GCB Kunstlexikon
KARA WALKER
Kara Walker at the MAC | 24 Jan – 27 Apr 2014 | The MAC | Belfast|
https://themaclive.com/ | We at the MAC are Exceedingly Proud to Present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress. Organised in partnership with Camden Arts Centre, London with support from Sikkema Jenkins & Co, New York and Victoria Miro Gallery, London |
YouTube
Kara Walker |A Subtlety, or the Marvelous Sugar Baby | Art21 | Extended Play | Episode #204: This episode provides an in-depth look at the creation of Kara Walker’s monumental public project, „A Subtlety, or the Marvelous Sugar Baby“ (2014), at the Domino Sugar Factory in Brooklyn, NY. Seated in her Manhattan studio, Walker explains how the molasses-covered space, along with her extensive research into the history of sugar, inspired her to create a colossal sugar-coated sphinx, as well as a series of life-sized, sugar and resin boy figurines. A team of artists and fabricators are shown constructing and coating the sphinx, which, as Walker says, gains its power by „upsetting expectations, one after the other.“ Commissioned by Creative Time, „A Subtlety, or the Marvelous Sugar Baby“ is the first large-scale public project by Walker who is best known for her cut paper silhouette installations, drawings, and watercolors. „A Subtlety, or the Marvelous Sugar Baby“ was on view until July 6, 2014. Thereafter, the factory is scheduled to be demolished to make way for condominiums. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work—which includes drawing, watercolor, video, and sculpture—often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Rafael Salazar & Ava Wiland | Sound Nicole J. Caruth, Wesley Miller & Ava Wiland | Editor Morgan Riles | Music Pinch Music | Artwork Courtesy Kara Walker & Creative Time | Special Thanks Sikkema Jenkins & Co. | Theme Music Peter Foley | „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors Kara Walker, „A Subtlety, or the Marvelous Sugar Baby“ at Creative Time
YouTube
VIDEO | FILM kara walker
Artist Kara Walker | ‚I’m an Unreliable Narrator‘ | Fons Americanus | Tate | Fons Americanus is a 13-metre tall working fountain inspired by the Victoria Memorial in front of Buckingham Palace, London. Created by artist Kara Walker for the 2019 Hyundai Commission, it is one of the most ambitious installations in Tate Modern’s Turbine Hall to date. Rather than a celebration of the British Empire, Walker’s fountain explores the interconnected histories of Africa, America and Europe. She uses water as a key theme, referring to the transatlantic slave trade and the ambitions, fates and tragedies of people from these three continents. Fantasy, fact and fiction meet at an epic scale. Based in New York, Kara Walker is acclaimed for her candid explorations of race, sexuality and violence. She is best known for her use of black cut-paper silhouetted figures, referencing the history of slavery and the antebellum South in the US through provocative and elaborate installations. Tate Modern’s Turbine Hall has hosted some of the world’s most memorable and acclaimed large-scale works of art, enjoyed by audiences of millions each year. This is the fifth installation in the ten-year series of the Hyundai Commission following the work of Abraham Cruzvillegas in 2015, Philippe Parreno in 2016, SUPERFLEX in 2017 and Tania Bruguera in 2018 | Fons Americanus is on display at Tate Modern until 5 April 2020 | YouTube
Kara Walker | Starting Out | Art21 | Extended Play | Episode #207: In this episode of ART21 „Exclusive,“ Kara Walker reflects on her early success and offers advice to the next generation of artists. Walker received widespread attention after being included in a group exhibition at The Drawing Center in New York City in 1994, not long after graduating from the Rhode Island School of Design in Providence, Rhode Island. Walker remained in Providence until she “felt ready” to make the move to New York. However, “When I came to the City,” she says, “I felt like my newly forming ego and sense of self was just torn to shreds.” Now a professor in Columbia University’s MFA program, Walker sees the many challenges that young artists face today and encourages them to take responsibility for changing negative conditions in the art world. Walker is shown in New York City installing cut paper silhouettes and framed paintings at Sikkema Jenkins & Co. in 2013 and visiting the gallery’s booth at the 2014 Frieze Art Fair, where she is accompanied by her mother. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work, which includes drawing, watercolor, video, and sculpture, often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Nick Ravich, Rafael Salazar & Ava Wiland | Sound Ava Wiland | Editor Morgan Riles Artwork Courtesy Kara Walker & Sikkema Jenkins & Co | Additional Photography Courtesy Andrea Guermani & Kara Walker | Special Thanks Scott Briscoe, Cindy Daignault & Frieze Art Fair | Theme Music Peter Foley | ART21 „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors | YouTube
BIOGRAFIE KARA WALKER
GEBURTSJAHR | 1969 | GEBURTSORT | Stockton | Kalifornien | USA
AUSBILDUNG KARA WALKER
Atlanta College of Art | Georgia | 1991 Bachelor of Fine Arts
Rhode Island School of Arts | 1994 Master of Fine Arts
LEHRTÄTIGKEIT KARA WALKER
Lehrauftrag als Professorin an der Columbia University
MITGLIEDSCHAFTEN KARA WALKER
seit 2012 American Academy of Arts and Letters
seit 2018 American Philosophical Society
2019 Ernennung von der Royal Academy of Arts, London, zum Honorary Royal Academician
AUSZEICHNUNGEN KARA WALKER
1997 John D. and Catherine T. MacArthur Foundation Achievement Award
2008 Eileen Harris Norton Fellowship
SAMMLUNGEN KARA WALKER
AUSWAHL
Sammlung Deutsche Bank | Frankfurt
Tate Gallery | London
Solomon R. Guggenheim Museum | New York
Museum of Modern Art | MoMA | New York
Metropolitan Museum of Art | New York
Museo Nazionale delle Arti del XXI secolo | MAXXI | Rom
AUSSTELLUNGEN KARA WALKER
EINZELAUSSTELLUNGEN AUSWAHL
2002 Deutsche Guggenheim | Berlin
2021 Kunstmuseum Basel
AUSSTELLUNGSBETEILIGUNGEN AUSWAHL
2002 25. Biennale Sao Paulo
WERKBESCHREIBUNG KARA WALKER
SCHWERPUNKTE | MEDIEN
Kohle- und Bleistiftzeichnungen | Collagen | Silhouetten | seit 1994 wandfüllenden Scherenschnitte | in Projektionen mit Licht und Scherenschnitten bezieht Kara Walker auch die Anwesenden und deren Schatten aktiv mit ein
STIL
THEMEN | MOTIVE | WERKE
Geschichte des amerikanischen Südens werden mit Kara Walkers persönlicher Fantasie und deren Erfahrungen verrknüpft | Genreszenen aus dem viktorianischen Zeitalter, die sich als drastische Darstellungen der Sklavenhaltergesellschaft entpuppen und an den gängigen Geschichtsbildern und Mythen rütteln
DEFINITION | BESCHREIBUNG | MERKMALE
Virtuose, assoziative und additive Zeichnungen, die einerseits unheimlich, direkt, schonungslos, provokativ, obszön und körperlich präsent und dann wieder voller Poesie und introvertierter Zärtlichkeit und meistens auf der Suche nach der eigenen Identität sind und gleichzeitig auch gesellschaftliche Probleme sichtbar machen | Zitieren und Verflüssigen von medialen Bildern | scharf umrissene Figuren spiegeln auf eine fast spielerische Art das Drama von Macht und Ohnmacht in unserer scheinbar normalen aber doch tendenziell rassistisch geprägten Welt
STICHWORTE KARA WALKER
amerikanische Künstlerin | Doppeldeutigkeit im Spiel mit den Kontrasten | Schattenrisse als Wiederentdeckung eines Mediums der Aufklärung
ZITATE KARA WALKER
„Der Scherenschnitt ist eine fast vollkommene Lösung für ein komplexes Projekt, das ich in Angriff genommen habe: nämlich den Versuch, aufzudecken, wie Rassismus und rassistische und sexistische Stereotypen auf oft subtile und unerfreuliche Weise unser tägliches Leben beeinflussen.“ | Kara Walker
„Meine Werke sind explizit erotisch, schamlos. Ich würde es begrüssen, wenn die Besucher vor meiner Arbeit stehen und sich auch ein wenig schämen.“ | Kara Walker
TEXT | BIBLIOGRAPHIE KARA WALKER
LINKS KARA WALKER
KARA WALKER
Kara Walker at the MAC | 24 Jan – 27 Apr 2014 | The MAC | Belfast|
https://themaclive.com/ | We at the MAC are Exceedingly Proud to Present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress. Organised in partnership with Camden Arts Centre, London with support from Sikkema Jenkins & Co, New York and Victoria Miro Gallery, London |
YouTube
Kara Walker |A Subtlety, or the Marvelous Sugar Baby | Art21 | Extended Play | Episode #204: This episode provides an in-depth look at the creation of Kara Walker’s monumental public project, „A Subtlety, or the Marvelous Sugar Baby“ (2014), at the Domino Sugar Factory in Brooklyn, NY. Seated in her Manhattan studio, Walker explains how the molasses-covered space, along with her extensive research into the history of sugar, inspired her to create a colossal sugar-coated sphinx, as well as a series of life-sized, sugar and resin boy figurines. A team of artists and fabricators are shown constructing and coating the sphinx, which, as Walker says, gains its power by „upsetting expectations, one after the other.“ Commissioned by Creative Time, „A Subtlety, or the Marvelous Sugar Baby“ is the first large-scale public project by Walker who is best known for her cut paper silhouette installations, drawings, and watercolors. „A Subtlety, or the Marvelous Sugar Baby“ was on view until July 6, 2014. Thereafter, the factory is scheduled to be demolished to make way for condominiums. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work—which includes drawing, watercolor, video, and sculpture—often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Rafael Salazar & Ava Wiland | Sound Nicole J. Caruth, Wesley Miller & Ava Wiland | Editor Morgan Riles | Music Pinch Music | Artwork Courtesy Kara Walker & Creative Time | Special Thanks Sikkema Jenkins & Co. | Theme Music Peter Foley | „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors Kara Walker, „A Subtlety, or the Marvelous Sugar Baby“ at Creative Time
YouTube
VIDEO | FILM kara walker
Artist Kara Walker | ‚I’m an Unreliable Narrator‘ | Fons Americanus | Tate | Fons Americanus is a 13-metre tall working fountain inspired by the Victoria Memorial in front of Buckingham Palace, London. Created by artist Kara Walker for the 2019 Hyundai Commission, it is one of the most ambitious installations in Tate Modern’s Turbine Hall to date. Rather than a celebration of the British Empire, Walker’s fountain explores the interconnected histories of Africa, America and Europe. She uses water as a key theme, referring to the transatlantic slave trade and the ambitions, fates and tragedies of people from these three continents. Fantasy, fact and fiction meet at an epic scale. Based in New York, Kara Walker is acclaimed for her candid explorations of race, sexuality and violence. She is best known for her use of black cut-paper silhouetted figures, referencing the history of slavery and the antebellum South in the US through provocative and elaborate installations. Tate Modern’s Turbine Hall has hosted some of the world’s most memorable and acclaimed large-scale works of art, enjoyed by audiences of millions each year. This is the fifth installation in the ten-year series of the Hyundai Commission following the work of Abraham Cruzvillegas in 2015, Philippe Parreno in 2016, SUPERFLEX in 2017 and Tania Bruguera in 2018 | Fons Americanus is on display at Tate Modern until 5 April 2020 | YouTube
Kara Walker | Starting Out | Art21 | Extended Play | Episode #207: In this episode of ART21 „Exclusive,“ Kara Walker reflects on her early success and offers advice to the next generation of artists. Walker received widespread attention after being included in a group exhibition at The Drawing Center in New York City in 1994, not long after graduating from the Rhode Island School of Design in Providence, Rhode Island. Walker remained in Providence until she “felt ready” to make the move to New York. However, “When I came to the City,” she says, “I felt like my newly forming ego and sense of self was just torn to shreds.” Now a professor in Columbia University’s MFA program, Walker sees the many challenges that young artists face today and encourages them to take responsibility for changing negative conditions in the art world. Walker is shown in New York City installing cut paper silhouettes and framed paintings at Sikkema Jenkins & Co. in 2013 and visiting the gallery’s booth at the 2014 Frieze Art Fair, where she is accompanied by her mother. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work, which includes drawing, watercolor, video, and sculpture, often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Nick Ravich, Rafael Salazar & Ava Wiland | Sound Ava Wiland | Editor Morgan Riles Artwork Courtesy Kara Walker & Sikkema Jenkins & Co | Additional Photography Courtesy Andrea Guermani & Kara Walker | Special Thanks Scott Briscoe, Cindy Daignault & Frieze Art Fair | Theme Music Peter Foley | ART21 „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors | YouTube
BIOGRAFIE KARA WALKER
GEBURTSJAHR | 1969 | GEBURTSORT | Stockton | Kalifornien | USA
AUSBILDUNG KARA WALKER
Atlanta College of Art | Georgia | 1991 Bachelor of Fine Arts
Rhode Island School of Arts | 1994 Master of Fine Arts
LEHRTÄTIGKEIT KARA WALKER
Lehrauftrag als Professorin an der Columbia University
MITGLIEDSCHAFTEN KARA WALKER
seit 2012 American Academy of Arts and Letters
seit 2018 American Philosophical Society
2019 Ernennung von der Royal Academy of Arts, London, zum Honorary Royal Academician
AUSZEICHNUNGEN KARA WALKER
1997 John D. and Catherine T. MacArthur Foundation Achievement Award
2008 Eileen Harris Norton Fellowship
SAMMLUNGEN KARA WALKER
AUSWAHL
Sammlung Deutsche Bank | Frankfurt
Tate Gallery | London
Solomon R. Guggenheim Museum | New York
Museum of Modern Art | MoMA | New York
Metropolitan Museum of Art | New York
Museo Nazionale delle Arti del XXI secolo | MAXXI | Rom
AUSSTELLUNGEN KARA WALKER
EINZELAUSSTELLUNGEN AUSWAHL
2002 Deutsche Guggenheim | Berlin
2021 Kunstmuseum Basel
AUSSTELLUNGSBETEILIGUNGEN AUSWAHL
2002 25. Biennale Sao Paulo
WERKBESCHREIBUNG KARA WALKER
SCHWERPUNKTE | MEDIEN
Kohle- und Bleistiftzeichnungen | Collagen | Silhouetten | seit 1994 wandfüllenden Scherenschnitte | in Projektionen mit Licht und Scherenschnitten bezieht Kara Walker auch die Anwesenden und deren Schatten aktiv mit ein
STIL
THEMEN | MOTIVE | WERKE
Geschichte des amerikanischen Südens werden mit Kara Walkers persönlicher Fantasie und deren Erfahrungen verrknüpft | Genreszenen aus dem viktorianischen Zeitalter, die sich als drastische Darstellungen der Sklavenhaltergesellschaft entpuppen und an den gängigen Geschichtsbildern und Mythen rütteln
DEFINITION | BESCHREIBUNG | MERKMALE
Virtuose, assoziative und additive Zeichnungen, die einerseits unheimlich, direkt, schonungslos, provokativ, obszön und körperlich präsent und dann wieder voller Poesie und introvertierter Zärtlichkeit und meistens auf der Suche nach der eigenen Identität sind und gleichzeitig auch gesellschaftliche Probleme sichtbar machen | Zitieren und Verflüssigen von medialen Bildern | scharf umrissene Figuren spiegeln auf eine fast spielerische Art das Drama von Macht und Ohnmacht in unserer scheinbar normalen aber doch tendenziell rassistisch geprägten Welt
STICHWORTE KARA WALKER
amerikanische Künstlerin | Doppeldeutigkeit im Spiel mit den Kontrasten | Schattenrisse als Wiederentdeckung eines Mediums der Aufklärung
ZITATE KARA WALKER
„Der Scherenschnitt ist eine fast vollkommene Lösung für ein komplexes Projekt, das ich in Angriff genommen habe: nämlich den Versuch, aufzudecken, wie Rassismus und rassistische und sexistische Stereotypen auf oft subtile und unerfreuliche Weise unser tägliches Leben beeinflussen.“ | Kara Walker
„Meine Werke sind explizit erotisch, schamlos. Ich würde es begrüssen, wenn die Besucher vor meiner Arbeit stehen und sich auch ein wenig schämen.“ | Kara Walker
TEXT | BIBLIOGRAPHIE KARA WALKER
LINKS KARA WALKER
KARA WALKER
Kara Walker at the MAC | 24 Jan – 27 Apr 2014 | The MAC | Belfast|
https://themaclive.com/ | We at the MAC are Exceedingly Proud to Present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress. Organised in partnership with Camden Arts Centre, London with support from Sikkema Jenkins & Co, New York and Victoria Miro Gallery, London |
YouTube
Kara Walker |A Subtlety, or the Marvelous Sugar Baby | Art21 | Extended Play | Episode #204: This episode provides an in-depth look at the creation of Kara Walker’s monumental public project, „A Subtlety, or the Marvelous Sugar Baby“ (2014), at the Domino Sugar Factory in Brooklyn, NY. Seated in her Manhattan studio, Walker explains how the molasses-covered space, along with her extensive research into the history of sugar, inspired her to create a colossal sugar-coated sphinx, as well as a series of life-sized, sugar and resin boy figurines. A team of artists and fabricators are shown constructing and coating the sphinx, which, as Walker says, gains its power by „upsetting expectations, one after the other.“ Commissioned by Creative Time, „A Subtlety, or the Marvelous Sugar Baby“ is the first large-scale public project by Walker who is best known for her cut paper silhouette installations, drawings, and watercolors. „A Subtlety, or the Marvelous Sugar Baby“ was on view until July 6, 2014. Thereafter, the factory is scheduled to be demolished to make way for condominiums. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work—which includes drawing, watercolor, video, and sculpture—often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Rafael Salazar & Ava Wiland | Sound Nicole J. Caruth, Wesley Miller & Ava Wiland | Editor Morgan Riles | Music Pinch Music | Artwork Courtesy Kara Walker & Creative Time | Special Thanks Sikkema Jenkins & Co. | Theme Music Peter Foley | „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors Kara Walker, „A Subtlety, or the Marvelous Sugar Baby“ at Creative Time
YouTube
VIDEO | FILM kara walker
Artist Kara Walker | ‚I’m an Unreliable Narrator‘ | Fons Americanus | Tate | Fons Americanus is a 13-metre tall working fountain inspired by the Victoria Memorial in front of Buckingham Palace, London. Created by artist Kara Walker for the 2019 Hyundai Commission, it is one of the most ambitious installations in Tate Modern’s Turbine Hall to date. Rather than a celebration of the British Empire, Walker’s fountain explores the interconnected histories of Africa, America and Europe. She uses water as a key theme, referring to the transatlantic slave trade and the ambitions, fates and tragedies of people from these three continents. Fantasy, fact and fiction meet at an epic scale. Based in New York, Kara Walker is acclaimed for her candid explorations of race, sexuality and violence. She is best known for her use of black cut-paper silhouetted figures, referencing the history of slavery and the antebellum South in the US through provocative and elaborate installations. Tate Modern’s Turbine Hall has hosted some of the world’s most memorable and acclaimed large-scale works of art, enjoyed by audiences of millions each year. This is the fifth installation in the ten-year series of the Hyundai Commission following the work of Abraham Cruzvillegas in 2015, Philippe Parreno in 2016, SUPERFLEX in 2017 and Tania Bruguera in 2018 | Fons Americanus is on display at Tate Modern until 5 April 2020 | YouTube
Kara Walker | Starting Out | Art21 | Extended Play | Episode #207: In this episode of ART21 „Exclusive,“ Kara Walker reflects on her early success and offers advice to the next generation of artists. Walker received widespread attention after being included in a group exhibition at The Drawing Center in New York City in 1994, not long after graduating from the Rhode Island School of Design in Providence, Rhode Island. Walker remained in Providence until she “felt ready” to make the move to New York. However, “When I came to the City,” she says, “I felt like my newly forming ego and sense of self was just torn to shreds.” Now a professor in Columbia University’s MFA program, Walker sees the many challenges that young artists face today and encourages them to take responsibility for changing negative conditions in the art world. Walker is shown in New York City installing cut paper silhouettes and framed paintings at Sikkema Jenkins & Co. in 2013 and visiting the gallery’s booth at the 2014 Frieze Art Fair, where she is accompanied by her mother. Kara Walker explores the raw intersection of race, gender, and sexuality in her work, crafting vivid psychological narratives from a contemporary perspective on historical conditions. Over the past two decades, Walker has unleashed the traditionally Victorian medium of the silhouette onto the walls of the gallery, creating immersive installations that envelop the viewer. Walker’s multi-media work, which includes drawing, watercolor, video, and sculpture, often reconsider grotesque caricatures, probing their persistence in popular culture and reclaiming their subjugating power to alternative ends | Producer Ian Forster | Consulting Producer Wesley Miller & Nick Ravich | Interviewer Ian Forster | Camera Ian Forster, Nick Ravich, Rafael Salazar & Ava Wiland | Sound Ava Wiland | Editor Morgan Riles Artwork Courtesy Kara Walker & Sikkema Jenkins & Co | Additional Photography Courtesy Andrea Guermani & Kara Walker | Special Thanks Scott Briscoe, Cindy Daignault & Frieze Art Fair | Theme Music Peter Foley | ART21 „Exclusive“ is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors | YouTube
BIOGRAFIE KARA WALKER
GEBURTSJAHR | 1969 | GEBURTSORT | Stockton | Kalifornien | USA
AUSBILDUNG KARA WALKER
Atlanta College of Art | Georgia | 1991 Bachelor of Fine Arts
Rhode Island School of Arts | 1994 Master of Fine Arts
LEHRTÄTIGKEIT KARA WALKER
Lehrauftrag als Professorin an der Columbia University
MITGLIEDSCHAFTEN KARA WALKER
seit 2012 American Academy of Arts and Letters
seit 2018 American Philosophical Society
2019 Ernennung von der Royal Academy of Arts, London, zum Honorary Royal Academician
AUSZEICHNUNGEN KARA WALKER
1997 John D. and Catherine T. MacArthur Foundation Achievement Award
2008 Eileen Harris Norton Fellowship
SAMMLUNGEN KARA WALKER
AUSWAHL
Sammlung Deutsche Bank | Frankfurt
Tate Gallery | London
Solomon R. Guggenheim Museum | New York
Museum of Modern Art | MoMA | New York
Metropolitan Museum of Art | New York
Museo Nazionale delle Arti del XXI secolo | MAXXI | Rom
AUSSTELLUNGEN KARA WALKER
EINZELAUSSTELLUNGEN AUSWAHL
2002 Deutsche Guggenheim | Berlin
2021 Kunstmuseum Basel
AUSSTELLUNGSBETEILIGUNGEN AUSWAHL
2002 25. Biennale Sao Paulo
WERKBESCHREIBUNG KARA WALKER
SCHWERPUNKTE | MEDIEN
Kohle- und Bleistiftzeichnungen | Collagen | Silhouetten | seit 1994 wandfüllenden Scherenschnitte | in Projektionen mit Licht und Scherenschnitten bezieht Kara Walker auch die Anwesenden und deren Schatten aktiv mit ein
STIL
THEMEN | MOTIVE | WERKE
Geschichte des amerikanischen Südens werden mit Kara Walkers persönlicher Fantasie und deren Erfahrungen verrknüpft | Genreszenen aus dem viktorianischen Zeitalter, die sich als drastische Darstellungen der Sklavenhaltergesellschaft entpuppen und an den gängigen Geschichtsbildern und Mythen rütteln
DEFINITION | BESCHREIBUNG | MERKMALE
Virtuose, assoziative und additive Zeichnungen, die einerseits unheimlich, direkt, schonungslos, provokativ, obszön und körperlich präsent und dann wieder voller Poesie und introvertierter Zärtlichkeit und meistens auf der Suche nach der eigenen Identität sind und gleichzeitig auch gesellschaftliche Probleme sichtbar machen | Zitieren und Verflüssigen von medialen Bildern | scharf umrissene Figuren spiegeln auf eine fast spielerische Art das Drama von Macht und Ohnmacht in unserer scheinbar normalen aber doch tendenziell rassistisch geprägten Welt
STICHWORTE KARA WALKER
amerikanische Künstlerin | Doppeldeutigkeit im Spiel mit den Kontrasten | Schattenrisse als Wiederentdeckung eines Mediums der Aufklärung
ZITATE KARA WALKER
„Der Scherenschnitt ist eine fast vollkommene Lösung für ein komplexes Projekt, das ich in Angriff genommen habe: nämlich den Versuch, aufzudecken, wie Rassismus und rassistische und sexistische Stereotypen auf oft subtile und unerfreuliche Weise unser tägliches Leben beeinflussen.“ | Kara Walker
„Meine Werke sind explizit erotisch, schamlos. Ich würde es begrüssen, wenn die Besucher vor meiner Arbeit stehen und sich auch ein wenig schämen.“ | Kara Walker
TEXT | BIBLIOGRAPHIE KARA WALKER
LINKS KARA WALKER
