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“I undo you, Master”: Uncomfortable Encounters in the Work of Kara Walker

“I undo you, Master”: Uncomfortable Encounters in the Work of Kara Walker Kim WicKham "I undo you, Master" Uncomfortable Encounters in the Work of Kara Walker I walked away from both exhibitions . . . feeling that I had been exposed to a deadly toxin from which I needed to leave right away and find some spiritual mind-cleaning antidote to insure that I would not be infected for life. Betty Blayton Her silhouettes reflect psychic evolutions in race and race relations, chronicling the intricate twists and turns, the nuanced dance, as it were, which has been and continues to be performed between blacks and whites. Her art is visually graphic and aesthetically poignant. It lingers between shock and recognition. Michelle Carr What is it about Kara Walker's work that can elicit such divergent, and charged, reactions? Is her work a brave, ironic confrontation with racism, or is it a minstrel show, a work in black face that plays on damaging stereotypes to appease a white audience? Since she hit the national (and international) art scene in the 1990s, Walker has generated an impressive amount of opinions, academic articles, and press, some positive, some negative, but all of it impassioned. Criticism of Walker's work continues, as does her praise. Working with http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

“I undo you, Master”: Uncomfortable Encounters in the Work of Kara Walker

The Comparatist , Volume 39 (1) – Nov 20, 2015

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
Publisher site
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Abstract

Kim WicKham "I undo you, Master" Uncomfortable Encounters in the Work of Kara Walker I walked away from both exhibitions . . . feeling that I had been exposed to a deadly toxin from which I needed to leave right away and find some spiritual mind-cleaning antidote to insure that I would not be infected for life. Betty Blayton Her silhouettes reflect psychic evolutions in race and race relations, chronicling the intricate twists and turns, the nuanced dance, as it were, which has been and continues to be performed between blacks and whites. Her art is visually graphic and aesthetically poignant. It lingers between shock and recognition. Michelle Carr What is it about Kara Walker's work that can elicit such divergent, and charged, reactions? Is her work a brave, ironic confrontation with racism, or is it a minstrel show, a work in black face that plays on damaging stereotypes to appease a white audience? Since she hit the national (and international) art scene in the 1990s, Walker has generated an impressive amount of opinions, academic articles, and press, some positive, some negative, but all of it impassioned. Criticism of Walker's work continues, as does her praise. Working with

Journal

The ComparatistUniversity of North Carolina Press

Published: Nov 20, 2015

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