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Kara Walker: Rise Up Ye Mighty Race!
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- Опубліковано 3 бер 2013
- Unsettling and provocative, Kara Walker's art takes hold. With room-size assemblages of black cut-paper silhouettes, eerie video animations, and a rich body of paintings, prints, and drawings-all circling around America's enduring conundrums of race, sex, and violence-Walker taps straight into our cultural subconscious, excavates our national history, and reflects it back to us with an array of complexities and contradictions.
Walker rocketed to fame at an early age. Barely out of art school, she scored a sensational success with 1994's Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart-a work, now in the collection of New York's Museum of Modern Art, that drew on the 18th-century tradition of cut-paper silhouette to present caricatures of antebellum figures in violent and erotic scenarios. Proclaiming a new kind of history painting, Gone steered American art into a daring confrontation of our plantation era. Then, just three years later, when she was 28, she received a MacArthur Fellowship, one of the so-called genius grants. Ever since, she has been at the forefront of the international art world, challenging her audiences to continually, and imaginatively, reconsider America's history.
Join us for a conversation with Walker and Lisa Dorin, The Art Institute of Chicago's associate curator of contemporary art, followed by an exclusive preview of Walker's new installation Rise Up Ye Mighty Race! in the Art Institute's Modern Wing.
View more images of Kara Walker's work through her website.
This program is presented in partnership with the Leadership Advisory Committee and the Department of Contemporary Art at the Art Institute of Chicago. The installation is supported by a gift to the Art Institute of Chicago from Liz and Eric Lefkofsky.
Kara Walker is absolutely gorgeous.
The interviewer seemed nervous and lacking a deep understanding of her work and the history she's representing, which is very unfortunate. Missed opportunity!
I love Kara Walker's work... Behind the Canvas: Kara Walker's A Subtlety
thank you for recording this and your perspective on it!
would love to be her apprentice....as if she needs one;-) brilliant artistan
I hope you asked. What's the worse thing that could happen?
"Kara is trickin' you white folk."
the interviewer seems uncomfortable throughout the whole experience.
Kara Walker is SO cool.
MACKINTOSHA 2 years ago
"Kara Walker seems very paradoxical when it comes to representing herself. There is an American Indian proverb that says: The Artist is more important that the Art. In Kara's case she talks about "saddling up next to White Power" out of a dire need2 be recognized as more than a second class citizen. What I find ironic is that is what she has actually done not only in her art, but in real life. The fact that she is married to a white man&reflects the inner trauma of that necessity is satire. SMH"
My Reply: Why does Dr. Walker have to be a simple person? Or, a perfect person with no challenges for her art to have value? How is who Dr. Walker is married to have any bearing whatsoever on her art and the enormous opportunity it provides to help to free Americans from the cancer of American culture that has stifled America's development throughout our history? Good for her! She has a life-mate! Moving right along to her art which is, as I understand it, the topic of this video. Genius is always complicated and non-linear!
Dr. Walker's art serves to hurl open that dark, secretive, shame-based vault door historically installed in the sanitized mythological, icon-laden white, male version of American history when it refers to significant, formative events in our history (such as, for starters, 250 years of slavery; the Civil War; southern culture then and now; Reconstruction and post-Reconstruction; the southern response to LBJ's Great Society and to the 1960's Civil Rights advances and how they have virtually been rolled back to the oppressiveness and separate and unequal 1920's across the country, etc.).
I have been blessed to experience over 60 years of being thoroughly dipped and spun in diversity. Despite that racial and cultural education, I still do not automatically grasp the depth of her messages and the breadth of the symbolism in her images and texts. This causes me to believe that time and energy would be better focused on researching the foundations Dr. Walker builds upon with her art forms -- underneath the underneath.
Diversion to discussions of her private decisions in her personal life is not what the artist's work invites me to do. I, for one could give a hoot less who she is married to, frankly! It's not my business and I don't get a vote on the matter. I wish her all the happiness possible in all her endeavors. If she and her daughter are happy, that's great!
What I do spend my energy and time on is researching what she may be seeking to uncover and reveal that can inform and transform my place in the world and, ultimately, our nations' future. There are not many voices -- intelligent and thoughtful and caring -- that exceed my depth and breadth in these areas. Therefore, I welcome this challenge and am deeply grateful for Dr. Walker's contribution to my process.
There are huge benefits to derive from discussions of this body of work. Many who collect her original work globally, and who sponsor her -- including the Norton's who commissioned a specific book Kera Walker book with (slave narrative silhouette pop-ups) that they then gifted their friends with at a Christmas past speaks volumes to me about the importance of her work. These are people with money, power, and prestige, but they also know a thing or two that I can learn from and perhaps others as well as we seek to learn to live in harmony and craft a better world.
Darice, MACKINTOSH's statement is valid in the context of questioning the spaces left in her work and person. We know that racism does indeed manifest in black bodies male and female in varying ways and follow various scripts ...desire, philia, fetish, the performance of racial enlightenment and 'passing' (passing out of blackness into a more nouveau way of thinking). So she isn't beyond inquiry and whom she married and what inspires that union can, may and most likely does leak into her work known or unbeknownst to her. Personally, it stands out to me and i would like her to speak to whether she defends it or however she chooses to respond because it isn't off limits to ask. She is human and doesnt profess anything higher than such, so I think it makes for great conversation to discuss it, critique it and inquire of it....that is art as well and the right of the viewer and the relationship to those viewed.
She’s a genius
She is Fierce!! 2 snaps
why is she being interviewed by a white woman? i feel that the interviewer couldn't relate
You would because you're so unbelievably racist but you can't help yourself
Dwight the_artist ...comfort...she’s married to a white man.
Talking black while sleeping white.
The interviewer is so stiff so stilted?
lame, always complaining!