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[…..]
“…In reimagining traditions of portraiture, the artists featured not only reinsert black subjects into the pictorial frame, they also redefine these creative traditions as inherently mutable and, as such, capable of representing complex subjectivities that exist beyond the boundaries of race, gender, sexuality, and class.” From our partners at Art Practical, today we bring you Anton Stuebner’s review of Portraits and Other Likenesses from SFMOMA. This article was[…..]
Here at Daily Serving we count down the days to the New Year by presenting you with our best writing from the outgoing year. Our first selection, from our 2014 #Hashtags column, comes from Lia Wilson: “Anuradha Vikram’s investigation of Kara Walker’s The Marvelous Sugar Baby is an incredibly deft navigation of the entanglement of race, gender, class, labor, capitol, and representation operating within the work[…..]
This year has been unusually promising for the visibility of work by black female artists, even while that prominence has further highlighted racially problematic attitudes within the art world. The last ten months have marked the first in which an African American woman—Carrie Mae Weems—was given a retrospective at the Guggenheim, though her triumphant entry into that pantheon led to rebukes that the museum cut the original[…..]
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[…..]