FREE ESSAY ON KARA WALKER

KARA WALKER

?@?@?@?@?@Kara Walker produces mural-sized, paper cutout silhouettes to create a dense
caustic narrative of nineteenth-century, antebellum slavery. She details the black-paper
cutouts with stereotypical characters -pickaninnies, sambos, mammies, slave mistresses,
and masters. My first impression of her work is that she elegantly portrays scenes from
African American?fs plantation life; however, I became aware that sexual, violent, and
scatological images are represented repeatedly in her landscapes. She exaggerates the
grotesque history of slavery and race relations in America.
?@?@?@?@?@Foremost of all, I agree with older Blacks?f feelings of fear regarding the
inclusion of slavery as a part of their history, and the use of stereotypes to detonate
ancient equations of racism. Older generations cannot explain stereotypical imagery
except with malice and hate. Betye Saar?fs negative opinion of Walker convinced me; she
believes that Walker stoops to accommodate the White art world to ensure her financial
success (MacArthur Foundation Achievement Award). Saar has fought to suppress stereotypes
through the empowerment of these icons, and her artwork arouses sympathy from black
compatriots. This can be seen in her work, The Liberation of Aunt Jemima. It seems that
Walker?fs illustration of contorting slave imagery resuscitates noxious racial
perceptions which Saar and other social activists try to deny.
?@?@?@?@?@After I had Ms. Cahan?fs lecture, and during the following class discussion, I
clearly grasped the meaning of Walker?fs intention, ?gChange the Joke and Slip the
Yoke,?h and the reasons for controversy surrounding her ambitious work. I am 
aware that Walker does not accommodate herself to the White society that once shared the
belief that slavery was justifiable. Her use of stereotypical and devastating imagery
becomes a weapon, and she seems to avenge the past sins of the society in which she
creates her work.
?@?@?@?@?@For African Americans, the pain of racism is everpresent, and Walker's world is
devoid of the sinless and the passive black victim. Walker mines the source of this
discomfort from submerged history and goes so deep that everyone is involved. She knows
that stereotypes have not disappeared: they have only been hidden.
?@?@?@?@?@The animated figures of her cut-paper wall murals attempt to change a painful
past into satire. Consequently, African Americans can conquer a fear of racism in which
the themes of power and exploitation continue to have deep meaning for them in
contemporary American society. Using humor, they digest the indigestible agony.
Furthermore, nothing can be eradicated, nor can their pain be suppressed by looking back
tragic events. ?@Walker?fs shocking narrative is a powerful heeling process of dealing
with slavery. Younger generations who were born after the Civil Rights Movements may have
instinct for destroy the fear because they are proud of themselves being black; they are
brought up as ?gBlack is beautiful.?h
?@?@?@?@?@As she has turned the art world upside down and involved the African American
society with her work, I understand how art can lift people above the problem and change
lives. I would like to say that artist must recognize this point and have responsibility
to own artwork. Artist sometimes plays an important part in the social issue.