877675720 |
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Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : 2009 |
Genre | : African American artists |
ISBN | : 9781877675720 |
Author | : Kara Elizabeth Walker |
Publisher | : |
Total Pages | : 414 |
Release | : 2007 |
Genre | : Art |
ISBN | : |
Text by Philippe Vergne, Sander Gilman, Thomas McEvilley, Robert Storr, Kevin Young, Yasmil Raymond.
Author | : Sarah Finer Repetto |
Publisher | : |
Total Pages | : 97 |
Release | : 2014 |
Genre | : African American artists |
ISBN | : 9781321277463 |
Abstract: This thesis analyzes the reception of the work of contemporary artist Kara Walker and the critical debates it has engendered. Walker's work has received a mixed reception over the past twenty years: while she has won prestigious awards and received international acclaim, her work also enrages many African American artists and scholars who accuse her of perpetuating racist ideologies and insensitively mocking the history of suffering endured by slaves. I trace three major points within the critical reception of the artist's work: a letter writing campaign in 1997 initiated by the artist Betye Saar; the 2009 publication of the book, Kara Walker--No/Kara Walker--Yes/Kara Walker--? ; and the veiling of Walker's work in 2012 in a New Jersey public library. I argue how Walker's strategy of employing "negative imagery" challenges the viewer to critically engage racist stereotypes on complex multifaceted levels.
Author | : Gwendolyn DuBois Shaw |
Publisher | : Duke University Press |
Total Pages | : 209 |
Release | : 2004-12-06 |
Genre | : Art |
ISBN | : 0822386208 |
One of the youngest recipients of a MacArthur “genius” grant, Kara Walker, an African American artist, is best known for her iconic, often life-size, black-and-white silhouetted figures, arranged in unsettling scenes on gallery walls. These visually arresting narratives draw viewers into a dialogue about the dynamics of race, sexuality, and violence in both the antebellum South and contemporary culture. Walker’s work has been featured in exhibits around the world and in American museums including the Museum of Modern Art, the Guggenheim, and the Whitney. At the same time, her ideologically provocative images have drawn vociferous criticism from several senior African American artists, and a number of her pieces have been pulled from exhibits amid protests against their disturbing representations. Seeing the Unspeakable provides a sustained consideration of the controversial art of Kara Walker. Examining Walker’s striking silhouettes, evocative gouache drawings, and dynamic prints, Gwendolyn DuBois Shaw analyzes the inspiration for and reception of four of Walker’s pieces: The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, John Brown, A Means to an End, and Cut. She offers an overview of Walker’s life and career, and contextualizes her art within the history of African American visual culture and in relation to the work of contemporary artists including Faith Ringgold, Carrie Mae Weems, and Michael Ray Charles. Shaw describes how Walker deliberately challenges viewers’ sensibilities with radically de-sentimentalized images of slavery and racial stereotypes. This book reveals a powerful artist who is questioning, rather than accepting, the ideas and strategies of social responsibility that her parents’ generation fought to establish during the civil rights era. By exploiting the racist icons of the past, Walker forces viewers to see the unspeakable aspects of America’s racist past and conflicted present.
Author | : Kara Elizabeth Walker |
Publisher | : |
Total Pages | : 24 |
Release | : 2015-11-13 |
Genre | : |
ISBN | : 9780993179846 |
Go to Hell or Atlanta, Whichever Comes First is a special printed project created by the celebrated American artist Kara Walker in collaboration with Ari Marcopoulos.The project, which comprises a twenty-four-page booklet with an accordion cover, was produced to accompany Walker's first exhibition at Victoria Miro, London, in autumn 2015.The project documents a trip by the artist and Marcopoulos to Stone Mountain in Georgia. The main tourist attraction there is a large stone mountain into which has been carved a monument to three Confederate generals.Consecrated in the 1970s, the monument, and hence the mountain itself, is thus a contentious symbol of white supremacy and the struggle for race equality in the South and beyond.Featuring a newly commissioned text from James Hannaham and a conversation between Walker and Marcopoulos, the project presents photographic documentation along with a selection of the powerful drawings and paintings produced by Walker during and following her trip.
Author | : Phoebe Wolfskill |
Publisher | : University of Illinois Press |
Total Pages | : 360 |
Release | : 2017-08-10 |
Genre | : Social Science |
ISBN | : 0252099702 |
An essential African American artist of his era, Archibald Motley Jr. created paintings of black Chicago that aligned him with the revisionist aims of the New Negro Renaissance. Yet Motley's approach to constructing a New Negro--a dignified figure both accomplished and worthy of respect--reflected the challenges faced by African American artists working on the project of racial reinvention and uplift. Phoebe Wolfskill demonstrates how Motley's art embodied the tenuous nature of the Black Renaissance and the wide range of ideas that structured it. Focusing on key works in Motley's oeuvre, Wolfskill reveals the artist's complexity and the variety of influences that informed his work. Motley’s paintings suggest that the racist, problematic image of the Old Negro was not a relic of the past but an influence that pervaded the Black Renaissance. Exploring Motley in relation to works by notable black and non-black contemporaries, Wolfskill reinterprets Motley's oeuvre as part of a broad effort to define American cultural identity through race, class, gender, religion, and regional affiliation.
Author | : Vanina Gere |
Publisher | : MIT Press |
Total Pages | : 260 |
Release | : 2022-11-22 |
Genre | : Art |
ISBN | : 0262544474 |
Selected texts that survey the full range of Kara Walker’s artistic practice, emphasizing the work itself rather than the debates and controversies around it. Kara Walker’s work and its borrowings from an iconography linked to the fantasized and travestied history of American chattel slavery has been theorized and critiqued in countless texts throughout her career. Exegeses of her work have been shaped by the numerous debates on the very debates it generated. How, then, do we approach a work that has been covered by such “thick theoretical layers”? This collection is unique in emphasizing Walker’s work itself rather than the controversies surrounding it. These essays and interviews survey Walker’s artistic practice from her early works in the 1990s through her most recent ones, from her famous silhouette projects to her lesser-known drawings and lantern shows. The texts, by art historians, curators, critics, scholars, and writers engage scrupulously with Walker’s pieces as material works of art, putting them in the context of the sociopolitical and cultural environments that shape—but never determine—them. They include an interview of the artist by Thelma Golden of the Studio Museum in Harlem; an essay in the form of a lexicon, cataloguing key elements in Walker’s art, by curator Yasmil Raymond; and an essay by volume editor Vanina Géré on Walker’s use of historical archives. Finally, novelist Zadie Smith considers Walker’s public art as counter-propositions to colonial monuments and as a reflection on colonial history. Contributors Lorraine Morales Cox, Vanina Géré, Thelma Golden, Tavia Nyong’o, Yasmil Raymond, Jerry Saltz, Zadie Smith, Anne M. Wagner, Hamza Walker
Author | : New Museum |
Publisher | : Taylor & Francis |
Total Pages | : 449 |
Release | : 2011-02-25 |
Genre | : Art |
ISBN | : 1136890300 |
For over a decade, Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully-illustrated collaboration of over one hundred artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history. Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original to present new possibilities and modes of understanding art, culture, and their relationships to students and ourselves. The fully revised second edition provides new theoretical and practical resources for educators and students everywhere, including: Educators' perspectives on contemporary art, multicultural education, and teaching in today’s classroom Full-color reproductions and writings on over 50 contemporary artists and their works, plus an additional 150 black-and-white images throughout Lesson plans for using art to explore topical issues such as activism and democracy, conflict: local and global, and history and historicism A companion website offering over 250 color reproductions of artwork from the book, a glossary of terms, and links to the New Museum and G: Class websites---www.routledge.com/textbooks/9780415960854.
Author | : Rebecca Peabody |
Publisher | : University of California Press |
Total Pages | : 216 |
Release | : 2021-02-23 |
Genre | : Art |
ISBN | : 0520383338 |
In Consuming Stories, Rebecca Peabody uses the work of contemporary American artist Kara Walker to investigate a range of popular storytelling traditions with roots in the nineteenth century and ramifications in the present. Focusing on a few key pieces that range from a wall-size installation to a reworked photocopy in an artist’s book and from a theater curtain to a monumental sculpture, Peabody explores a significant yet neglected aspect of Walker’s production: her commitment to examining narrative depictions of race, gender, power, and desire. Consuming Stories considers Walker’s sustained visual engagement with literary genres such as the romance novel, the neo-slave narrative, and the fairy tale and with internationally known stories including Roots, Beloved, and Uncle Tom’s Cabin. Walker’s interruption of these familiar works , along with her generative use of the familiar in unexpected and destabilizing ways, reveals the extent to which genre-based narrative conventions depend on specific representations of race, especially when aligned with power and desire. Breaking these implicit rules makes them visible—and, in turn, highlights viewers’ reliance on them for narrative legibility. As this study reveals, Walker’s engagement with narrative continues beyond her early silhouette work as she moves into media such as film, video, and sculpture. Peabody also shows how Walker uses her tools and strategies to unsettle cultural histories abroad when she works outside the United States. These stories, Peabody reminds us, not only change the way people remember history but also shape the entertainment industry. Ultimately, Consuming Stories shifts the critical conversation away from the visual legacy of historical racism toward the present-day role of the entertainment industry—and its consumers—in processes of racialization.
Author | : Ilka Saal |
Publisher | : University of Iowa Press |
Total Pages | : 273 |
Release | : 2021-12-15 |
Genre | : Performing Arts |
ISBN | : 1609387791 |
Collusions of Fact and Fiction traces a generational shift in late twentieth-century African American cultural engagements with the history and legacies of transatlantic slavery. With a focus on works by playwright Suzan-Lori Parks and visual artist Kara Walker, the book explores how, in comparison to the first wave of neo-slave narratives of the 1970s and 1980s, artists of the 1990s and early 2000s tend to approach the past from the vantage point of a liberal entanglement of fact and fiction as well as a highly playful, often humorous, and sometimes irreverent signifying on entrenched motifs, iconographies, and historiographies. Saal argues that the attempt to reconstruct or recuperate the experience of African Americans under slavery is no longer at stake in the works of artists growing up in the post–Civil Rights era. Instead, they lay bare the discursive dimension of our contemporary understanding of the past and address the continued impact of its various verbal and visual signs upon contemporary identities. In this manner, Parks and Walker stake out new possibilities for engaging the past and inhabiting the present and future.