Kara Walker2
Kara Walker
- Involves the space is all of her work by using the walls as her canvas
- Kara tells these stories about race, gender and sexuality using traditional victorian silhouettes placed onto the gallery walls.
- Walker used this space with cut paper and white walls
- Projected images of vibrant colored scenery
- When one walks in front of the projection, it cast a shadow on the piece creating an interaction between you and the work of art.
"Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)"
2002Installation view at the Solomon R. Guggenheim Museum, New York
Projection
"’Insurrection!’ The idea at the outset was an image of a slave revolt in the antebellum south where the house slaves got after their master with their utensils of everyday life, and really it started with a sketch of a series of slaves disemboweling a master with a soup ladle. My reference, in my mind, was the surgical theatre paintings of Thomas Eakins and others."
- Kara Walker
"Slavery! Slavery! presenting a GRAND and LIFELIKE Panoramic Journey into Picturesque Southern Slavery or "Life at 'Ol' Virginny's Hole' (sketches from Plantation Life)" See the Peculiar Institutions as never before! All cut from black paper by the able hand of Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause"
1997
"Cut"
1998"I always think about this work, this history, in terms of the body. And in terms of this act of excavating that’s been such a current and recurring theme, particularly in the histories of feminist artists, feminist writers, African-American people of color, investigating and eviscerating this body of collective experience...sometimes to the point of leaving nothing intact. I entered into this project, this idea of being a black woman artist, from the perspective of a person who has been presented with a pre-dissected body to work from. A pre-dissected body of information."
- Kara Walker
Art 21
Carolyn Warren
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- INSTALLATIONS last edited on 12 November 2008 at 3:20 pm by 207.72.171.148