Kara Walker
Kara Walker
Kara Elizabeth Walkeris an African American contemporary artist and painter who explores race, gender, sexuality, violence and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes. Walker lives in New York and has taught extensively at Columbia University. She is currently serving a five-year term as Tepper Chair in Visual Arts at the Mason Gross School of the Arts, Rutgers University...
NationalityAmerican
ProfessionArtist
Date of Birth26 November 1969
CountryUnited States of America
As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win - or just not be so sad!
The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.
Once you open up the Pandora's box of race and gender... you're never done.
I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.
I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.
Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.
I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.
To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.
I'm a sponge for historical images of black people and black history on film.
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.
I really love to make sweeping historical gestures that are like little illustrations of novels.
I have no interest in making a work that doesn't elicit a feeling.
I never learned how to be adequately black. I never learned how to be black at all.
There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.