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Kara Walker, The End of Uncle Tom (Grand Allegorical Tableau), 1995, cut paper and adhesive (detail)

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Kara Walker, African’t, 1996, cut paper and adhesive (detail)

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Kara Walker, African’t, 1996, cut paper and adhesive (detail)

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Large Kara Walker,Renaissance Society Installation, 1997, cut paper and adhesive (detail)

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Kara Walker, Renaissance Society Installation, 1997, cut paper and adhesive (detail)

Kara Walker was born in Stockton, California, in 1969. She received a BFA from the Atlanta College of Art in 1991, and an MFA from the Rhode Island School of Design in 1994. The artist is best known for exploring the raw intersection of race, gender, and sexuality through her iconic, silhouetted figures. Walker unleashes the traditionally proper Victorian medium of the silhouette directly onto the walls of the gallery, creating a theatrical space in which her unruly cut-paper characters fornicate and inflict violence on one another. In works like “Darkytown Rebellion” (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space; the lights cast a shadow of the viewer’s body onto the walls, where it mingles with Walker’s black-paper figures and landscapes. With one foot in the historical realism of slavery and the other in the fantastical space of the romance novel, Walker’s nightmarish fictions simultaneously seduce and implicate the audience. Walker’s work has been exhibited at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York. A 1997 recipient of the John D. and Catherine T. MacArthur Foundation Achievement Award, Walker was the United States representative to the 2002 Bienal de São Paulo.

http://www.pbs.org/art21/artists/kara-walker

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