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	Kara Walker - Wikipedia, the free encyclopedia
		Kara Walker (born November 26, 1969) is a modern American artist who is best known for her exploration of race, gender, sexuality, and identity in her artworks.
		Walker's education includes an MFA at Rhode Island School of Design in Painting/Printmaking, and a BFA in Painting/Printmaking at Atlanta College of Art.
		Walker lives in New York and is on the faculty of the MFA program at Columbia University.
	en.wikipedia.org /wiki/Kara_Walker (236 words)

	Art:21 . Kara Walker . Biography . Documentary Film \| PBS
		Kara Walker was born in Stockton, California in 1969.
		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.
		Walker currently lives in New York where she is on the faculty of the MFA program at Columbia University.
	www.pbs.org /art21/artists/walker (267 words)

	The Broad Art Foundation - The Collection - Kara Walker
		Walker has taken the 18th and 19th century art of silhouetting and brought it into the 20th century.
		With Walker, the medium is revived and becomes a deadly weapon under her hand and scissors.
		Walker is influenced by earlier generations of fl artists who have dealt with racial issues in an ironic fashion.
	www.broadartfoundation.org /collection/walker.html (336 words)

	KARA WALKER - MUSEO - VOLUME 4
		As part of her larger project of exposing the misrepresentations of African-Americans, Walker uses the image of the fl woman as a key figure in her parodies of the ante-bellum South.
		Walker identifies the white male desire to possess the fl female body and turns it into an object; here, however, the woman ends up holding the power over the diminutive white male body.
		Walker's version of the fetish does not, however, cure the fear, but rather, heightens it; all the while, the viewer remains piqued and cannot turn away despite knowing that prolonging the look will prolong the discord.
	www.columbia.edu /cu/museo/walker (1296 words)

	Biobibliography - Kara Walker
		Kara Walker: Excavated from the Black Heart of a Negress, The Studio Museum in Harlem, New York, N.Y., États-Unis, 16 juill.-28 sept. 2003.
		Kara Walker — The Emancipation Approximation, MAXXI-Museo nazionale delle arti del XXI secolo, Rome, Italie, 3 déc.
		Kara Walker: An Abbreviated Emancipation (from The Emancipation Approximation), The University of Michigan Museum of Art, Ann Arbor, Mich., États-Unis, 9 mars-26 mai 2002.
	media.macm.org /biobiblio/histoires_ameriques/walker_e.html (1509 words)

	Museum of Contemporary Art - Education Programs (Site not responding. Last check: 2007-11-02)
		Walker became interested in creating silhouettes cut from fl paper because they reminded her of the shadowy figures on the cover of historical romance novels.
		Walker uses the silhouette technique to present images of figures from the antebellum South, images frequently of a violent or sexual nature.
		Here Walker identifies herself (or her alter ego) as “colored,” and by describing the scenes as ones “drawn from my passage through the South,” she establishes the artwork as a piece of historical fiction.
	www.mcachicago.org /MCA/Education/Teachers/Book/Walker-txt.html (1274 words)

	SAAM :: Press Releases :: Archive (Site not responding. Last check: 2007-11-02)
		"Kara Walker embodies the qualities that the Lucelia Artist Award seeks to reward—a commitment to creative innovation and the courage to be daring," said Elizabeth Broun, the museum's Margaret and Terry Stent Director.
		Walker was born in Stockton, Calif. in 1969.
		Walker is best known for her provocative large-scale silhouettes that she uses to explore difficult contemporary social issues.
	americanart.si.edu /press/pr_archive/pr-lucelia2004.cfm (741 words)

	Kara Walker (Site not responding. Last check: 2007-11-02)
		Kara Walker 1031856787 1031263200 Berlin Germania Galerie Max Hetzler www.maxhetzler.com info@maxhetzler.com 1031856787.jpg 1035669599 o Galerie Max Hetzler Kara Walker Galerie Max Hetzler is pleased to present a new wall installation by American artist Kara Walker.
		Walker's installation subtly references this chapter in U.S. history so that the viewer, who most likely is not aware of the details of Turner's Rebellion, is left to construct their own narrative.
		Kara Walker in conversation with Hans-Ulrich Obrist in leaflet of the museum in progress, in co-operation with the Wiener Staatsoper, September 1998.
	www.undo.net /artinpress/1031263200.1031856787.html (439 words)

	Drylongso: Extraordinary Thought for Ordinary People: Black Folks, Killing Jokes, and the Journey of the Self
		Walker's works are not the products of someone naive and ignorant of the history of racist America, as some critics would have her viewers believe.
		Walker is not the first to resist the dichotomy game, nor will she be the last to incur the wrath of her people for doing so.
		Kara Walker is not an irresponsible artist though she may well be provocative to say the least.
	www.drylongso.com /artsenter/articles/black-folks.html (1055 words)

	Exhibitions \| Museum of Art (UMMA) \| U-M
		The University of Michigan Museum of Art has commissioned African-American artist Kara Walker to create a site-specific installation in its Apse - a panoramic frieze in her signature medium, cut-paper silhouettes on a life-size scale.
		Walker's evocations of an antebellum world are rooted in stereotypes and comment on the system of slavery and its continuing legacy in the American consciousness.
		At the Museum of Art Walker will create an extraordinary room-size mural that will surround the viewer, much like cycloramas, the large-scale history paintings in the round that were popular at the end of the last century and just before the advent of the cinema.
	www.umma.umich.edu /view/past/2002-walker.html (301 words)

	Kara Walker Wall Text
		Kara Walker came to the world’s attention in 1994, when she presented a work comprising only spare, expertly drawn silhouette forms cut from fl paper and pasted directly onto the white walls of an exhibition space.
		Walker’s silhouettes, drawings, and paintings borrow liberally and unconventionally from prior modes of representation.
		Her recombination of such resources indicates that, for Walker, history is a diversely populated territory full of material that can be employed as one sees fit to better understand the paradoxes of the present.
	www.studiomuseuminharlem.org /pr/kwalker_wall.html (349 words)

	October 24, 2003 (#003) (Site not responding. Last check: 2007-11-02)
		The lecture and panel discussion are presented in conjunction with Kara Walker: Narratives of a Negress, and Representing Slavery, an exhibition featuring the work of six American artists, offering a wide range of interpretations on the subject of slavery in the United States.
		Kara Walker, known for her fl paper silhouettes, has quickly become one of the most important voices of her generation.
		The exhibition, “Kara Walker: Narratives of a Negress” is supported in part by a grant from the National Endowment for the Arts.
	www.williams.edu /messages/2003/10/M20031024-003-saugugli.html (641 words)

	Embaixada dos Estados Unidos no Brasil
		The youngest artist to have received the esteemed MacArthur Fellows Award, Kara Walker is noted for a body of work comprising near to life-sized silhouettes that are influenced by the popular imagery of the ante-bellum South.
		While Walker's tableaux are elegant and lyrical, the characters in her narratives reveal the complex human interactions that constitute the conditions of racism and slavery.
		Walker holds a Master of Fine Arts degree from the Rhode Island School of Design, Providence, Rhode Island and she joined the faculty of the Department of Arts at Columbia University in September,2001.
	www.embaixada-americana.org.br /index.php?action=saopaulomateria.php&id=980&itemmenu=56&submenu=8 (394 words)

	Drylongso: Extraordinary Thought for Ordinary People: Spotlight on Kara Walker
		Kara Walker was born to Larry and Gwen Walker in 1969.
		Walker's father is an artist, Art Professor, and the former director of the School of Art and Design at Georgia State University.
		"Kara Walker, 'From the Bowel to the Bosom.'" Time-Out-New York-Art, Mar 13, 1996.
	www.drylongso.com /artsenter/articles/spotlight.html (607 words)

	village voice > art > by Jerry Saltz
		Walker gets the wimpy, unassuming, long dead medium of cut-paper silhouette to sing the hymn of the divided self and take on vast paranoiac histories.
		Since her 1996 exhibition at Wooster Gardens, Walker was included in the 1997 Whitney Biennial, has appeared on the cover of Frieze twice, and this year was awarded a MacArthur "genius" grant.
		Walker's tool, the razor, is also the source of her mortification and her liberation.
	www.villagevoice.com /issues/9847/saltz.php (952 words)

	Artfacts.Net: Kara Walker — Sammlung Deutsche Bank
		Walker´s use of silhouettes grew out of an artistic tradition found in the American South an popular in the 19th century.
		Kara Walker lives and works in New York, where she holds a professorship at Columbia University.
		Kara Walker constantly refers to contemporary literature by Afro-American women writers as a source of inspiration for her art.
	www.artfacts.net /index.php/pageType/exhibitionInfo/exhibition/9545 (691 words)

	Fabric Workshop and Museum : Kara Walker: Video Interview
		The exhibition was the culmination of Kara Walker's collaboration with the FWM.
		Her residency project, begun in 2001, continued Walker's use of wall drawing and decorative craft traditions, particularly Victorian silhouette portraiture, as the basis of her practice.
		Above left: Kara Walker performing in her exhibition Fibbergibbet and Mumbo Jumbo: Kara E. Walker in Two Acts at The Fabric Workshop and Museum on 26 March–14 August 2004.
	www.fabricworkshopandmuseum.org /artists/video/walker.php (203 words)

	artnet.com Magazine Features - Kara Walker's Cakewalk (Site not responding. Last check: 2007-11-02)
		Walker's work is certainly high drama, weirdly tragicomic, with a deft narrative twist, but it has less to do with social reality than fl rage, resentment and bitterness.
		Walker seems obsessed with the past, as though to preclude a vision of the future, perhaps because it is a generalized American future rather than a specifically fl one.
		Walker's mural is, perhaps first and foremost, a surreal dream picture, enigmatic and absurd however burdened by populist clichés.
	www.artnet.com /magazine/features/kuspit/kuspit11-4-03.asp (1049 words)

	Crisis, The: Still Here: Artist Kara Walker in Black and White
		Although she was raised in the South, Walker says she didn't feel ready to address race in her work until she put some distance between herself and the South's complex racial history by moving north to attend graduate school.
		Hamza Walker (no relation to the artist) is director of education at the University of Chicago's Renaissance Society and was an early champion of Kara Walker's art.
		He compares Walker's irreverence to that of Richard Pryor, in that she dares to be provocative not for the sake of being provocative, but to give the audience a new way to think about a taboo subject.
	www.findarticles.com /p/articles/mi_qa4081/is_200401/ai_n9382167 (1546 words)

	Guggenheim Museum - Moving Pictures (Site not responding. Last check: 2007-11-02)
		Kara Walker arranges life-sized silhouetted figures into raucous tableaux that recount the brutal, and often repressed, history of American race relations.
		Walker derives her imagery from the visual language of the antebellum South and from the tradition of the minstrel show and redeploys them to subversive ends.
		In this piece, Walker expands the vocabulary of her shadowy forms to include projected silhouettes and colored lights.
	www.guggenheim.org /exhibitions/past_exhibitions/moving_pictures/highlights_10a.html (281 words)

	Fabric Workshop and Museum : Past Exhibition : Fibbergibbet and Mumbo Jumbo: Kara E. Walker in Two Acts
		In keeping with her provocative installations of cut paper silhouettes for which she has become known, Walker continues to use the simplest of means to create vivid—if not shocking—images based on life in the Antebellum South.
		Walker's cut-paper and projected silhouettes form a dramatic, albeit fictitious, narrative that stems in part from a mix of nineteenth century slave stories, African American history and contemporary culture.
		Kara Walker was born in Stockton, California and lives and works in New York City.
	www.fabricworkshopandmuseum.org /exhibitions/walker.php (622 words)

	Kara Walker: Pictures From Another Time
		Arguably the most controversial young African-American artist working today, Kara Walker creates vivid and shocking evocations, rooted in stereotypes, of an antebellum world that comments on the system of slavery and its continuing legacy in the American consciousness.
		In her choice of fl cut-paper silhouettes, Walker takes a medium that was extremely fashionable in the late 18th and early 19th centuries as part of the neoclassical revival, when the silhouetted images on ancient Greek and Roman vases were emulated on such goods as Wedgwood ware.
		Adopting the antiquated medium of the silhouette, Walker has turned it into a powerful force to evoke the complexities of the system of slavery, exploring themes of exploitation, accommodation, and complicity on the part of both the powerful and the oppressed.
	www.artbook.com /1891024507.html (375 words)

	art.blogging.la: Kara Walker @ Redcat (Site not responding. Last check: 2007-11-02)
		This weekend marks the opening of Kara Walker's first solo LA exhibition Song of the South at Redcat.
		Kara Walker's "historical" shadow dramas depict unseemly acts of sex, birth, dismemberment and play that accentuate the slippery separations between dominance and desire, fantasy and fear.
		Standing in an exhibition space with one of Kara Walker's pieces can be an overwhelming experience as I take in her beautiful and brutal narratives.
	art.blogging.la /archives/2005/09/kara_walker_red.phtml (405 words)

	E-Flux : Kara E. Walker’s Song of the South - (2005-08-24)
		Walker’s shadow dramas depict unseemly acts of sex, birth, dismemberment and play that accentuate the slippery separations between dominance and desire, fantasy and fear.
		Walker will orchestrate performances in the Gallery at REDCAT at her opening on 2 September as well as at her closing reception on 23 October.
		Kara Walker received her M.F.A. in painting/printmaking from the Rhode Island School of Design in 1994.
	www.e-flux.com /displayshow.php?file=message_1124914691.txt (343 words)

	"Fibbergibbet and Mumbo Jumbo: Kara E. Walker in Two Acts"
		The youngest-ever recipient of a MacArthur grant at age 27, Kara Walker first sent art folks into a tizzy in 1994, when she emerged from seemingly nowhere, furiously cutting and shaping paper into politically incorrect, silhouetted scenes of an antebellum South many thought deservedly forgotten.
		Walker skillfully takes a respectable, Colonial-era artistic technique -- the simple, refined silhouette -- and uses it to skewer the stereotypes of the time (always aware of the way each is an oversimplification of the truth).
		Now 35, Walker is the Fabric Workshop's artist in residence, and the result of her four-year stay is "Fibbergibbet and Mumbo Jumbo: Kara E. Walker in Two Acts," an installation work still receiving final touches at press time.
	www.citypaper.net /articles/2004-03-25/art2.shtml (436 words)

	Kara Walker
		The collision of fact and fiction is at the core of Kara Walker’s explorations of the history of race relations in the United States.
		Walker likens her process of cutting out near-life-sized silhouettes of characters she invents, based on such sources as nineteenth- century slave narratives, to the process of stereotyping itself—both involve reducing figures to their emblematic profiles.
		The elegant and lyrical line of Walker’s cut edges, embellished with curling, ribbon-like flourishes and touches of whimsy, is a foil to the jolt that overtakes the viewer as her narrative is slowly revealed.
	www.cmoa.org /international/html/art/walker.htm (356 words)

	MAM - Collection - Prints and Drawings - Kara Walker
		Kara Walker’s aggressively confrontational art mounts an assault both on historical white-washing and on the viewers themselves.
		Rendered as flat fl cutouts – mounted directly on a white wall or here, in one of her first prints, printed on large sheets of white paper – the simplified, almost caricatured forms are shocking in their graphic power.
		The viewer is compelled to acknowledge that the message is there in fl and white—and the message itself is equally stark and uncompromising.
	www.mam.org /collections/printsanddrawings_detail_walker.htm (139 words)

	Kara Walker Continues to Raise Questions About Race, Sex, and Power
		However, Walker, a 1997 MacArthur "genius" grant recipient, should be credited for her fearless imagination, her remarkable willingness to value that which it creates, and mostly, for the questions she and her artwork evoke.
		While in the past, Walker, 30, has dealt primarily with the conjugal incarnations of the fl slave and the white master, her current exhibit at Brent Sikkema is less carnal and more just plain curious.
		Thus, contrary to frequent criticism that Walker is forcing her ideas on the viewer with blatant shock value, this part of the exhibit is almost passive in its presentation, open to interpretation on the broadest of levels.
	archive.blackvoices.com /articles/daily/index_19991231.asp (546 words)

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