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저장하였습니다.

그가 흑인이기에 만들 수 있는 작품이다. 흑인 노예, 유색인종 그리고 더 약한 여성, 보호받지 못하면 부서지는 아이들까지. 그는 인종차별에 관한 사실을 뼈져리게 겪은 그의 선조들을 통해 완벽하고 사실적으로 그려내고 있다. 단지 검은 실루엣이지만 오히려 그것이 흑인노예의 역사를 완벽하게 만들어주는 역할을 한다. 쟝 미셸 바스키아가 그랬듯이, 그가 흑인이기에.  

 

http://www.whitney.org
Kara Walker: My Complement, My Enemy, My Oppressor, My Love
on view October 11, 2007 - February 3, 2008

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Kara Walker, You Do, 1993-94. Cut Paper on canvas, 55 x 49 in. (140 x 124.5 cm). Collections of Peter Norton and Eileen Harris Norton. Photography courtesy the artist and Sikkema Jenkins & Co., New York

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Kara Walker. Miss Obedience (detail). 2000. Maquette for banner

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Kara Walker, Excavated from the Black Heart of a Negress , 2002
(detail)
Courtesy the artist and Sikkema Jenkins & Co., New York
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Kara Walker, Darkytown Rebellion, 2001. Cut paper and projection on wall, 14 x 37 ft. (4.3 x 11.3 m) overall. Musee d’Art Moderne Grand-Duc Jean, Luxembourg. Photograph courtesy the artist and Sikkema Jenkins & Co., New York

2002년 이 작품을 구겐하임 뮤지엄에서 봤었다
 Moving Pictures: Contemporary Photography and Video
from the Guggenheim Museum Collection

Solomon R. Guggenheim Museum
June 28, 2002–January 12, 2003 그 때부터 찍어놨던 작가였는데,
내가 좋아하는 예술.
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Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000 (installation view). Cut paper silhouettes and light projections, site-specific dimensions. Purchased with funds contributed by the International Director's Council and Executive Committee Members. 2000.68. Photo: Ellen Labenski.
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Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), 2000 (detail). Cut paper silhouettes and light projections, site-specific dimensions. Purchased with funds contributed by the International Director's Council and Executive Committee Members. 2000.68. Photo: Ellen Labenski.

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그 때 찍었던 사진을 드뎌 찾았습니다. 컴속에서



KARA WALKER


Kara Walker arranges life-sized silhouetted figures into raucous tableaux that recount the brutal, and often repressed, history of American race relations. Her unique use of the paper cut-out technique derives from the old craft of silhouetting. The artist likens this representational method to the nature of stereotypes themselves, in which the complexities of individual identities, situations, and personalities are simplified and distorted into easily readable, caricatured forms. Walker derives her imagery from the visual language of the antebellum South and from the tradition of the minstrel show and redeploys them to subversive ends. Performed by white actors in blackface, the minstrel theater parodied the lives of African Americans and allowed whites to vicariously break their own cultural taboos by portraying unbridled sexuality, unstructured time, and puerile behavior. In her work, Walker inverts the roles of these characters. Her stylized figures enact the violence that attends oppression and embodies scenes of bestiality, castration, murder, and cannibalism.

In Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On) (2000), a series of grisly scenes unfold. A plantation owner propositions a naked slave behind a tree and a woman with a tiny baby on her head escapes a lynching, while a group of people eagerly torture a victim. In this piece, Walker expands the vocabulary of her shadowy forms to include projected silhouettes and colored lights. When viewers walk in front of these projections, their shadows are introduced into the scene, denying them the comfortable position of spectator and implicating them in the unfolding events.

 

http://visualarts.walkerart.org

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.

This exhibition is made possible, in part, by Altria Group, Inc.


Kara Walker was born in Stockton, California, in 1969. At the age of 13, she moved to Atlanta, Georgia, when her father took a teaching position at Georgia State University. The move from an integrated California to a part of the country with pronounced racial divisions had a profound effect on the artist. “I became black in more senses than just the kind of multicultural acceptance that I grew up with in California. Blackness became a very loaded subject, a very loaded thing to be—all about forbidden passions and desires, and all about a history that’s still living, very present . . . the shame of the South and the shame of the South’s past; its legacy and its contemporary troubles.” After receiving a BFA from the Atlanta College of Art in 1991, Walker moved to Providence, Rhode Island, to pursue an MFA at the Rhode Island School of Design.

Since that time, she has created more than 30 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 Achievement Award (1997) and, most recently, the Deutsche Bank Prize (2004) and the Larry Aldrich Award (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.




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Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: 1 (800) WHITNEY
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  1. @artnstory Art&Story 2009.10.09 22:28 신고 Address Modify/Delete Reply

    검은 실루엣은 작가가 힘들게 만들면 만들수록 보는 관객의 입장에서는 완벽하게 이해할 수 있게 된다. 자칫 애니메이션 정도로만 느껴지는 실루엣 작업은 세밀하게 표현되었을때 마치 어두운 저녁녘에 드러나는 사진과 같은 느낌으로 완성된다는 말이다.

http://www.moma.org

Richard Serra Sculpture: Forty Years
June 3–September 24, 2007


현대조각의 거장 "리차드 세라"입니다.
붉은색 사진은 직접 찍은 자료입니다.

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Please note: The portions of the exhibition on the Museum's sixth floor are no longer on view. Sculptures in The Abby Aldrich Rockefeller Sculpture Garden remain on view through September 22. Sculptures in the second-floor Contemporary Galleries remain on view through September 24.

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One of the preeminent sculptors of our era, Richard Serra (American, b. 1939) has long been acclaimed for his challenging and innovative work, which emphasizes materiality and an engagement between the viewer, the site, and the work. In the early 1960s, Serra and the Minimalist artists of his generation turned to unconventional, industrial materials and began to accentuate the physical properties of their art. Over the years, Serra has expanded his spatial and temporal approach to sculpture and has focused primarily on large-scale work, including many site-specific works that engage with a particular architectural, urban, or landscape setting. This exhibition presents the artist's forty-year career, from his early experiments with materials such as rubber, neon, and lead to monumental late-career pieces, including Intersection II (1992) and Torqued Ellipse IV (1999), along with three new works that have never been exhibited before. With works on view throughout the Museum and in The Abby Aldrich Rockefeller Sculpture Garden, Richard Serra Sculpture: Forty Years displays the extraordinary vision of this formidable artist, who has radicalized and extended the definition of sculpture. A fully illustrated catalogue accompanies the exhibition.
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  1. peter 2007.10.14 19:05 신고 Address Modify/Delete Reply

    Dan Perjovschi의 wall drawing이 눈에 띄네요.
    지난봄에 MOMA에 갔을때 관객들 앞에서 드로잉하는 장면을 보았는데
    꽤나 인상적이더군요. 다시한번 보게되어 반갑네요.

  2. @artnstory Art&Story 2008.06.18 19:34 신고 Address Modify/Delete Reply

    어쩜 같은 자리에 있었는지도 모르겠네요,
    반갑습니다.
    미술을 좋아하는 사람만 보면 발동하는 이 동질감, 공감대, 등등.
    제 고질병입니다.
    감사합니다, 글 남겨주셔서...

NEW YORK GUGGENHEIM MUSEUM 2007. 4.14~9.5
http://www.guggenheim.org/

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ABOVE: Alyson Shotz, The Shape of Space, 2004. Cut plastic Fresnel lens sheets and staples, 444.5 x 1158.2 cm. Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Young Collectors Council 2004.131 © Alyson Shotz. Photo: Kristopher McKay
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여기서부터는 직접 찍은 사진입니다.
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