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
I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.
I know that in my family there are histories of violence that are internal family things and that are oftentimes dealt with internally. By internally, I mean inside the family group, but also partly inside ourselves. You know, self-hatred and hostility and rage and this cycle that won't break.
I grew up partially around Stone Mountain, Georgia, and in that part of the country, there was always this aura of mythology and palpable sense of otherness about being a Southerner.
I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.
Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.
I took a political stance early on, but I don't think my work is overtly political. I respond to events.
I don't know how much I believe in redemptive stories, even though people want them and strive for them.
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!
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.
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.