Kara Walker

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Darkytown Rebellion, 2001 Cut Paper And Projection On Wall 4 X 37 Ft © Collection Musée. d’Art Moderne Grand-Duc Jean, Luxembourg. Courtesy of the artist and the Hammer Museum
Confederate Prisoners, 2005 Mixed Media On Paper 55"X39" © Pomona College Museum of Art
Alabama Loyalists, 2005 Mixed Media On Paper 55"X39" © Pomona College Museum of Art
Occupation of Alexandria , 2005 Lithographie Et Sérigraphie 100 X 135 Cm © Galerie Lelong - Paris
untitled, 2009 Cut Paper, Paint 4.8 X 7.8 X 5.1 In / 12.2 X 19.8 X 13 Cm © Courtesy of the artist & Sikkema Jenkins & Co
8 Possible Beginnings or: The Creation of African-America, a Moving Picture (film still) , 2005 Dvd Video (B&W, Sound) 15 Minutes 57 Seconds © Courtesy of Sikkema Jenkins & Co., New York
© Courtesy of the artist & Sikkema Jenkins & Co
© Courtesy of the artist & Lehmann Maupin - Chrystie St.
no world, from An Unpeopled Land in Uncharted Waters), 2010 Etching With Aquatint, Sugar Lift, Spit Bite, And Drypoint 30 1/4 X 39 1/2 In. (76.8 X 100.3 Cm) © Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchased with funds provided by the Helga K. and Walter Oppenheimer Acquisition Fund. Photo: Robert Wedemeyer
© Courtesy of the artist and The Art Institute of Chicago
Untitled (Scene #5 from Emancipation Approximation portfolio) , edition 7/20, 1999-2000 Screenprint On Paper 44 X 34 In. © Collection of Jordan D. Schnitzer
…calling to me from the angry surface of some grey and threatening sea, 2007 Video Installation © Courtesy of the artist & The Naomi Milgrom Collection
Fall Frum Grace, Miss Pipi's Blue Tale, 2011 Video Still © Courtesy of the Artist and Camden Arts Centre
Urban Relocator, 2011. Courtesy of Sikkema Jenkins & Co., New York © Kara Walker
Aunty Walker's Wall Sampler of Civilians (detail), 2013. Courtesy of Sikkema Jenkins & Co., New York © Kara Walker
Magic Lantern (flames), Magic Lantern (stars and cannon), Magic Lantern (man and woman), 2004 Cut Paper, Theatrical Gels, Metal Armature, And Light Bulb © Courtesy of the artist & The Fabric Workshop and Museum
Untitled (Scene #18 from Emancipation Approximation portfolio), 1999–2000 © Courtesy of the artist & The Jordan Schnitzer Museum of Art
No world (from An Unpeopled Land in Uncharted Waters), 2010 Etching With Aquatint, Sugarlift, Spit Bite, And Drypoint On Hahnemuhle Paper 30 3/8 X 39 3/4 In © Courtesy of the artist & The Weatherspoon Art Museum
Confederate Prisoners Being Conducted from Jonesborough to Atlanta, from the portfolio Harper's Pictorial History of the Civil War (Annotated), 2005 Offset Lithograph And Screenprint © Courtesy of the artist & The Saint Louis Art Museum
Sketch for an American Comic Opera with 20th century Race Riots, 2012 Pastel And Graphite On Paper 3 Parts 99.25 X 216.75 Inches © Courtesy of the artist & Sikkema Jenkins & Co
© Courtesy of the artist & The Fleming Museum
Untitled, 2013-14 Charcoal On Paper 3 Parts, Collaged 60.25 X 100.25 Inches (153 X 254.6 Cm) Overall © Courtesy of the Artist and Sikkema Jenkins & Co
Scene of McPherson's Death, 2005 Offset Lithography And Silkscreen © Courtesy of the Artist and DAUM MUSEUM OF CONTEMPORARY ART
African Boy Attendant Curio with Molasses and Brown Sugar, from "The Marvelous Sugar Baby" Installation at the old Domino Sugar Factory Warehouse (Bananas), 2014 Cast Pigmented Polyester Resin With Polyurethane Coating With Molasses And Brown Sugar, 59½ X 20 X 19 In. (151.1 X 50.8 X 48.3 Cm). Edition Of 5 © Kara Walker. (Photo: Jason Wyche)
Matisse Blue Dress, 2013 Acrylic With Collage Of Various Papers, Pastel, And Digital Photographs On Arches Paper. © Courtesy of Imlay Gallery and the artist.
Negress Notes (from series), 2015 © Courtesy of the Artist and Thinkspace Victoria Miro Gallery
Norma, 2015 © Courtesy of the Artist and Victoria Miro
Quick Facts
Stockton, California
Birth year
Lives in
New York
Works in
New York

Kara Walker is a contemporary  American artist 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's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African American women in particular. However, because of her confrontational approach to the topic, Walker's artwork is reminiscent of Andy Warhol's Pop Art during the 1960s.

Her nightmarish yet fantastical images incorporate a cinematic feel. Walker uses images from historical textbooks to show how African American slaves were depicted during Antebellum South. In response to Hurricane Katrina, Walker created "After the Deluge," since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality," including fatalities from the hurricane reduced to bodies and nothing more. She likened these casualties to African slaves piled onto ships for the Middle Passage, the Atlantic crossing to America.

In 2007, Walker was listed among Time Magazine's 100 Most Influential People in The World, Artists and Entertainers.


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