Originally published on: March 31, 2008 Wangechi Mutu will never experience the heated backlash that Kara Walker experienced. No one will call Mutu the “patsy of the white art establishment,” accuse her of selling fellow black artists down the river, or launch a letter-writing campaign to keep her artwork from being shown. There are good reasons for this: unlike Walker, the Kenyan-born Mutu does not[.....]
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Wangechi Mutu will never experience the heated backlash that Kara Walker experienced. No one will call Mutu the “patsy of the white art establishment,” accuse her of selling fellow black artists down the river, or launch a letter-writing campaign to keep her artwork from being shown. There are good reasons for this: unlike Walker, the Kenyan-born Mutu does not share the slavery lineage of African-American[.....]
On view at the Whitney Museum of American Art through Feb 2008, artist Kara Walker will be showing “My Complement, My Enemy, My Oppressor, My Love”. The artist explores racism in the American psyche through large-scale silhouettes that tell a story as they spread from one end of a room to the other. Walker has created a repertoire of narratives in which she conflates fact[.....]
When asked why she had sculpted such pronounced, sugar-coated labia on A Subtlety, the mammy-sphinx recently on view at the Domino Sugar Factory in Brooklyn, Kara Walker answered, “[It’s about] ownership of the voluptuousness of an ass”; “a 10-foot vagina…is not something that happens in art often enough”; and “[It was] a fuck-you, I’m gonna do that because this is what I have…there are enough phallic[.....]
#race #gender #gentrification #access #development #labor Kara Walker’s massive sphinx at the Domino Sugar Factory in Brooklyn, titled At the behest of Creative Time Kara E. Walker has confected: A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of[.....]
How is Blackness performed? Most African American contemporary artists will admit in confidence that they are often expected to perform their Blackness for the power players of the art mainstream, regardless of their choice of artistic medium. Artists working in two dimensions such as Kerry James Marshall, Kara Walker, and Wangechi Mutu have gained currency by creating work that makes the construction of black identity[.....]
It’s par for the course for blue-chip galleries to mount so-called “museum quality” exhibitions, and hardly a surprise when they coincide with auctions and estate holdings. Readykeulous: The Hurtful Healer: The Correspondance Issue at INVISIBLE-EXPORTS is just as historically potent without being market driven. Founded in 2005 by artists Nicole Eisenman and A. L. Steiner, Ridykeulous has gained consistent momentum, and this is their strongest[.....]