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5/9/2002

Kara Walker

Galerie Max Hetzler, Berlin

Galerie Max Hetzler is pleased to present a new wall installation by American artist Kara Walker. Using a paper cut-out technique, Walker creates narrative sequences that address "the often subtle and uncomfortable ways racism and sexist stereotypes influence and script our everyday lives." Her sources for these deceptively simple scenes include stereotypical characters from African American history, as well as 19th century Slave Narratives, and even attitudes common in today's Politically Correct America.

Walker began using the silhouette format in the early 90s. Her unique technique derives from the tradition of shadow theater and the genre of silhouetted profile portraits that were popular in the 19th century. The cut-out silhouette offers Walker the ideal form for her musings; much like stereotypes themselves, the medium reduces figures to oversimplified standardized images.

Nat Turner's Revelation (an Important Lesson from our Negro Past You will Likely Forget to Remember) was inspired by the life of Nat Turner, a self-made preacher born into slavery at the turn of the 19th century. Taking his cue from religious visions, in 1831 Turner led a slave uprising known as the Southhampton, Virginia Slave Revolt.
During this revolt Turner and about 40 followers killed more than 55 men, women and children, including Turner's master and his family. Turner was hanged for his crimes, but not before hundreds of innocent black slaves were executed in retaliation.

Walker's installation subtly references this chapter in U.S. history so that the viewer, who most likely is not aware of the details of Turner's Rebellion, is left to construct their own narrative. How one interprets the work often says as much about the individual as it does about the work itself. In that way, Walker's morphing forms operate much like Rorschach blots.

In the tradition of minstrel shows, Walker challenges racial stereotypes using sarcasm and humor to soften the hard truths she depicts.
Ultimately her sambos, mammies, slave mistresses and masters function as a reminder of how cultural dogmas are formed, and a challenge to our everyday thoughts and actions. We are all implicated in Walker's subversive dramas.

Born in California in 1969, Kara Walker studied at the Atlanta College of Art in Georgia and the Rhode Island School of Arts in Providence. She has had numerous solo and group exhibitions in the United States and Europe, and recently represented the United States at the 25th Sao Paulo Biennale. Walker lives and works in New York, where she holds a professorship at Columbia University.

Galerie Max Hetzler Holzmarktstrasse 15-18 Berlin-Mitte
Open Tuesday to Saturday, 11am to 6pm.

Kara Walker in conversation with Hans-Ulrich Obrist in leaflet of the museum in progress, in co-operation with the Wiener Staatsoper, September 1998.

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