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Kara Elizabeth Walker (born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who explores race, gender, sexuality, violence, and identity in her work.
Pages in category "Works by Kara Walker" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes. F. Fons Americanus; S.
Walker reappropriates the cut-paper silhouettes crafted by proper ladies in the nineteenth century to create strange tableaux from antebellum romance novels and slave narratives. [2] They Waz Nice White Folks While They Lasted is actually one of her less disturbing works, which can feature images of rape, murder, and torture.
Five Poems (2002, limited edition book with illustrations by Kara Walker) [221] [222] Libretto. Margaret Garner (first performed May 2005) [100] Non-fiction.
A Subtlety (also known as the Marvelous Sugar Baby and subtitled 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 the demolition of the Domino Sugar Refining Plant) is a 2014 piece of installation art by American artist Kara Walker.
Marcopoulos has published over 200 books and limited edition zines as well as books in collaboration with artists like Fumes with Matthew Barney, an in-depth look at Barney's studio process captured through photographs shot over the course of four years and "the Ecstasy of St. Kara" with Kara Walker. [15] [16]
Fons Americanus was a sculpture, taking the form of a functional fountain adorned with allegorical scenes and figures, created by American artist Kara Walker.The sculpture was housed in the Tate Modern’s Turbine Hall from late 2019 to early 2020, and was destroyed at the end of its time there.
The book explored the artistic practices of visual artists Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the writings of Ntozake Shange, Alice Walker, and John Keene. Professor Brent Hayes Edwards of Columbia University wrote,
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