Whitney Museum of American Art
New York
99 Gansevoort Street
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Kara Walker
dal 10/10/2007 al 2/2/2008

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Whitney Museum


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Kara Walker



 
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10/10/2007

Kara Walker

Whitney Museum of American Art, New York

My Complement, My Enemy, My Oppressor, My Love. The show features works ranging from her signature black-paper silhouettes to film animations and more than 100 works on paper. Among the most complex and prolific American artists of her generation, Walker has gained international recognition for her room-size tableaux depicting historical narratives haunted by sexuality, violence, and subjugation, but made using the genteel 18th-century art of cut-paper silhouettes.


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My Complement, My Enemy, My Oppressor, My Love

Kara Walker: My Complement, My Enemy, My Oppressor, My Love, the artist's first full-scale American museum survey, features works ranging from her signature black-paper silhouettes to film animations and more than 100 works on paper. Among the most complex and prolific American artists of her generation, Walker has gained international recognition for her room-size tableaux depicting historical narratives haunted by sexuality, violence, and subjugation, but made using the genteel 18th-century art of cut-paper silhouettes.

Over the years the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression, and liberation. Walker's scenarios challenge conventional readings of American history and expose the collective, and ongoing, psychological injury caused by the legacy of slavery. After its presentation at the Walker and the Whitney, the show will travel to the Hammer Museum, Los Angeles.

Kara Walker: My Complement, My Enemy, My Oppressor, My Love is organized by Walker Art Center, Minneapolis, and is made possible by generous support from the Henry Luce Foundation, the Andy Warhol Foundation for the Visual Arts, Inc., the Lannan Foundation, the Peter Norton Family Foundation, Linda and Lawrence Perlman, and Marge and Irv Weiser. Additional support is provided by Jean-Pierre and Rachel Lehmann.

The New York presentation of the exhibition is supported by the Lily Auchincloss Foundation and The Cowles Charitable Trust.

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