Ms. Hunter's Art Classes-WINTER 2005

Life and Cultural Context: Case Studies Part 1

A CONTEMPORARY AFRICAN AMERICAN ARTIST: KARA WALKER

BIOGRAPHY

Kara Walker was born in Stockton, California in 1969. She spent much of her childhood in Stone Mountain, Georgia where she moved with her family when she was 13. She received a BFA from the Atlanta College of Art in 1991 and an MFA from the Rhode Island School of Design in 1994.

She began her career as a painter, but through the use of cut-paper figures she explores the intersection of race, gender, and sexuality through her iconic, silhouetted figures. Presenting disarmingly beautiful images with provocative content and form, Walker appropriates the 18th and 19th century medium of the silhouette. Walker unleashes the traditionally proper Victorian medium of the silhouette directly onto the walls of the gallery, creating a theatrical space in which her unruly cut-paper characters fornicate and inflict violence on one another.

In recent works like "Darkytown Rebellion" (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space. When the viewer walks into the installation, his or her body casts a shadow onto the walls where it mingles with Walker's black-paper figures and landscapes.

With one foot in the historical realism of slavery and the other in the fantastical space of the romance novel, Walker's nightmarish fictions simultaneously seduce and implicate the audience.

1. Click on the link below and take the poll about the work of Kara Walker.
 

Culture Shock: You Decide

2. Read the article, "Cut it Out!," from ARTnews, April 2002.  Use the article to help answer the questions below. 
Note: You may need to draw from your own knowledge or consult other sources as needed. 
 
Background
a. What was Walker's very early life like?  (Where did she live? What would life have been like there? What would the cultural environment have been like? What types of messages would she have received about herself and the world?)
 
b. How did it change when she was 13 years old? Why? (Where did she move?  What would life have been like there? What would the cultural envrionment have been like ie. for a young African American girl? What types of messages would she have received about herself and the world?)
 
c. What role did Georgia and other Southern States in the US played in the Civil War era. What was the position of these states on issues of race (ie. slavery, etc.). What is the common position of people in these states today?
 
d. How did Walker become involved in art? Why?
 
e. What did Walker do the year before she went to graduate school?  What was the significance of this time for her? 
 
f. How have Walker's own personal history, culture (including race, ethnicity) and experiences influenced her work?   Consider different times and places in her life.
 
Works
g. What medium does Walker use to create her artworks?  What is the history of this medium? Why has she chosen this medium over one more conventional such as oil paint? 
Walker talks about the silhouette as a medium of avoidance because it prevents the viewer from looking at the subject directly. What does this mean in relation to Walker's subject matter?
 
h. What does Walker say about the significance of the element of beauty in her work?
 
i. In more recent works, such as "Darkytown Rebellion," what new devices or technology has Walker used? In doing so, how has she been able to bring the viewer into the artwork/ story?
 
j. How has Walker's work been received (by the art community, the public)?  Why were older African American artists angry about her work?
 

3. Create a page in your RWB of written and visual information about Kara Walker's ART and INFLUENCES.

-Collect a few samples of Walker's artworks
-Collect visual and written information about Walker's influences
-Explain how she uses these influences or how they inform her work
-Arrange the information in your RWB.

Note: Be sure to cite all sources of information.

KARA WALKER'S INFLUENCES

18th and 19th century silhouette art
race relations
historical archetypes
antebellum South
Thomas Eakins
slave narratives
historical cyclorama paintings
Harlequin Romances
Gone with the Wind
Civil War era
minstrelsy

4. Further Thinking

What are the implications of making an artwork that reflects one's culture, race, and identity?
Can a person of one culture, race, and identity make a work about another culture, race, and identity?

How are stereotypes created and perpetuated?
How are stereotypes related to the fictional characters and caricatures that one might see in movies or read in books?

Does history represent all of the people who have participated in it? Why or why not?

In the 21st century, what are the issues ad controversies involved in creating artwork that examines issues of slavery?
Are there still slaves in the United States or in other parts of the world?

KARA WALKER

Works

Another Fine Mess

KKK: 'the Prescript of the Order of the Invisible Empire- Its Peculiar Onjects' listed under Moonlit skies by the Grand Cyclops amid his hooded henchmen... a Negress, deep in the Woods Beyond, overhears.

Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)

African American

Gone: An Historical Romance of Civil War As it Occurred Between the Dusky Thighs of Young Negress and Her Heart

Artists that have Influenced Walker

Goya

Robert Colescott

Additional Information

Greg Kucera Gallery: Kara Walker

The Broad Art Foundation: Kara Walker

MoMA: Kara Walker

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