Born in Stockton, California, Walker was raised in Atlanta, Georgia from the age of 13. She studied at the Atlanta College of Art (BFA, 1991) and the Rhode Island School of Design (MFA, 1994). She is the recipient of many awards, notably the John D. and Catherine T. MacArthur Foundation Achievement Award in 1997 and the United States Artists, Eileen Harris Norton Fellowship in 2008.
In 2012, Walker became a member of the American Academy of Arts and Letters. In 2015, she was named the Tepper Chair in Visual Arts at the Mason Gross School of the Arts at Rutgers University. Her work can be found in museums and public collections throughout the United States and Europe including The Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Tate Gallery, London; the Museo Nazionale delle Arti del XXI Secolo (MAXXI), Rome; and Deutsche Bank, Frankfurt.
Walker’s major survey exhibition, Kara Walker: My Complement, My Enemy, My Oppressor, My Love, was organized by The Walker Art Center in Minneapolis where it premiered in February 2007 before traveling to ARC/ Musée d’Art moderne de la Ville de Paris; The Whitney Museum of American Art in New York; The Hammer Museum in Los Angeles; and the Museum of Modern Art in Fort Worth. Recent solo exhibitions have been presented at the Art Institute of Chicago; Camden Arts Centre in London; and Metropolitan Arts Center (MAC) in Belfast.
During the spring of 2014, Walker’s first large scale public project, a monumental installation entitled 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 the demolition of the Domino Sugar Refining Plant, was on view at the abandoned Domino Sugar refinery in Williamsburg, Brooklyn. Commissioned and presented by Creative Time, the project – a massive sugar covered sphinx-like sculpture – responded to and reflected on troubled history of sugar.
As a special project of the 2015 Venice Biennale, Walker was selected as director, set and costume designer for the production of Vincenzo Bellini's Norma at Teatro La Fenice, Venice, Italy.
© 2020. All content on this blog is protected by international copyright laws All images are copyrighted © by Kara Walker. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Kara Walker |
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| Toni Morrison The New Yorker |
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| Gone An historical Romance of a Civil War as it occured between the Dusty Thighs of one Negress and her heart, 1994 |
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| The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven 1995 |
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| Untitled 1996 |
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| Freedom: A fable 1997 |
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| The Keys to the Coop 1997 |
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| Worlds Exposition 1997 |
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| Pastoral 1998 |
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| Insurrection! 2000 |
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| Untitled 2000 |
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| Darkytown Rebellion 2001 |
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| Grub for Sharks: A Concession to the Negro Populace 2004 |
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| Pack-Mules in the Mountains 2005 |
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| 2005 Signal Station, Summit of Maryland Heights 2005 |
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| Alabama Loyalists Greeting the Federal Gun-Boats, from the portfolio Harper's Pictorial History of the Civil War (Annotated) 2005 |
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| Fall From Grace, Miss Pipi's Blue Tale 2011 |
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| 2012 The Palmetto Libretto 2012 |
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| The Sovereign Citizens Sesquicentennial Civil War Celebration 2013 |
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| 2013 Snared 2013 |
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| The Sovereign Citizens Sesquicentennial Civil War Celebration 2013 |
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| A Subtlety Domino Sugar Refinery, Williamsburg, Brooklyn, 2014 |
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| Go To Hell or Atlanta, Whichever Comes First (exhibition) Victoria Miro, London. 2015 |
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| Go To Hell or Atlanta, Whichever Comes First (exhibition) Victoria Miro, London. 2015 |
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| Gone Museum of Modern Art, New York, 2015 |
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| Monomentality 2016 |
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| Christ’s Entry Into Journalism 2017 |
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| Slaughter of the Innocents (They Might be Guilty of Something) 2017 |
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| The (Private) Memorial Garden of Grandison Harris 2017 |
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| The Katastwof Karavan 2018 |
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| The Katastwof Karavan 2018 |
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| Imposter Syndrome 2020 |
No comments. This is a amazing work
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