ââ⢠Yasmil Raymond Kara Walker Walker Art Center 2017
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Kara Walker: My Complement, My Enemy, My Oppressor, My Honey
October 11, 2007 - Feb 3, 2008
T he first full-calibration American museum survey of the work of artist Kara Walker arrived at the Whitney Museum of American Art on October 11, 2007, where it volition remain on view through February 3, 2008. Organized past Philippe Vergne, Deputy Director and Chief Curator, and Yasmil Raymond, Assistant Curator, at the Walker Art Center, in close collaboration with the artist, Kara Walker: My Complement, My Enemy, My Oppressor, My Love features works ranging from the creative person'due south signature blackness-paper silhouettes to her acclaimed recent film animations. The Whitney installation will be overseen by Chrissie Iles, the Museum's Anne & Joel Ehrenkranz Curator.
Kara Walker is among the near provocative and prolific American artists of her generation. Over the by decade, she has gained national and international recognition for her room-size tableaux depicting historical narratives, haunted by racism, sexuality, violence, and subjugation, which she makes using the genteel 18th-century fine art of cut-paper silhouettes. Set in the antebellum American Due south, Walker's compositions play off stereotypes and portray, often grotesquely, life on the plantation, where masters and slaves appoint in a profoundly unsettling historical struggle.
Over the years the artist has used drawing, painting, colored-lite projections, writing, shadow puppetry, and, most recently, film blitheness to narrate her tales of romance, sadism, oppression, and liberation. Walker'southward scenarios put an end to conventional readings of a cohesive national American history and betrayal the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Her work leads viewers through an aesthetic experience that evokes a critical understanding of the past and proposes an exam of gimmicky racial and gender stereotypes.
Walker's visual epics systematically and critically walk a line -- the "color line," to quote Due west.Eastward.B. Du Bois -- that moves the states from the antebellum South to an assay of the sustaining economical, social, and individual power structures even so in place today. Deploying an acidic sense of humor, she examines the dialectic of pleasure and danger, guilt and fulfillment, desire and fear, race and course. She has said, "The blackness discipline in the present tense is the container for specific pathologies from the past and it is continuously growing and feeding off those maladies."
Organized deliberately as a narrative, the exhibition articulates the parallel shifts in Kara Walker'south visual language and subject affair: from a disquisitional analysis of the history of slavery as a microcosm of American history through the structure of romantic literature and Hollywood moving picture to a revised history of Western modernity and its relationship to the notion of "Primitivism."
(to a higher place: Kara Walker, You lot Do, 1993/1994, Collections of Peter Norton and Eileen Harris Norton, Santa Monica, California. Photo courtesy the artist and Sikkema Jenkins & Co., New York)
About the Artist
Born in 1969 in Stockton, California, Kara Walker received her BFA from the Atlanta Higher of Art in 1991 and her MFA from Rhode Island School of Design in 1994. Since that time, she has created more than than thirty room-size installations and hundreds of drawings and watercolors, and has been the subject of more than 40 solo exhibitions. She is the recipient of numerous grants and fellowships, including the John D. and Catherine T. MacArthur Foundation Accomplishment Laurels (1997) and, most recently, the Deutsche Banking company Prize (2004) and the Larry Aldrich Honour (2005). She was the United States representative for the 25th International São Paulo Biennial in Brazil (2002). She currently lives in New York, where she is associate professor of visual arts at Columbia University, New York.
Catalogue
To accompany the exhibition, the Walker Art Centre has published a 418-page illustrated catalogue containing disquisitional essays by scholars and cultural critics on the myriad social, racial, and gender bug present in Kara Walker's piece of work past exhibition curator Philippe Vergne; cultural and literary historian Sander L. Gilman; art historian and critic Thomas McEvilley; art historian Robert Storr; and poet and novelist Kevin Immature. The publication features more than than 150 4-color images of the artist's work, a complete exhibition history and bibliography too every bit an illustrated lexicon of the recurring themes and motifs in the artist's nigh influential installations by Yasmil Raymond. Kara Walker has contributed a 36-folio visual essay to the catalogue, which is distributed by D.A.P./Distributed Art Publishers, Inc.
After its premiere at the Walker Art Eye (Feb 17 - May 13, 2007), the exhibition travelied to the ARC/Musée d'art moderne de la ville de Paris (June xx - September 9, 2007), before coming to the Whitney; information technology will besides be seen at the Hammer Museum, Los Angeles (March ii - June 8, 2008).
Almost the Curators
Philippe Vergne, Senior Curator, Walker Fine art Center
Currently the Chief Curator and Deputy Managing director, Vergne joined the Walker Art Center staff in 1997. Every bit Senior Curator and head of the Visual Arts department, he organized the exhibitions How Latitudes Go Forms: Art in a Global Age, Let's Entertain, and Herzog & de Meuron: In Process; coordinated artist residencies with Joep van Lieshout, Christian Marclay, and Nari Ward; and oversaw, with Richard Overflowing, the collection exhibitions inaugurating the Walker's expanded facility.
He recently curated the first retrospective of the piece of work of Chinese artist Huang Yong Ping, a traveling exhibition that premiered at the Walker in Oct 2005. Other projects include the 2006 Whitney Biennial with Chrissie Iles; a Cameron Jamie exhibition that premiered at the Walker in July of 2006; and the Kara Walker survey Kara Walker: My Complement, My Enemy, My Oppressor, My Love which premiered at the Walker in February 2007. Vergne has brought to the Walker drove important works by artists Andre Cadere, Dan Graham, David Hammons, Thomas Hirshhorn, Huang Yong Ping, Pierre Huyghe, Cameron Jamie, Yves Klein, Otto Mühl, Hermann Nitsch, Philippe Parreno, and Franz W, amongst others.
Vergne was Director of the Musée d'art Contemporain (MAC), Marseille, from 1994 to 1997. In April 2004 he was honored with the medal of Chevalier of the Order of Arts and Letters, a prestigious citation recognizing individuals who have distinguished themselves in the field of art and literature and accept fabricated pregnant contributions to furthering the arts in France and throughout the globe.
Yasmil Raymond, Banana Curator, Walker Fine art Center
Currently Assistant Curator at the Walker Art Center, Raymond received her B.F.A. from the School of the Art Plant of Chicago in 1999 and her M.A. from the Center for Curatorial Studies at Bard College in 2004. As a graduate student at the Middle for Curatorial Studies, she organized The Happy Worker and co-curated Framing the Real: Works from the Marieluise Hessel Collection. She is assisted with the exhibitions ANDY WARHOL/SUPERNOVA: Stars, Deaths, and Disasters, 19621964, Kiki Smith: A Gathering, 1980-2005, Sharon Lockhart: Pino Flat, Cameron Jamie, Eva Hesse Cartoon and Kara Walker: My Complement, My Enemy, My Oppressor, My Beloved. She is currently curating the exhibition Brave New Worlds with Doryun Chong to open at the Walker in October 2007.
Whitney Curator-in-Charge Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art
Chrissie Iles has been a curator at the Whitney Museum of American Fine art, New York since October 1997. Iles was co-curator of the 2006 Whitney Biennial 'Twenty-four hour period for Dark', and the 2004 Whitney Biennial. Other recent exhibitions include James Lee Byars, 'The Perfect Silence', 'Jack Goldstein - Films and Operation', and the survey exhibition 'Into the Lite" The Projected Image in American Fine art 1964 - 1977', which was awarded a prize for the best exhibition in New York City in 2002 from the International Association of Art Critics.
Forthcoming projects include an exhibition of Michael Heizer's large scale work 'Actual Size: Munich Rotary' (1970), a retrospective of Dan Graham, and an exhibition of Piotr Uklanski's moving-picture show 'Summer Love'. Iles is preparing a book, 'Fine art and Film', for the Themes and Movements series past Phaidon Press.
Iles is an adjunct Professor in Columbia University's department of Art History, a member of the Faulty of the Center for Curatorial Studies, Bard College, and on the Visiting Kinesthesia of the Sculpture Department at Yale University.
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