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	page_scrape,1.7378463745117188,2.39715313911438,,,https://www.factsnippet.com/site/facts-about-kara-walker.html,3883.0,"# 27 Facts About Kara Walker
	Kara Walker is best known for her room-size tableaux of black cut-paper silhouettes.
	Kara Walker has been the Tepper Chair in Visual Arts at the Mason Gross School of the Arts, Rutgers University since 2015.
	Kara Walker is regarded as among the most prominent and acclaimed Black American artists working today.
	Kara Walker's father, Larry Walker, was a painter and professor.
	* Fun FactKara Walker
	When Kara Walker was 13, her father accepted a position at Georgia State University.
	Kara Walker received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994.
	Kara Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as ""typical"" or ""obvious""; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.
	Kara Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.
	Kara Walker has produced works in gouache, watercolor, video animation, shadow puppets, ""magic-lantern"" projections, as well as large-scale sculptural installations like her ambitious public exhibition with Creative Time called ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant"".
	Kara Walker's influences includeAndy Warhol, whose art Walker says she admired as a child, Adrian Piper, and Robert Colescott.
	Kara Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South.
	Kara Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.
	Kara Walker depicts the inequalities and mistreatment of African Americans by their white counterparts.
	Kara Walker's work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling.
	In 2002, Kara Walker created a site-specific installation, ""An Abbreviated Emancipation,"" which was commissioned by The University of Michigan Museum of Art, Ann Arbor.
	In March 2013 Kara Walker visited the New Jersey Newark Public Library to discuss the work and the controversy.
	Kara Walker discussed the content of the work, including racism, identity, and her use of ""heroic"" figures such as Obama.
	In 1997, Kara Walker, who was 28 at the time, was one of the youngest people to receive a MacArthur fellowship.
	In 2007, Kara Walker was listed among Time magazine's 100 Most Influential People in The World, Artists and Entertainers, in a citation written by fellow artist Barbara Kruger.
	Kara Walker was elected to the American Philosophical Society in 2018.
	Kara Walker has received the Deutsche Bank Prize and the Larry Aldrich Award.
	Kara Walker was the United States representative for the 25th International Sao Paulo Biennial in Brazil.
	In 2017, a large scale mural portrait of Kara Walker done by artistChuck Closewas installed in a New York City subway station, part of a MTA public arts program.
	In 2019 Kara Walker was elected to the Royal Academy of Arts in London, as an Honorary Royal Academician.
	Early in her career, Kara Walker lived in Providence, Rhode Island with her husband, German-born jewelry professor Klaus Burgel, whom she married in 1996.
	Kara Walker moved to Fort Greene, Brooklyn in 2003 and has been a professor of visual arts in the MFA program at Columbia University since then.
	Kara Walker maintained a studio in the Garment District, Manhattan from 2010 until 2017.
	",2.0
	page_scrape,1.7385942935943604,4.000153064727783,,,https://kids.kiddle.co/Kara_Walker,4305.0,"# Kara Walker facts for kids
	Kara Walker
	MacArthur fellowship Kara Elizabeth Walker(born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who exploresrace,gender, violence, andidentityin her work. She is best known for her room-size tableaux of black cut-papersilhouettes. Walker was awarded a MacArthur fellowship in 1997, at the age of 28, becoming one of the youngest ever recipients of the award. She has been the Tepper Chair in Visual Arts at the Mason Gross School of the Arts,Rutgers Universitysince 2015. Walker received herBFAfrom the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994. Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as ""typical"" or ""obvious""; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's. She first came to the art world's attention in 1994 with her mural ""Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart."" This cut-paper silhouette mural was an instant hit. The artwork's title references the popular novel _Gone with the Wind_ byMargaret Mitchell, and the individual figures in the tableau index the fairy-tale universe ofWalt Disneyin the 1930s. At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's ""genius"" grant, second only to renowned Mayanist David Stuart. In 2007, the Walker Art Center exhibition ""Kara Walker: My Complement, My Oppressor, My Enemy, My Love"" was the artist's first full-scale US museum survey. Kara Walker once explained her artistic process as “two parts research and one part paranoid hysteria,” a description that captures the entanglement of history and fantasy that pervades her work. In that sense, through the process of Walker creating her art, 2/3 of it has to do with logical analysis, research, and other rational minded resources. While on the other hand, she suggests a component of rational fear or paranoia. Even despite the rational aspect, there's a sense of uneasiness and complexity that ties and illustrates itself through her work. Walker took part in the 2009 inaugural exhibition at Scaramouche Gallery in New York City with a group exhibit called ""The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You."" Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, ""Dust Jackets for the ...- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker,"" opened at Sikkema Jenkins on the same day.
	* 2013:_We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress_ ,Camden Art Centre, London (toured to the MAC, Belfast in 2014)
	In 1997, Walker, who was 28 at the time, was one of the youngest people to receive a MacArthur fellowship. There was a lot of criticism because of her fame at such a young age and the fact that her art was most popular within the white community. She was the United States representative for the 25th International São Paulo Biennial in Brazil in 2002. Walker received the 2004 Deutsche Bank Prize and the 2005Larry Aldrich Award. In 2007, she was listed among magazine's 100 Most Influential People in The World, Artists and Entertainers, in an essay written by artistBarbara Kruger. In 2012, she was elected to theAmerican Academy of Arts and Lettersand won the International Artist Award from Anderson Ranch Arts Center in Colorado. In 2017, a large scale mural portrait of Kara Walker done by artistChuck Closewas installed in a New York City subway station (Q line, 86th Street), part of a MTA public arts program. She was elected to theAmerican Philosophical Societyin 2018. All content fromKiddle encyclopediaarticles (including the article images and facts) can be freely used underAttribution-ShareAlikelicense, unless stated otherwise. Cite this article:Kara Walker Facts for Kids._Kiddle Encyclopedia._
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	page_scrape,1.739100456237793,4.173480987548828,,,https://www.macfound.org/fellows/class-of-1997/kara-e-walker,2109.0,"Login into your grantee account, create a new account or password, or submit an idea to the MacArthur Foundation.
	# Kara E. Walker
	## About Kara's Work
	Kara Walker is an artist whose works often deal with issues of race in the antebellum South.
	Walker's installations, drawings, and paintings are provocative and grimly humorous. In her installations, she creates narratives of the old South by cutting stylized, life-sized figures from black paper that she pastes, as in a mural, around the walls of the gallery she is showing in. Her use of the silhouette technique and related sources derive from the German fairy tale, history painting, and colonial portraiture. Walker’s installations, filled with slave-era, stereotypical figures, are graphic and violent tableaus that explore the vestiges of sexual, physical, and racial exploitation in a challenging manner.
	Walker is an associate professor in the Visual Arts division at Columbia University. Since 1990, she has participated in group exhibits at galleries throughout the United States and abroad, including the Whitney Biennial (1997) and the Sao Paulo Biennial, Brazil (2002). She has had solo exhibits at Wooster Gardens in New York (1995, 1996, 1998), the Renaissance Society at the University of Chicago (1997), the San Francisco Museum of Modern Art (1997), and the Walker Art Center in Minneapolis (1997).
	Walker received a B.F.A. (1991) from the Atlanta College of Art and an M.F.A. (1994) from the Rhode Island School of Design.
	### Select News Coverage of Kara E. Walker
	###### ""The Art and Automatons of Kara Walker""
	###### ""New-York Historical Society Presents Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)""
	###### ""Kara Walker Artworks Animating Racist Tropes of America Acquired by National Gallery of Australia, But How Will They Translate Here?""
	###### ""Genius At Work: 29 MacArthur Fellows Show Their Art In Chicago""
	###### ""Turbine Hall Artist Kara Walker: 'Apparently, The Only Thing I Am Is Black'""
	###### ""Harvard Acquires New Work by Kara Walker""
	###### ""Kara Walker Showed Me the Horror of American Life""
	",4.0
	page_scrape,1.7396094799041748,2.8158724308013916,,,https://en.wikipedia.org/wiki/Kara_Walker,30997.0,"Kara Walker
	Walker in 2013
	Kara Elizabeth Walker(born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who exploresrace,gender,sexuality, violence, andidentityin her work. She is best known for her room-size tableaux of black cut-papersilhouettes. Walker was awarded aMacArthur fellowshipin 1997, at the age of 28, becoming one of the youngest ever recipients of the award.[2]She has been the Tepper Chair in Visual Arts at theMason Gross School of the Arts,Rutgers Universitysince 2015.[3]
	Walker is regarded as among the most prominent and acclaimedBlack Americanartists working today.[4][5][6][7]
	Walker was born in 1969 inStockton, California.[8]Her father,Larry Walker, was a painter and professor.[8][9][10]Her mother Gwendolyn was an administrative assistant.[11][12]A 2007 review in _New York Times_described her early life as calm, noting that ""nothing about [Walker's] very early life would seem to have predestined her for this task. Born in 1969, she grew up in an integratedCaliforniasuburb, part of a generation for whom the uplift and fervor of the civil rights movement and the want-it-now anger ofBlack Powerwere yesterday's news.""[13]
	When Walker was 13, her father accepted a position atGeorgia State University. They settled in the city of Stone Mountain.[14][11]The move was aculture shockfor the young artist. In sharp contrast with the multi-cultural environment of coastal California, Stone Mountain still heldKu Klux Klanrallies. At her new high school, Walker recalls, ""I was called a 'nigger,'told I looked like a monkey, accused (I didn't know it was an accusation) of being a 'Yankee.'""[15]
	Walker received herBFAfrom theAtlanta College of Artin 1991 and herMFAin painting from theRhode Island School of Designin 1994.[16]Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as ""typical"" or ""obvious""; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.
	Walker recalls reflecting on her father's influence: ""One of my earliest memories involves sitting on my dad's lap in his studio in the garage of our house and watching him draw. I remember thinking: 'I want to do that, too,' and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.""[17]
	Walker is best known for her panoramicfriezesof cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.[18]She has also produced works ingouache,watercolor, video animation,shadow puppets,magic lanternprojections, as well as large-scale sculptural installations like her ambitious public exhibition withCreative Timecalled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant"" (2014). The black-and-white silhouettes confront the realities of history while also using the stereotypes from the era of slavery to relate to persistent modern-day concerns.[19]Drawings also constitute a significant portion of Walker's body of work. The artist reserves a special meaning to this medium in her artistic practice as a space to confront the western canon and find freedom from its historical criteria dominating painting: “I gravitated towards [drawing] pretty early on in graduate school […] partly as a way to escape the chains of western painting. […] Drawing transforms a blank page into a site of reflection.”[20]A major retrospective dedicated to Walker’s drawings and archival materials was held at Kustmuseum Basel in 2021.
	Visitors at Walker's . The white sculpture depicting a woman in the shape of asphinxis visible in the background.
	She first came to the art world's attention in 1994 with her mural ""Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart."" This cut-paper silhouette mural, presenting an Antebellum south filled with sex and slavery, was an instant hit.[21]The artwork's title references the popular novel byMargaret Mitchell, and the individual figures in the tableau index the fairy-tale universe ofWalt Disneyin the 1930s.[22]At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's ""genius"" grant,[23]second only to renowned MayanistDavid Stuart. In 2007, the Walker Art Center exhibition ""Kara Walker: My Complement, My Oppressor, My Enemy, My Love"" was the artist's first full-scale US museum survey.
	Her influences includeAndy Warhol, whose art Walker says she admired as a child,[12]Adrian Piper,[24][25]andRobert Colescott.[21]
	Walker's silhouette images work to bridge unfinished folklore in theAntebellum South, raising identity and gender issues forAfrican-American womenin particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South.[12]The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.
	Walker incorporates ominous, sharp fragments of the South's landscape, such asSpanish mosstrees and a giant moon obscured by dramatic clouds. These images surround the viewer and create a circular, claustrophobic space. This circular format paid homage to another art form, the 360-degree historical painting known as the cyclorama.[19]
	Some of her images are grotesque; for example, in ""The Battle of Atlanta,""[26]a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock; and a male black slave rains tears all over an adolescent white boy. The use of physical stereotypes such as flatter profiles, bigger lips, straighter nose, and longer hair helps the viewer immediately distinguish the black subjects from the white subjects. Walker depicts the inequalities and mistreatment of African Americans by their white counterparts. Viewers at theStudio Museum in Harlemlooked sickly, shocked, and appalled upon seeing her exhibition.Thelma Golden, the museum's chief curator, said that ""throughout her career, Walker has challenged and changed the way we look at and understand American history. Her work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling.""[27]Walker has said that her work addresses the way Americans look at racism with a ""soft focus,"" avoiding ""the confluence of disgust and desire and voluptuousness that are all wrapped up in [...] racism.""[19]
	In an interview with New York'sMuseum of Modern Art, Walker stated: ""I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things–genre paintings,historical paintings– the sort of derivatives we get in contemporary society.""[10]
	Walker is most widely known for her immersive site-specific installations. Walker plays and almost blurs the lines between types of art forms. Her installations could be fluid between visual art and performance art. Elements of her installations like the theatrical staging or the life-size cut figurines contribute to and somewhat evoke this performative behavior. As Walker has mentioned before, she focuses more on the ideas and concepts behind the artwork rather than focusing on the initial aesthetic and visual aspect of the artwork, creating more of a conceptual outlook.
	Moreover, Shelly Jarenski discusses Walker's art in the context of panoramas. For background context, panoramas were very popular in the nineteenth century and were used as a form of entertainment.[28]They usually depicted historical scenes or vast landscapes. Walker's work demonstrates that the aesthetic experiences embedded in the panorama (though those experiences are rooted in the particular contexts of the nineteenth century) persist as a concern in African American art, just as the social consequences of slavery and the racial narratives that structured it persist in shaping our contemporary cultural narratives of race and space. Walker's work also provides a second visual example of the way panoramas can affect spectators, since it is a continual struggle for contemporary scholars to apprehend the visuality of panoramas, given that written sources are often all that survive in the historical archive.[29]When viewing Walker's panoramas, they are illustrative of past events or depictions of the enslavement of African Americans. Her ability to combine devices that were used in the past and recontextualize with the sinful scenes she creates in her large-scale installations deconstructs the aesthetic of these installations. As Jarenski mentioned in her article, Walker's panoramas provide a visual example of how her panoramas affect the viewers which is different from 19th-century panoramas which were limited to written sources. Walker's installations are able to create a contemporary visual interpretation and reinforce one of the themes of panoramas; depict historical events. Thus, further shedding light and interconnectedness on the artistic process and the final artistic output.
	Kara Walker once explained her artistic process as “two parts research and one part paranoid hysteria,” a description that captures the entanglement of history and fantasy that pervades her work.[30]In that sense, through the process of Walker creating her art, 2/3 of it has to do with logical analysis, research, and other rational minded resources. While on the other hand, she suggests a component of rational fear or paranoia. Even despite the rational aspect, there's a sense of uneasiness and complexity that ties and illustrates itself through her work.
	In response toHurricane Katrina, Walker created ""After the Deluge"" since the hurricane had devastated many poor and black areas ofNew Orleans. Walker was bombarded with news images of ""black corporeality."" She likened these casualties to enslaved Africans piled onto ships for theMiddle Passage, the Atlantic crossing to America.[12]
	Walker took part in the 2009 inaugural exhibition atScaramouche Galleryin New York City with a group exhibit called ""The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You.""[32]Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, ""Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker,"" opened at Sikkema Jenkins on the same day.[33]
	Walker created ""Katastwóf Karavan"" for the 2018 art festival ""Prospect.4: The Lotus in Spite of the Swamp"" in New Orleans. This sculpture was an old-timey wagon, with Walker's signature silhouettes portraying slaveholders and enslaved people making up the sides and a custom-built steam-poweredcalliopeplaying songs off ""black protest and celebration.""[34]
	Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on ""humor and viewer interaction."" Walker has stated, ""I didn't want a completely passive viewer"" and ""I wanted to make work where the viewer wouldn't walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.""[35]
	In 2002, Walker created a site-specific installation, ""An Abbreviated Emancipation (from a larger work: The Emancipation Approximation),"" which was commissioned byThe University of Michigan Museum of Art, Ann Arbor.[36]The work represented motifs and themes of race relations and their roots in the system of slavery before the Civil War. Several years later, in 2005,The New Schoolunveiled Walker's first public art installation, a site-specific mural titled ""Event Horizon,"" and placed along a grand stairway leading from the main lobby to a major public program space.[37]
	Walker's most well-known commission debuted in May 2014. Her first sculpture, this work was a monumental public artwork entitled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant."" The massive work was installed in the derelictDomino Sugar Refineryin Brooklyn and commissioned byCreative Time. The installation consisted of a femalesphinxfigure, measuring approximately 75 feet long by 35 feet high, preceded by an arrangement of fifteen life-size young male figures, dubbed attendants. The sphinx, which bore the head and features of theMammy archetype, was made by covering a core of machine-cut blocks of polystyrene with 80 tons of white sugar donated byDomino Foods.[38]The fifteen male attendants were modeled after racist figurines that Walker purchased online. Five were made from solid sugar, and the other ten were resin sculptures coated in molasses. The fifteen attendants stood 60 inches tall and weighed 300-500 pounds each.[39][40]The factory and the artwork were demolished after the exhibition closed in July 2014, as had been previously planned.[14][41][42][43]
	Walker has hinted that the whiteness of the sugar references its ""aesthetic, clean, and pure quality."" The slave trade is highlighted in the sculpture as well. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that ""the exhibit itself is a striking and incredibly well-executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere. So the presence of so many white people -- and my presence as a black woman who's a descendant of slaves -- seemed to also be part of the show.""[44]The work attracted over 130,000 visitors in its eight-weekend run. In his commentary on the sculpture, art historian Richard J. Powell wrote, ""No matter how noble or celebratory in tone Walker's title for this work seemed, in this post-modern moment of moral skepticism and collective distrust, a work of art in a public arena—especially a visually perplexing nude—would be subjected to not just serious criticism, but Internet trolling and mockery.""[45]
	In 2016, Walker revealed ""Slaughter of the Innocents (They Might be Guilty of Something)."" In the painting, Walker depicts an African American woman slicing a baby with a smallscythe. The influence for this detail was that ofMargaret Garner, an enslaved person who killed her daughter to prevent her child from returning to slavery.
	In 2019, Walker created ""Fons Americanus,"" the fifth annual Hyundai Commission atTate Modern's Turbine Hall.[46]The fountain, measuring up to 13 feet (4.0 m), contains allegorical motifs referencing the histories of Africa, America, and Europe, particularly pertaining to theAtlantic slave trade. In her review of Walker's ""Fons Americanus"" forArtnet News, Naomi Rea noted that ""the piece is so loaded with art-historical and cultural references that you could teach an entire college history course without leaving Turbine Hall.""[46]For example, Walker quotes specific artworks including from 1840 by the British painterJ.M.W. Turnerand from 1899 by the American painterWinslow Homer.[47]She also observed that – owing to the fountain's running water – the great work of art could be both seen and heard in the Turbine Hall.[46]The artwork is, at the same time, a sort of public monument inspired in part by theVictoria Memorialin front ofBuckingham Palace. In 2019, acclaimed writerZadie Smithobserved something about public monuments that Walker interrogates in ""Fons Americanus"": ""Monuments are complacent; they put a seal upon the past, they release us from dread. For Walker, dread is an engine: it prompts us to remember and rightly fear the ruins we shouldn't want to return to and don't wish to re-create—if we're wise.""[48]
	In 2023, theSan Francisco Museum of Modern Art(SFMOMA) commissioned Walker to create the first site-specific installation for its Roberts Family Gallery.[49]
	For the season 1998/1999 in theVienna State Opera, Walker designed a large-scale picture (176 m2) as part of the exhibition series ""Safety Curtain,"" conceived bymuseum in progress.[50]In 2009, Walker curated volume 11 of Merge Records',_Score!_. Invited by fellow artistMark Bradfordin 2010 to develop a set of free lesson plans forK-12teachers at theJ. Paul Getty Museum, Walker offered a lesson that had students collaborating on a story by exchangingtext messages.[51]
	In March 2012, artistClifford Owensperformed a score by Walker atMoMA PS1.[52]
	In 2013, Walker produced 16lithographsfor a limited edition, fine art printing of the libretto , byDuBose HeywardandIra Gershwin, published by theArion Press.
	"" The Means to an End: A Shadow Drama in Five Acts,""etchingandaquatintby Kara Walker, five panels, 1995,Honolulu Museum of Art
	A Walker piece entitled ""The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos"" caused controversy among employees atNewark Public Librarywho questioned its appropriateness for the reading room where it was hung. The artwork included depictions of theKu Klux Klanaccompanied by aburning cross, a naked black womanfellatinga white man, andBarack Obama.[54]The piece was covered but not removed in December 2012.[55]After discussion among employees and trustees the work was again uncovered.[56]In March 2013 Walker visited the New Jersey Newark Public Library to discuss the work and the controversy. Walker discussed the content of the work, including racism, identity, and her use of ""heroic"" figures such as Obama. Walker asked, ""[d]o these archetypes collapse history? They're supposed to expand the conversation, but they often collapse it.""[54]Walker described the overwhelming subject matter of her works as a ""too-muchness"".[54]
	In the 1999PBSdocumentary ""I'll Make Me a World,""African-AmericanartistBetye Saarcriticized Walker's work for its ""revolting and negative"" depiction ofblack stereotypesand enslaved people. Saar accused the art of pandering to the enjoyment of ""the white art establishment."" In 1997 Saar emailed 200 fellow artists and politicians to voice her concerns about Walker's use of racist and sexist imagery and its positive reception in the art world.[57]This attention to Walker's practice led to a 1998 symposium at Harvard University,_Change a Joke and Slip the Yoke: A Harvard University Conference on Racist Imagery_ , which discussed her work.[58]
	Walker's first museum survey,[59]in 2007, was organized byPhilippe Vergnefor theWalker Art CenterinMinneapolisand traveled to theWhitney Museumin New York, theHammer Museum[60]in Los Angeles, and theARC/Musee d'Art Moderne de la ville de Paris.[61][14]
	* 2007: ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love""[62]- Walker Art Center
	* 2013:_We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress_ ,Camden Art Centre, London[64](toured to theMAC, Belfast in 2014[65])
	Among the public collections holding work by Walker are theMinneapolis Institute of Art[73]and theWeisman Art Museum(Minneapolis, Minnesota);[74]theTate Collection, London;[75]thePérez Art Museum Miami,[76]theMuseum of Contemporary Art, Los Angeles,[77]theMadison Museum of Contemporary Art(Madison, WI), theMenil Collection,[78]Houston;[79]and theMuscarelle Museum of Art, Williamsburg, Virginia.[80]Early large-scale cut-paper works have been collected by, among others,Jeffrey DeitchandDakis Joannou.[81]
	In 1997, Walker, who was 28 at the time, was one of the youngest people to receive aMacArthur fellowship.[11]There was a lot of criticism[]because of her fame at such a young age and the fact that her art was most popular within the white community.[82]She was the United States representative for the 25th International São Paulo Biennial in Brazil in 2002.[83]
	Walker received the 2004Deutsche Bank Prize[84]and the 2005Larry Aldrich Award.[85]In 2007, she was listed among magazine's 100 Most Influential People in The World, Artists and Entertainers, in an essay written by artistBarbara Kruger.[86]In 2012, she was elected to theAmerican Academy of Arts and Letters[87]and won the International Artist Award fromAnderson Ranch Arts Centerin Colorado.[88]
	Walker has been featured on thePBSseriesArt21: Art in the Twenty-First Century. Her work appears on the cover of musicianArto Lindsay's recording, ""Salt"" (2004). In addition, she co-wrote the song ""Suicide Demo for Kara Walker"" on theDestroyeralbum ""Kaputt.""
	In 2017, a large scale mural portrait of Kara Walker done by artistChuck Closewas installed in a New York City subway station (Q line, 86th Street), part of aMTA public arts program.[92]She was elected to theAmerican Philosophical Societyin 2018.[93]
	In 2019, Walker was elected to theRoyal Academy of Artsin London, as anHonorary Royal Academician (HonRA).[94]
	Early in her career, Walker lived inProvidence, Rhode Islandwith her husband, German-born jewelry professor Klaus Bürgel,[95][96]whom she married in 1996. In 1997, she gave birth to a daughter.[97][89]The couple separated, and their divorce was finalized in 2010.[98][89]As of 2017, Walker is in a relationship with photographer and filmmakerAri Marcopoulos.[89]They married in 2025.[99]
	Walker moved toFort Greene, Brooklynin 2003 and has been a professor of visual arts in the MFA program atColumbia Universitysince then. She maintained a studio in theGarment District, Manhattanfrom 2010 until 2017.[89]In May 2017, she moved her art practice to a studio inIndustry City.[89]She also owns a country home in ruralMassachusetts.[95]
	In addition to her own practice, Walker served on the board of directors of theFoundation for Contemporary Arts(FCA) between 2011[100]and 2016.[101]
	* D'Arcy, David. ""Kara Walker Kicks Up a Storm,"" ""Modern Painters"" (April 2006).
	* Szabo, Julia. ""Kara Walker's Shock Art,"" ""New York Times Magazine"" 146, no. 50740 (March 1997).
	* Scott, Andrea K. ""Kara Walker's Ghosts of Future Evil"", the ""New Yorker"", September 9, 2017
	* Wall, David (2010).""Transgression, Excess, and the Violence of Looking in the Art of Kara Walker""._Oxford Art Journal_.33(3). Oxford University Press:277–299.doi:10.1093/oxartj/kcq035.ISSN0142-6540.JSTOR40983288.
	* Carpenter, Elizabeth and Joan Rothfuss. ""Bits & Pieces Put Together to Present a Semblance of A Whole: Walker Art Center Collections"". Minneapolis: Walker Art Center, 2005.
	* Shaw, Gwendolyn Dubois. ""Seeing the Unspeakable: The Art of Kara Walker"", Durham and London: Duke University Press (2004).http://www.worldcat.org/oclc/55008318
	* Vergne, Philippe, et al. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love"". Minneapolis: Walker Art Center, 2007.http://www.worldcat.org/oclc/602217956
	* Walker, Kara E. ""Kara Walker: After the Deluge"". New York: Rizzoli, 2007.http://www.worldcat.org/oclc/144225309
	* Walker, Kara E., Olga Gambari, and Richard Flood._Kara Walker: A Negress of Noteworthy Talent_. Torino: Fondazione Merz, 2011.http://www.worldcat.org/oclc/768397358
	* The Art Story: Kara Walker, Modern Art Insight. 2016
	* Green, Adrienne (March 3, 2018).""How Kara Walker Recasts Racism's Bitter Legacy""._The Atlantic_. RetrievedFebruary 16,2022.
	* Intrabartola, Lisa (September 25, 2015).""Esteemed Artist Kara Walker Named Tepper Chair""._www.rutgers.edu_.
	* Mzezewa, Tariro (September 14, 2017).""Opinion \| Kara Walker Is Tired of Talking. But Her Canvases Scream""._The New York Times_.ISSN0362-4331. RetrievedFebruary 16,2022.
	* Sutton, Benjamin (August 30, 2017).""Dear Kara Walker: If You're Tired of Standing Up, Please Sit Down""._Hyperallergic_. RetrievedFebruary 16,2022.
	* Musser, Amber Jamilla (September 1, 2016).""Queering Sugar: Kara Walker's Sugar Sphinx and the Intractability of Black Female Sexuality""._Signs: Journal of Women in Culture and Society_.42(1):153–174.doi:10.1086/686756.ISSN0097-9740.S2CID151909296.
	0-8223-3396-1
	* ^Jump up to:Als, Hilton(October 1, 2007).""Kara Walker's Shadow Act""._The New Yorker_.
	* ^Jump up to:Gopnik, Blake (April 25, 2014).""Rarely One for Sugarcoating Kara Walker Creates a Confection at the Domino Refinery""._The New York Times_. RetrievedFebruary 6,2016.
	* ""Kara Walker American Artist"". The Art Story Foundation. RetrievedApril 20,2017.
	* ""The Art of Kara Walker"".Walker Art Center. Archived fromthe originalon March 8, 2012. RetrievedMarch 13,2012.
	* Kara WalkerArchivedMay 25, 2014, at theWayback MachineSolomon R. Guggenheim Museum, New York.
	* Walker, Kara (June 4, 2021).""Artist Talk with Kara Walker""._Kunstmuseum Basel_.
	* Cotter, Holland (October 12, 2007).""Kara Walker - Kara Walker: My Complement, My Enemy, My Oppressor, My Love Whitney Museum of American Art - Art - Review""._The New York Times_.ISSN0362-4331. RetrievedMarch 4,2016.
	* ""MoMA \| Projects \| 1999 \| Conversations \| Kara Walker""._www.moma.org_. RetrievedMarch 4,2016.
	* Trotman, Krishan (July 2003).""Kara Walker electrifies the Studio Museum in Harlem"". New York Amsterdam News. Archived fromthe originalon October 20, 2014. RetrievedMarch 7,2015.
	* ""Kara Walker \| Biography, Art, & Facts \| Britannica""._www.britannica.com_. April 29, 2024. RetrievedMay 15,2024.
	* Jarenski, Shelly (2013).""""Delighted and Instructed"": African American Challenges to Panoramic Aesthetics in J. P. Ball, Kara Walker, and Frederick Douglass""._American Quarterly_.65(1):119–155.doi:10.1353/aq.2013.0003.ISSN0003-0678.JSTOR41809550.
	* David D'Arcy (April 2006).""The Eyes of the Storm: Kara Walker on Hurricanes, Heroes and Villains"".. RetrievedApril 22,2008.
	* ""Professor Kara Walker: Exhibition Opens at Lehmann Maupin, Sikkema Jenkins"". Archived fromthe originalon September 6, 2011. RetrievedMarch 25,2012.
	* Loos, Ted (February 21, 2018).""After a Blowup, Kara Walker Lets Off Steam in New Orleans (Published 2018)""._The New York Times_.ISSN0362-4331. RetrievedNovember 20,2020.
	* ""Kara Walker – 53 Artworks, Bio & Shows on Artsy""._www.artsy.net_. RetrievedFebruary 13,2016.
	* Kara Walker Pictures From Another Time, published in conjunction with the exhibition ""Kara Walker: An Abbreviated Emancipation (from The Emancipation Approximation)""
	* ""New School University Unveils 'Event Horizon' the First Major Public Art Commission by Artist Kara Walker"". Press release of April 26, 2005.
	* ""CreativeTime Presents Kara Walker"". Creative Time, Inc. RetrievedApril 20,2017.
	* ""Kara Walker - A Subtlety or the Marvelous Sugar Baby""._Artsy_. June 17, 2014. RetrievedFebruary 13,2016.
	* ""How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory""._www.vice.com_. May 8, 2014. RetrievedMay 17,2022.
	* ^Jump up to:""Kara Walker's ""A Subtlety""""._Creative Time_.
	* ""A Sonorous Subtlety: KARA WALKER with Kara Rooney"",_Brooklyn Rail_ , May 6, 2014.
	* ^Jump up to:Rea, Naomi (September 30, 2019).""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""._artnet news_. RetrievedMarch 28,2020.
	* Rea, Naomi (September 30, 2019).""""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""""._Artnet_. RetrievedMay 2,2024.
	* Francesca Aton (26 May 2023),Kara Walker Receives Major Commission from SFMOMA.
	* Jori Finkel (June 17, 2010),Mark Bradford leads Kara Walker, Cathy Opie and more to create online teacher resource for Getty, ""Los Angeles Times.""
	* Rozalia Jovanovic.""Clifford Owens and Kara Walker at MoMA PS1: An Epilogue With RoseLee Goldberg"", ""Observer,"" March 15, 2012.
	* ^Jump up to:Kramer, Jessica (March 13, 2013).""Kara Walker Addresses Art and Controversy at the Newark Public Library"".. RetrievedApril 26,2014.
	* Hunter, Drohojowska-philp (October 31, 1999). ""Art & Architecture; Reframing a black experience; Kara Walker's images Stir Devte in the African American Community on Whether they Enlighten or Degrade""._Los Angeles Times_. Newspaper.ProQuest421566885.[‍]
	* ""Kara Walker \| Art Exhibitions \| The MAC Belfast""._themaclive.com_. RetrievedMarch 30,2020.
	9780300227154
	* Tate.""Hyundai Commission: Kara Walker – Exhibition at Tate Modern""._Tate_. RetrievedAugust 6,2019.
	* ""Cincinnati Art Museum: Kara Walker: Cut to the Quick, From the Collections of Jordan D. Schnitzer and His Family Foundation""._Cincinnati Art Museum_. RetrievedMarch 17,2023.
	* Walker, Kara (January 24, 2017).""African-American"". Minneapolis Institute of Art.
	* ""Kara Walker - Biography""._www.askart.com_.
	* ""Kara Walker Collection""._tate_. RetrievedMarch 4,2016.
	* ""30 Americans: Kara Walker"". Archived fromthe originalon March 8, 2012. RetrievedMarch 25,2012.
	* Julia Szabo (March 23, 1997),""Kara Walker's Shock Art"",_New York Times Magazine_.
	* Solange James (January 24, 2008).""Art Critique: Kara Walker""._Copious Magazine_. Archived fromthe originalon March 2, 2016. RetrievedJuly 2,2013.
	* ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love — Calendar — Walker Art Center""._www.walkerart.org_. RetrievedFebruary 13,2016.
	* Kara Walker: Fall Frum Grace, Miss Pipi's Blue Tale, April 21 – June 25, 2011ArchivedFebruary 23, 2014, at theWayback MachineLehmann Maupin Gallery, New York.
	* Visual Arts Faculty Kara Walker Inducted into The American Academy of Arts and LettersArchivedFebruary 26, 2014, at theWayback MachineColumbia University School of the Arts, March 20, 2012.
	* ^Jump up to:Doreen St. Félix(April 16, 2017),""Kara Walker's Next Act"", .
	* ""Kara Walker \| Artist \| Royal Academy of Arts""._Royal Academy of Arts_.Archivedfrom the original on February 19, 2023.
	* Curtis, Cathy (November 12, 1997),""Finding Direction: A Fantasy Self Put Artist Kara Walker on the Path to Personal, Professional Identity"", ""Los Angeles Times.""
	* Blake Gopnik (April 25, 2014),""Rarely One for Sugarcoating: Kara Walker Creates a Confection at the Domino Refinery"",_The New York Times_.
	* Vergne, Phillppe. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love."" Minneapolis: Walker Art Center.ISBN978-0-935640-86-1
	* The ""Time"" 100: ""Time"" magazine's profile of Walker
	* Kara E. Walker's Song of the SouthArchivedJanuary 10, 2016, at theWayback MachineatREDCAT
	* Kara Walkerat _Ocula_
	* Kara Walkerat Smithsonian American Art Museum
	Kara Walker
	",5.0
	page_scrape,6.3478686809539795,6.851709604263306,,,https://en.wikipedia.org/wiki/Kara_Walker#cite_note-1,30997.0,"Kara Walker
	Walker in 2013
	Kara Elizabeth Walker(born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who exploresrace,gender,sexuality, violence, andidentityin her work. She is best known for her room-size tableaux of black cut-papersilhouettes. Walker was awarded aMacArthur fellowshipin 1997, at the age of 28, becoming one of the youngest ever recipients of the award.[2]She has been the Tepper Chair in Visual Arts at theMason Gross School of the Arts,Rutgers Universitysince 2015.[3]
	Walker is regarded as among the most prominent and acclaimedBlack Americanartists working today.[4][5][6][7]
	Walker was born in 1969 inStockton, California.[8]Her father,Larry Walker, was a painter and professor.[8][9][10]Her mother Gwendolyn was an administrative assistant.[11][12]A 2007 review in _New York Times_described her early life as calm, noting that ""nothing about [Walker's] very early life would seem to have predestined her for this task. Born in 1969, she grew up in an integratedCaliforniasuburb, part of a generation for whom the uplift and fervor of the civil rights movement and the want-it-now anger ofBlack Powerwere yesterday's news.""[13]
	When Walker was 13, her father accepted a position atGeorgia State University. They settled in the city of Stone Mountain.[14][11]The move was aculture shockfor the young artist. In sharp contrast with the multi-cultural environment of coastal California, Stone Mountain still heldKu Klux Klanrallies. At her new high school, Walker recalls, ""I was called a 'nigger,'told I looked like a monkey, accused (I didn't know it was an accusation) of being a 'Yankee.'""[15]
	Walker received herBFAfrom theAtlanta College of Artin 1991 and herMFAin painting from theRhode Island School of Designin 1994.[16]Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as ""typical"" or ""obvious""; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.
	Walker recalls reflecting on her father's influence: ""One of my earliest memories involves sitting on my dad's lap in his studio in the garage of our house and watching him draw. I remember thinking: 'I want to do that, too,' and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.""[17]
	Walker is best known for her panoramicfriezesof cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.[18]She has also produced works ingouache,watercolor, video animation,shadow puppets,magic lanternprojections, as well as large-scale sculptural installations like her ambitious public exhibition withCreative Timecalled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant"" (2014). The black-and-white silhouettes confront the realities of history while also using the stereotypes from the era of slavery to relate to persistent modern-day concerns.[19]Drawings also constitute a significant portion of Walker's body of work. The artist reserves a special meaning to this medium in her artistic practice as a space to confront the western canon and find freedom from its historical criteria dominating painting: “I gravitated towards [drawing] pretty early on in graduate school […] partly as a way to escape the chains of western painting. […] Drawing transforms a blank page into a site of reflection.”[20]A major retrospective dedicated to Walker’s drawings and archival materials was held at Kustmuseum Basel in 2021.
	Visitors at Walker's . The white sculpture depicting a woman in the shape of asphinxis visible in the background.
	She first came to the art world's attention in 1994 with her mural ""Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart."" This cut-paper silhouette mural, presenting an Antebellum south filled with sex and slavery, was an instant hit.[21]The artwork's title references the popular novel byMargaret Mitchell, and the individual figures in the tableau index the fairy-tale universe ofWalt Disneyin the 1930s.[22]At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's ""genius"" grant,[23]second only to renowned MayanistDavid Stuart. In 2007, the Walker Art Center exhibition ""Kara Walker: My Complement, My Oppressor, My Enemy, My Love"" was the artist's first full-scale US museum survey.
	Her influences includeAndy Warhol, whose art Walker says she admired as a child,[12]Adrian Piper,[24][25]andRobert Colescott.[21]
	Walker's silhouette images work to bridge unfinished folklore in theAntebellum South, raising identity and gender issues forAfrican-American womenin particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South.[12]The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.
	Walker incorporates ominous, sharp fragments of the South's landscape, such asSpanish mosstrees and a giant moon obscured by dramatic clouds. These images surround the viewer and create a circular, claustrophobic space. This circular format paid homage to another art form, the 360-degree historical painting known as the cyclorama.[19]
	Some of her images are grotesque; for example, in ""The Battle of Atlanta,""[26]a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock; and a male black slave rains tears all over an adolescent white boy. The use of physical stereotypes such as flatter profiles, bigger lips, straighter nose, and longer hair helps the viewer immediately distinguish the black subjects from the white subjects. Walker depicts the inequalities and mistreatment of African Americans by their white counterparts. Viewers at theStudio Museum in Harlemlooked sickly, shocked, and appalled upon seeing her exhibition.Thelma Golden, the museum's chief curator, said that ""throughout her career, Walker has challenged and changed the way we look at and understand American history. Her work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling.""[27]Walker has said that her work addresses the way Americans look at racism with a ""soft focus,"" avoiding ""the confluence of disgust and desire and voluptuousness that are all wrapped up in [...] racism.""[19]
	In an interview with New York'sMuseum of Modern Art, Walker stated: ""I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things–genre paintings,historical paintings– the sort of derivatives we get in contemporary society.""[10]
	Walker is most widely known for her immersive site-specific installations. Walker plays and almost blurs the lines between types of art forms. Her installations could be fluid between visual art and performance art. Elements of her installations like the theatrical staging or the life-size cut figurines contribute to and somewhat evoke this performative behavior. As Walker has mentioned before, she focuses more on the ideas and concepts behind the artwork rather than focusing on the initial aesthetic and visual aspect of the artwork, creating more of a conceptual outlook.
	Moreover, Shelly Jarenski discusses Walker's art in the context of panoramas. For background context, panoramas were very popular in the nineteenth century and were used as a form of entertainment.[28]They usually depicted historical scenes or vast landscapes. Walker's work demonstrates that the aesthetic experiences embedded in the panorama (though those experiences are rooted in the particular contexts of the nineteenth century) persist as a concern in African American art, just as the social consequences of slavery and the racial narratives that structured it persist in shaping our contemporary cultural narratives of race and space. Walker's work also provides a second visual example of the way panoramas can affect spectators, since it is a continual struggle for contemporary scholars to apprehend the visuality of panoramas, given that written sources are often all that survive in the historical archive.[29]When viewing Walker's panoramas, they are illustrative of past events or depictions of the enslavement of African Americans. Her ability to combine devices that were used in the past and recontextualize with the sinful scenes she creates in her large-scale installations deconstructs the aesthetic of these installations. As Jarenski mentioned in her article, Walker's panoramas provide a visual example of how her panoramas affect the viewers which is different from 19th-century panoramas which were limited to written sources. Walker's installations are able to create a contemporary visual interpretation and reinforce one of the themes of panoramas; depict historical events. Thus, further shedding light and interconnectedness on the artistic process and the final artistic output.
	Kara Walker once explained her artistic process as “two parts research and one part paranoid hysteria,” a description that captures the entanglement of history and fantasy that pervades her work.[30]In that sense, through the process of Walker creating her art, 2/3 of it has to do with logical analysis, research, and other rational minded resources. While on the other hand, she suggests a component of rational fear or paranoia. Even despite the rational aspect, there's a sense of uneasiness and complexity that ties and illustrates itself through her work.
	In response toHurricane Katrina, Walker created ""After the Deluge"" since the hurricane had devastated many poor and black areas ofNew Orleans. Walker was bombarded with news images of ""black corporeality."" She likened these casualties to enslaved Africans piled onto ships for theMiddle Passage, the Atlantic crossing to America.[12]
	Walker took part in the 2009 inaugural exhibition atScaramouche Galleryin New York City with a group exhibit called ""The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You.""[32]Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, ""Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker,"" opened at Sikkema Jenkins on the same day.[33]
	Walker created ""Katastwóf Karavan"" for the 2018 art festival ""Prospect.4: The Lotus in Spite of the Swamp"" in New Orleans. This sculpture was an old-timey wagon, with Walker's signature silhouettes portraying slaveholders and enslaved people making up the sides and a custom-built steam-poweredcalliopeplaying songs off ""black protest and celebration.""[34]
	Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on ""humor and viewer interaction."" Walker has stated, ""I didn't want a completely passive viewer"" and ""I wanted to make work where the viewer wouldn't walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.""[35]
	In 2002, Walker created a site-specific installation, ""An Abbreviated Emancipation (from a larger work: The Emancipation Approximation),"" which was commissioned byThe University of Michigan Museum of Art, Ann Arbor.[36]The work represented motifs and themes of race relations and their roots in the system of slavery before the Civil War. Several years later, in 2005,The New Schoolunveiled Walker's first public art installation, a site-specific mural titled ""Event Horizon,"" and placed along a grand stairway leading from the main lobby to a major public program space.[37]
	Walker's most well-known commission debuted in May 2014. Her first sculpture, this work was a monumental public artwork entitled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant."" The massive work was installed in the derelictDomino Sugar Refineryin Brooklyn and commissioned byCreative Time. The installation consisted of a femalesphinxfigure, measuring approximately 75 feet long by 35 feet high, preceded by an arrangement of fifteen life-size young male figures, dubbed attendants. The sphinx, which bore the head and features of theMammy archetype, was made by covering a core of machine-cut blocks of polystyrene with 80 tons of white sugar donated byDomino Foods.[38]The fifteen male attendants were modeled after racist figurines that Walker purchased online. Five were made from solid sugar, and the other ten were resin sculptures coated in molasses. The fifteen attendants stood 60 inches tall and weighed 300-500 pounds each.[39][40]The factory and the artwork were demolished after the exhibition closed in July 2014, as had been previously planned.[14][41][42][43]
	Walker has hinted that the whiteness of the sugar references its ""aesthetic, clean, and pure quality."" The slave trade is highlighted in the sculpture as well. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that ""the exhibit itself is a striking and incredibly well-executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere. So the presence of so many white people -- and my presence as a black woman who's a descendant of slaves -- seemed to also be part of the show.""[44]The work attracted over 130,000 visitors in its eight-weekend run. In his commentary on the sculpture, art historian Richard J. Powell wrote, ""No matter how noble or celebratory in tone Walker's title for this work seemed, in this post-modern moment of moral skepticism and collective distrust, a work of art in a public arena—especially a visually perplexing nude—would be subjected to not just serious criticism, but Internet trolling and mockery.""[45]
	In 2016, Walker revealed ""Slaughter of the Innocents (They Might be Guilty of Something)."" In the painting, Walker depicts an African American woman slicing a baby with a smallscythe. The influence for this detail was that ofMargaret Garner, an enslaved person who killed her daughter to prevent her child from returning to slavery.
	In 2019, Walker created ""Fons Americanus,"" the fifth annual Hyundai Commission atTate Modern's Turbine Hall.[46]The fountain, measuring up to 13 feet (4.0 m), contains allegorical motifs referencing the histories of Africa, America, and Europe, particularly pertaining to theAtlantic slave trade. In her review of Walker's ""Fons Americanus"" forArtnet News, Naomi Rea noted that ""the piece is so loaded with art-historical and cultural references that you could teach an entire college history course without leaving Turbine Hall.""[46]For example, Walker quotes specific artworks including from 1840 by the British painterJ.M.W. Turnerand from 1899 by the American painterWinslow Homer.[47]She also observed that – owing to the fountain's running water – the great work of art could be both seen and heard in the Turbine Hall.[46]The artwork is, at the same time, a sort of public monument inspired in part by theVictoria Memorialin front ofBuckingham Palace. In 2019, acclaimed writerZadie Smithobserved something about public monuments that Walker interrogates in ""Fons Americanus"": ""Monuments are complacent; they put a seal upon the past, they release us from dread. For Walker, dread is an engine: it prompts us to remember and rightly fear the ruins we shouldn't want to return to and don't wish to re-create—if we're wise.""[48]
	In 2023, theSan Francisco Museum of Modern Art(SFMOMA) commissioned Walker to create the first site-specific installation for its Roberts Family Gallery.[49]
	For the season 1998/1999 in theVienna State Opera, Walker designed a large-scale picture (176 m2) as part of the exhibition series ""Safety Curtain,"" conceived bymuseum in progress.[50]In 2009, Walker curated volume 11 of Merge Records',_Score!_. Invited by fellow artistMark Bradfordin 2010 to develop a set of free lesson plans forK-12teachers at theJ. Paul Getty Museum, Walker offered a lesson that had students collaborating on a story by exchangingtext messages.[51]
	In March 2012, artistClifford Owensperformed a score by Walker atMoMA PS1.[52]
	In 2013, Walker produced 16lithographsfor a limited edition, fine art printing of the libretto , byDuBose HeywardandIra Gershwin, published by theArion Press.
	"" The Means to an End: A Shadow Drama in Five Acts,""etchingandaquatintby Kara Walker, five panels, 1995,Honolulu Museum of Art
	A Walker piece entitled ""The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos"" caused controversy among employees atNewark Public Librarywho questioned its appropriateness for the reading room where it was hung. The artwork included depictions of theKu Klux Klanaccompanied by aburning cross, a naked black womanfellatinga white man, andBarack Obama.[54]The piece was covered but not removed in December 2012.[55]After discussion among employees and trustees the work was again uncovered.[56]In March 2013 Walker visited the New Jersey Newark Public Library to discuss the work and the controversy. Walker discussed the content of the work, including racism, identity, and her use of ""heroic"" figures such as Obama. Walker asked, ""[d]o these archetypes collapse history? They're supposed to expand the conversation, but they often collapse it.""[54]Walker described the overwhelming subject matter of her works as a ""too-muchness"".[54]
	In the 1999PBSdocumentary ""I'll Make Me a World,""African-AmericanartistBetye Saarcriticized Walker's work for its ""revolting and negative"" depiction ofblack stereotypesand enslaved people. Saar accused the art of pandering to the enjoyment of ""the white art establishment."" In 1997 Saar emailed 200 fellow artists and politicians to voice her concerns about Walker's use of racist and sexist imagery and its positive reception in the art world.[57]This attention to Walker's practice led to a 1998 symposium at Harvard University,_Change a Joke and Slip the Yoke: A Harvard University Conference on Racist Imagery_ , which discussed her work.[58]
	Walker's first museum survey,[59]in 2007, was organized byPhilippe Vergnefor theWalker Art CenterinMinneapolisand traveled to theWhitney Museumin New York, theHammer Museum[60]in Los Angeles, and theARC/Musee d'Art Moderne de la ville de Paris.[61][14]
	* 2007: ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love""[62]- Walker Art Center
	* 2013:_We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress_ ,Camden Art Centre, London[64](toured to theMAC, Belfast in 2014[65])
	Among the public collections holding work by Walker are theMinneapolis Institute of Art[73]and theWeisman Art Museum(Minneapolis, Minnesota);[74]theTate Collection, London;[75]thePérez Art Museum Miami,[76]theMuseum of Contemporary Art, Los Angeles,[77]theMadison Museum of Contemporary Art(Madison, WI), theMenil Collection,[78]Houston;[79]and theMuscarelle Museum of Art, Williamsburg, Virginia.[80]Early large-scale cut-paper works have been collected by, among others,Jeffrey DeitchandDakis Joannou.[81]
	In 1997, Walker, who was 28 at the time, was one of the youngest people to receive aMacArthur fellowship.[11]There was a lot of criticism[]because of her fame at such a young age and the fact that her art was most popular within the white community.[82]She was the United States representative for the 25th International São Paulo Biennial in Brazil in 2002.[83]
	Walker received the 2004Deutsche Bank Prize[84]and the 2005Larry Aldrich Award.[85]In 2007, she was listed among magazine's 100 Most Influential People in The World, Artists and Entertainers, in an essay written by artistBarbara Kruger.[86]In 2012, she was elected to theAmerican Academy of Arts and Letters[87]and won the International Artist Award fromAnderson Ranch Arts Centerin Colorado.[88]
	Walker has been featured on thePBSseriesArt21: Art in the Twenty-First Century. Her work appears on the cover of musicianArto Lindsay's recording, ""Salt"" (2004). In addition, she co-wrote the song ""Suicide Demo for Kara Walker"" on theDestroyeralbum ""Kaputt.""
	In 2017, a large scale mural portrait of Kara Walker done by artistChuck Closewas installed in a New York City subway station (Q line, 86th Street), part of aMTA public arts program.[92]She was elected to theAmerican Philosophical Societyin 2018.[93]
	In 2019, Walker was elected to theRoyal Academy of Artsin London, as anHonorary Royal Academician (HonRA).[94]
	Early in her career, Walker lived inProvidence, Rhode Islandwith her husband, German-born jewelry professor Klaus Bürgel,[95][96]whom she married in 1996. In 1997, she gave birth to a daughter.[97][89]The couple separated, and their divorce was finalized in 2010.[98][89]As of 2017, Walker is in a relationship with photographer and filmmakerAri Marcopoulos.[89]They married in 2025.[99]
	Walker moved toFort Greene, Brooklynin 2003 and has been a professor of visual arts in the MFA program atColumbia Universitysince then. She maintained a studio in theGarment District, Manhattanfrom 2010 until 2017.[89]In May 2017, she moved her art practice to a studio inIndustry City.[89]She also owns a country home in ruralMassachusetts.[95]
	In addition to her own practice, Walker served on the board of directors of theFoundation for Contemporary Arts(FCA) between 2011[100]and 2016.[101]
	* D'Arcy, David. ""Kara Walker Kicks Up a Storm,"" ""Modern Painters"" (April 2006).
	* Szabo, Julia. ""Kara Walker's Shock Art,"" ""New York Times Magazine"" 146, no. 50740 (March 1997).
	* Scott, Andrea K. ""Kara Walker's Ghosts of Future Evil"", the ""New Yorker"", September 9, 2017
	* Wall, David (2010).""Transgression, Excess, and the Violence of Looking in the Art of Kara Walker""._Oxford Art Journal_.33(3). Oxford University Press:277–299.doi:10.1093/oxartj/kcq035.ISSN0142-6540.JSTOR40983288.
	* Carpenter, Elizabeth and Joan Rothfuss. ""Bits & Pieces Put Together to Present a Semblance of A Whole: Walker Art Center Collections"". Minneapolis: Walker Art Center, 2005.
	* Shaw, Gwendolyn Dubois. ""Seeing the Unspeakable: The Art of Kara Walker"", Durham and London: Duke University Press (2004).http://www.worldcat.org/oclc/55008318
	* Vergne, Philippe, et al. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love"". Minneapolis: Walker Art Center, 2007.http://www.worldcat.org/oclc/602217956
	* Walker, Kara E. ""Kara Walker: After the Deluge"". New York: Rizzoli, 2007.http://www.worldcat.org/oclc/144225309
	* Walker, Kara E., Olga Gambari, and Richard Flood._Kara Walker: A Negress of Noteworthy Talent_. Torino: Fondazione Merz, 2011.http://www.worldcat.org/oclc/768397358
	* The Art Story: Kara Walker, Modern Art Insight. 2016
	* Green, Adrienne (March 3, 2018).""How Kara Walker Recasts Racism's Bitter Legacy""._The Atlantic_. RetrievedFebruary 16,2022.
	* Intrabartola, Lisa (September 25, 2015).""Esteemed Artist Kara Walker Named Tepper Chair""._www.rutgers.edu_.
	* Mzezewa, Tariro (September 14, 2017).""Opinion \| Kara Walker Is Tired of Talking. But Her Canvases Scream""._The New York Times_.ISSN0362-4331. RetrievedFebruary 16,2022.
	* Sutton, Benjamin (August 30, 2017).""Dear Kara Walker: If You're Tired of Standing Up, Please Sit Down""._Hyperallergic_. RetrievedFebruary 16,2022.
	* Musser, Amber Jamilla (September 1, 2016).""Queering Sugar: Kara Walker's Sugar Sphinx and the Intractability of Black Female Sexuality""._Signs: Journal of Women in Culture and Society_.42(1):153–174.doi:10.1086/686756.ISSN0097-9740.S2CID151909296.
	0-8223-3396-1
	* ^Jump up to:Als, Hilton(October 1, 2007).""Kara Walker's Shadow Act""._The New Yorker_.
	* ^Jump up to:Gopnik, Blake (April 25, 2014).""Rarely One for Sugarcoating Kara Walker Creates a Confection at the Domino Refinery""._The New York Times_. RetrievedFebruary 6,2016.
	* ""Kara Walker American Artist"". The Art Story Foundation. RetrievedApril 20,2017.
	* ""The Art of Kara Walker"".Walker Art Center. Archived fromthe originalon March 8, 2012. RetrievedMarch 13,2012.
	* Kara WalkerArchivedMay 25, 2014, at theWayback MachineSolomon R. Guggenheim Museum, New York.
	* Walker, Kara (June 4, 2021).""Artist Talk with Kara Walker""._Kunstmuseum Basel_.
	* Cotter, Holland (October 12, 2007).""Kara Walker - Kara Walker: My Complement, My Enemy, My Oppressor, My Love Whitney Museum of American Art - Art - Review""._The New York Times_.ISSN0362-4331. RetrievedMarch 4,2016.
	* ""MoMA \| Projects \| 1999 \| Conversations \| Kara Walker""._www.moma.org_. RetrievedMarch 4,2016.
	* Trotman, Krishan (July 2003).""Kara Walker electrifies the Studio Museum in Harlem"". New York Amsterdam News. Archived fromthe originalon October 20, 2014. RetrievedMarch 7,2015.
	* ""Kara Walker \| Biography, Art, & Facts \| Britannica""._www.britannica.com_. April 29, 2024. RetrievedMay 15,2024.
	* Jarenski, Shelly (2013).""""Delighted and Instructed"": African American Challenges to Panoramic Aesthetics in J. P. Ball, Kara Walker, and Frederick Douglass""._American Quarterly_.65(1):119–155.doi:10.1353/aq.2013.0003.ISSN0003-0678.JSTOR41809550.
	* David D'Arcy (April 2006).""The Eyes of the Storm: Kara Walker on Hurricanes, Heroes and Villains"".. RetrievedApril 22,2008.
	* ""Professor Kara Walker: Exhibition Opens at Lehmann Maupin, Sikkema Jenkins"". Archived fromthe originalon September 6, 2011. RetrievedMarch 25,2012.
	* Loos, Ted (February 21, 2018).""After a Blowup, Kara Walker Lets Off Steam in New Orleans (Published 2018)""._The New York Times_.ISSN0362-4331. RetrievedNovember 20,2020.
	* ""Kara Walker – 53 Artworks, Bio & Shows on Artsy""._www.artsy.net_. RetrievedFebruary 13,2016.
	* Kara Walker Pictures From Another Time, published in conjunction with the exhibition ""Kara Walker: An Abbreviated Emancipation (from The Emancipation Approximation)""
	* ""New School University Unveils 'Event Horizon' the First Major Public Art Commission by Artist Kara Walker"". Press release of April 26, 2005.
	* ""CreativeTime Presents Kara Walker"". Creative Time, Inc. RetrievedApril 20,2017.
	* ""Kara Walker - A Subtlety or the Marvelous Sugar Baby""._Artsy_. June 17, 2014. RetrievedFebruary 13,2016.
	* ""How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory""._www.vice.com_. May 8, 2014. RetrievedMay 17,2022.
	* ^Jump up to:""Kara Walker's ""A Subtlety""""._Creative Time_.
	* ""A Sonorous Subtlety: KARA WALKER with Kara Rooney"",_Brooklyn Rail_ , May 6, 2014.
	* ^Jump up to:Rea, Naomi (September 30, 2019).""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""._artnet news_. RetrievedMarch 28,2020.
	* Rea, Naomi (September 30, 2019).""""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""""._Artnet_. RetrievedMay 2,2024.
	* Francesca Aton (26 May 2023),Kara Walker Receives Major Commission from SFMOMA.
	* Jori Finkel (June 17, 2010),Mark Bradford leads Kara Walker, Cathy Opie and more to create online teacher resource for Getty, ""Los Angeles Times.""
	* Rozalia Jovanovic.""Clifford Owens and Kara Walker at MoMA PS1: An Epilogue With RoseLee Goldberg"", ""Observer,"" March 15, 2012.
	* ^Jump up to:Kramer, Jessica (March 13, 2013).""Kara Walker Addresses Art and Controversy at the Newark Public Library"".. RetrievedApril 26,2014.
	* Hunter, Drohojowska-philp (October 31, 1999). ""Art & Architecture; Reframing a black experience; Kara Walker's images Stir Devte in the African American Community on Whether they Enlighten or Degrade""._Los Angeles Times_. Newspaper.ProQuest421566885.[‍]
	* ""Kara Walker \| Art Exhibitions \| The MAC Belfast""._themaclive.com_. RetrievedMarch 30,2020.
	9780300227154
	* Tate.""Hyundai Commission: Kara Walker – Exhibition at Tate Modern""._Tate_. RetrievedAugust 6,2019.
	* ""Cincinnati Art Museum: Kara Walker: Cut to the Quick, From the Collections of Jordan D. Schnitzer and His Family Foundation""._Cincinnati Art Museum_. RetrievedMarch 17,2023.
	* Walker, Kara (January 24, 2017).""African-American"". Minneapolis Institute of Art.
	* ""Kara Walker - Biography""._www.askart.com_.
	* ""Kara Walker Collection""._tate_. RetrievedMarch 4,2016.
	* ""30 Americans: Kara Walker"". Archived fromthe originalon March 8, 2012. RetrievedMarch 25,2012.
	* Julia Szabo (March 23, 1997),""Kara Walker's Shock Art"",_New York Times Magazine_.
	* Solange James (January 24, 2008).""Art Critique: Kara Walker""._Copious Magazine_. Archived fromthe originalon March 2, 2016. RetrievedJuly 2,2013.
	* ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love — Calendar — Walker Art Center""._www.walkerart.org_. RetrievedFebruary 13,2016.
	* Kara Walker: Fall Frum Grace, Miss Pipi's Blue Tale, April 21 – June 25, 2011ArchivedFebruary 23, 2014, at theWayback MachineLehmann Maupin Gallery, New York.
	* Visual Arts Faculty Kara Walker Inducted into The American Academy of Arts and LettersArchivedFebruary 26, 2014, at theWayback MachineColumbia University School of the Arts, March 20, 2012.
	* ^Jump up to:Doreen St. Félix(April 16, 2017),""Kara Walker's Next Act"", .
	* ""Kara Walker \| Artist \| Royal Academy of Arts""._Royal Academy of Arts_.Archivedfrom the original on February 19, 2023.
	* Curtis, Cathy (November 12, 1997),""Finding Direction: A Fantasy Self Put Artist Kara Walker on the Path to Personal, Professional Identity"", ""Los Angeles Times.""
	* Blake Gopnik (April 25, 2014),""Rarely One for Sugarcoating: Kara Walker Creates a Confection at the Domino Refinery"",_The New York Times_.
	* Vergne, Phillppe. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love."" Minneapolis: Walker Art Center.ISBN978-0-935640-86-1
	* The ""Time"" 100: ""Time"" magazine's profile of Walker
	* Kara E. Walker's Song of the SouthArchivedJanuary 10, 2016, at theWayback MachineatREDCAT
	* Kara Walkerat _Ocula_
	* Kara Walkerat Smithsonian American Art Museum
	Kara Walker
	",5.0
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	Description: Kara Walker's interview at the Camden Arts Centre, London (1m47s) Interview by Anna McNay and filmed by Martin KennedyTitle: Kara Walker Interview Camden Arts Centre 01.47 (cropped)Credit: Vimeo: Kara Walker: Interview. Camden Arts Centre, London, 10 October 2013 (view archived source)Author: studio internationalUsage Terms: Creative Commons Attribution-Share Alike 3.0License: CC BY-SA 3.0License Link: https://creativecommons.org/licenses/by-sa/3.0Attribution Required?: Yes
	",3.0
	page_scrape,7.746905088424683,8.905220031738281,,,http://www.macfound.org/fellows/class-of-1997/kara-e-walker,2109.0,"Login into your grantee account, create a new account or password, or submit an idea to the MacArthur Foundation.
	# Kara E. Walker
	## About Kara's Work
	Kara Walker is an artist whose works often deal with issues of race in the antebellum South.
	Walker's installations, drawings, and paintings are provocative and grimly humorous. In her installations, she creates narratives of the old South by cutting stylized, life-sized figures from black paper that she pastes, as in a mural, around the walls of the gallery she is showing in. Her use of the silhouette technique and related sources derive from the German fairy tale, history painting, and colonial portraiture. Walker’s installations, filled with slave-era, stereotypical figures, are graphic and violent tableaus that explore the vestiges of sexual, physical, and racial exploitation in a challenging manner.
	Walker is an associate professor in the Visual Arts division at Columbia University. Since 1990, she has participated in group exhibits at galleries throughout the United States and abroad, including the Whitney Biennial (1997) and the Sao Paulo Biennial, Brazil (2002). She has had solo exhibits at Wooster Gardens in New York (1995, 1996, 1998), the Renaissance Society at the University of Chicago (1997), the San Francisco Museum of Modern Art (1997), and the Walker Art Center in Minneapolis (1997).
	Walker received a B.F.A. (1991) from the Atlanta College of Art and an M.F.A. (1994) from the Rhode Island School of Design.
	### Select News Coverage of Kara E. Walker
	###### ""The Art and Automatons of Kara Walker""
	###### ""New-York Historical Society Presents Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)""
	###### ""Kara Walker Artworks Animating Racist Tropes of America Acquired by National Gallery of Australia, But How Will They Translate Here?""
	###### ""Genius At Work: 29 MacArthur Fellows Show Their Art In Chicago""
	###### ""Turbine Hall Artist Kara Walker: 'Apparently, The Only Thing I Am Is Black'""
	###### ""Harvard Acquires New Work by Kara Walker""
	###### ""Kara Walker Showed Me the Horror of American Life""
	",4.0
	page_scrape,7.758248329162598,8.197774171829224,,,https://en.wikipedia.org/wiki/Kara_Walker#bodyContent,30997.0,"Kara Walker
	Walker in 2013
	Kara Elizabeth Walker(born November 26, 1969) is an American contemporary painter, silhouettist, printmaker, installation artist, filmmaker, and professor who exploresrace,gender,sexuality, violence, andidentityin her work. She is best known for her room-size tableaux of black cut-papersilhouettes. Walker was awarded aMacArthur fellowshipin 1997, at the age of 28, becoming one of the youngest ever recipients of the award.[2]She has been the Tepper Chair in Visual Arts at theMason Gross School of the Arts,Rutgers Universitysince 2015.[3]
	Walker is regarded as among the most prominent and acclaimedBlack Americanartists working today.[4][5][6][7]
	Walker was born in 1969 inStockton, California.[8]Her father,Larry Walker, was a painter and professor.[8][9][10]Her mother Gwendolyn was an administrative assistant.[11][12]A 2007 review in _New York Times_described her early life as calm, noting that ""nothing about [Walker's] very early life would seem to have predestined her for this task. Born in 1969, she grew up in an integratedCaliforniasuburb, part of a generation for whom the uplift and fervor of the civil rights movement and the want-it-now anger ofBlack Powerwere yesterday's news.""[13]
	When Walker was 13, her father accepted a position atGeorgia State University. They settled in the city of Stone Mountain.[14][11]The move was aculture shockfor the young artist. In sharp contrast with the multi-cultural environment of coastal California, Stone Mountain still heldKu Klux Klanrallies. At her new high school, Walker recalls, ""I was called a 'nigger,'told I looked like a monkey, accused (I didn't know it was an accusation) of being a 'Yankee.'""[15]
	Walker received herBFAfrom theAtlanta College of Artin 1991 and herMFAin painting from theRhode Island School of Designin 1994.[16]Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as ""typical"" or ""obvious""; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.
	Walker recalls reflecting on her father's influence: ""One of my earliest memories involves sitting on my dad's lap in his studio in the garage of our house and watching him draw. I remember thinking: 'I want to do that, too,' and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.""[17]
	Walker is best known for her panoramicfriezesof cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery.[18]She has also produced works ingouache,watercolor, video animation,shadow puppets,magic lanternprojections, as well as large-scale sculptural installations like her ambitious public exhibition withCreative Timecalled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant"" (2014). The black-and-white silhouettes confront the realities of history while also using the stereotypes from the era of slavery to relate to persistent modern-day concerns.[19]Drawings also constitute a significant portion of Walker's body of work. The artist reserves a special meaning to this medium in her artistic practice as a space to confront the western canon and find freedom from its historical criteria dominating painting: “I gravitated towards [drawing] pretty early on in graduate school […] partly as a way to escape the chains of western painting. […] Drawing transforms a blank page into a site of reflection.”[20]A major retrospective dedicated to Walker’s drawings and archival materials was held at Kustmuseum Basel in 2021.
	Visitors at Walker's . The white sculpture depicting a woman in the shape of asphinxis visible in the background.
	She first came to the art world's attention in 1994 with her mural ""Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart."" This cut-paper silhouette mural, presenting an Antebellum south filled with sex and slavery, was an instant hit.[21]The artwork's title references the popular novel byMargaret Mitchell, and the individual figures in the tableau index the fairy-tale universe ofWalt Disneyin the 1930s.[22]At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's ""genius"" grant,[23]second only to renowned MayanistDavid Stuart. In 2007, the Walker Art Center exhibition ""Kara Walker: My Complement, My Oppressor, My Enemy, My Love"" was the artist's first full-scale US museum survey.
	Her influences includeAndy Warhol, whose art Walker says she admired as a child,[12]Adrian Piper,[24][25]andRobert Colescott.[21]
	Walker's silhouette images work to bridge unfinished folklore in theAntebellum South, raising identity and gender issues forAfrican-American womenin particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South.[12]The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.
	Walker incorporates ominous, sharp fragments of the South's landscape, such asSpanish mosstrees and a giant moon obscured by dramatic clouds. These images surround the viewer and create a circular, claustrophobic space. This circular format paid homage to another art form, the 360-degree historical painting known as the cyclorama.[19]
	Some of her images are grotesque; for example, in ""The Battle of Atlanta,""[26]a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock; and a male black slave rains tears all over an adolescent white boy. The use of physical stereotypes such as flatter profiles, bigger lips, straighter nose, and longer hair helps the viewer immediately distinguish the black subjects from the white subjects. Walker depicts the inequalities and mistreatment of African Americans by their white counterparts. Viewers at theStudio Museum in Harlemlooked sickly, shocked, and appalled upon seeing her exhibition.Thelma Golden, the museum's chief curator, said that ""throughout her career, Walker has challenged and changed the way we look at and understand American history. Her work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling.""[27]Walker has said that her work addresses the way Americans look at racism with a ""soft focus,"" avoiding ""the confluence of disgust and desire and voluptuousness that are all wrapped up in [...] racism.""[19]
	In an interview with New York'sMuseum of Modern Art, Walker stated: ""I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things–genre paintings,historical paintings– the sort of derivatives we get in contemporary society.""[10]
	Walker is most widely known for her immersive site-specific installations. Walker plays and almost blurs the lines between types of art forms. Her installations could be fluid between visual art and performance art. Elements of her installations like the theatrical staging or the life-size cut figurines contribute to and somewhat evoke this performative behavior. As Walker has mentioned before, she focuses more on the ideas and concepts behind the artwork rather than focusing on the initial aesthetic and visual aspect of the artwork, creating more of a conceptual outlook.
	Moreover, Shelly Jarenski discusses Walker's art in the context of panoramas. For background context, panoramas were very popular in the nineteenth century and were used as a form of entertainment.[28]They usually depicted historical scenes or vast landscapes. Walker's work demonstrates that the aesthetic experiences embedded in the panorama (though those experiences are rooted in the particular contexts of the nineteenth century) persist as a concern in African American art, just as the social consequences of slavery and the racial narratives that structured it persist in shaping our contemporary cultural narratives of race and space. Walker's work also provides a second visual example of the way panoramas can affect spectators, since it is a continual struggle for contemporary scholars to apprehend the visuality of panoramas, given that written sources are often all that survive in the historical archive.[29]When viewing Walker's panoramas, they are illustrative of past events or depictions of the enslavement of African Americans. Her ability to combine devices that were used in the past and recontextualize with the sinful scenes she creates in her large-scale installations deconstructs the aesthetic of these installations. As Jarenski mentioned in her article, Walker's panoramas provide a visual example of how her panoramas affect the viewers which is different from 19th-century panoramas which were limited to written sources. Walker's installations are able to create a contemporary visual interpretation and reinforce one of the themes of panoramas; depict historical events. Thus, further shedding light and interconnectedness on the artistic process and the final artistic output.
	Kara Walker once explained her artistic process as “two parts research and one part paranoid hysteria,” a description that captures the entanglement of history and fantasy that pervades her work.[30]In that sense, through the process of Walker creating her art, 2/3 of it has to do with logical analysis, research, and other rational minded resources. While on the other hand, she suggests a component of rational fear or paranoia. Even despite the rational aspect, there's a sense of uneasiness and complexity that ties and illustrates itself through her work.
	In response toHurricane Katrina, Walker created ""After the Deluge"" since the hurricane had devastated many poor and black areas ofNew Orleans. Walker was bombarded with news images of ""black corporeality."" She likened these casualties to enslaved Africans piled onto ships for theMiddle Passage, the Atlantic crossing to America.[12]
	Walker took part in the 2009 inaugural exhibition atScaramouche Galleryin New York City with a group exhibit called ""The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You.""[32]Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, ""Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker,"" opened at Sikkema Jenkins on the same day.[33]
	Walker created ""Katastwóf Karavan"" for the 2018 art festival ""Prospect.4: The Lotus in Spite of the Swamp"" in New Orleans. This sculpture was an old-timey wagon, with Walker's signature silhouettes portraying slaveholders and enslaved people making up the sides and a custom-built steam-poweredcalliopeplaying songs off ""black protest and celebration.""[34]
	Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on ""humor and viewer interaction."" Walker has stated, ""I didn't want a completely passive viewer"" and ""I wanted to make work where the viewer wouldn't walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.""[35]
	In 2002, Walker created a site-specific installation, ""An Abbreviated Emancipation (from a larger work: The Emancipation Approximation),"" which was commissioned byThe University of Michigan Museum of Art, Ann Arbor.[36]The work represented motifs and themes of race relations and their roots in the system of slavery before the Civil War. Several years later, in 2005,The New Schoolunveiled Walker's first public art installation, a site-specific mural titled ""Event Horizon,"" and placed along a grand stairway leading from the main lobby to a major public program space.[37]
	Walker's most well-known commission debuted in May 2014. Her first sculpture, this work was a monumental public artwork entitled ""A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant."" The massive work was installed in the derelictDomino Sugar Refineryin Brooklyn and commissioned byCreative Time. The installation consisted of a femalesphinxfigure, measuring approximately 75 feet long by 35 feet high, preceded by an arrangement of fifteen life-size young male figures, dubbed attendants. The sphinx, which bore the head and features of theMammy archetype, was made by covering a core of machine-cut blocks of polystyrene with 80 tons of white sugar donated byDomino Foods.[38]The fifteen male attendants were modeled after racist figurines that Walker purchased online. Five were made from solid sugar, and the other ten were resin sculptures coated in molasses. The fifteen attendants stood 60 inches tall and weighed 300-500 pounds each.[39][40]The factory and the artwork were demolished after the exhibition closed in July 2014, as had been previously planned.[14][41][42][43]
	Walker has hinted that the whiteness of the sugar references its ""aesthetic, clean, and pure quality."" The slave trade is highlighted in the sculpture as well. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that ""the exhibit itself is a striking and incredibly well-executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere. So the presence of so many white people -- and my presence as a black woman who's a descendant of slaves -- seemed to also be part of the show.""[44]The work attracted over 130,000 visitors in its eight-weekend run. In his commentary on the sculpture, art historian Richard J. Powell wrote, ""No matter how noble or celebratory in tone Walker's title for this work seemed, in this post-modern moment of moral skepticism and collective distrust, a work of art in a public arena—especially a visually perplexing nude—would be subjected to not just serious criticism, but Internet trolling and mockery.""[45]
	In 2016, Walker revealed ""Slaughter of the Innocents (They Might be Guilty of Something)."" In the painting, Walker depicts an African American woman slicing a baby with a smallscythe. The influence for this detail was that ofMargaret Garner, an enslaved person who killed her daughter to prevent her child from returning to slavery.
	In 2019, Walker created ""Fons Americanus,"" the fifth annual Hyundai Commission atTate Modern's Turbine Hall.[46]The fountain, measuring up to 13 feet (4.0 m), contains allegorical motifs referencing the histories of Africa, America, and Europe, particularly pertaining to theAtlantic slave trade. In her review of Walker's ""Fons Americanus"" forArtnet News, Naomi Rea noted that ""the piece is so loaded with art-historical and cultural references that you could teach an entire college history course without leaving Turbine Hall.""[46]For example, Walker quotes specific artworks including from 1840 by the British painterJ.M.W. Turnerand from 1899 by the American painterWinslow Homer.[47]She also observed that – owing to the fountain's running water – the great work of art could be both seen and heard in the Turbine Hall.[46]The artwork is, at the same time, a sort of public monument inspired in part by theVictoria Memorialin front ofBuckingham Palace. In 2019, acclaimed writerZadie Smithobserved something about public monuments that Walker interrogates in ""Fons Americanus"": ""Monuments are complacent; they put a seal upon the past, they release us from dread. For Walker, dread is an engine: it prompts us to remember and rightly fear the ruins we shouldn't want to return to and don't wish to re-create—if we're wise.""[48]
	In 2023, theSan Francisco Museum of Modern Art(SFMOMA) commissioned Walker to create the first site-specific installation for its Roberts Family Gallery.[49]
	For the season 1998/1999 in theVienna State Opera, Walker designed a large-scale picture (176 m2) as part of the exhibition series ""Safety Curtain,"" conceived bymuseum in progress.[50]In 2009, Walker curated volume 11 of Merge Records',_Score!_. Invited by fellow artistMark Bradfordin 2010 to develop a set of free lesson plans forK-12teachers at theJ. Paul Getty Museum, Walker offered a lesson that had students collaborating on a story by exchangingtext messages.[51]
	In March 2012, artistClifford Owensperformed a score by Walker atMoMA PS1.[52]
	In 2013, Walker produced 16lithographsfor a limited edition, fine art printing of the libretto , byDuBose HeywardandIra Gershwin, published by theArion Press.
	"" The Means to an End: A Shadow Drama in Five Acts,""etchingandaquatintby Kara Walker, five panels, 1995,Honolulu Museum of Art
	A Walker piece entitled ""The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos"" caused controversy among employees atNewark Public Librarywho questioned its appropriateness for the reading room where it was hung. The artwork included depictions of theKu Klux Klanaccompanied by aburning cross, a naked black womanfellatinga white man, andBarack Obama.[54]The piece was covered but not removed in December 2012.[55]After discussion among employees and trustees the work was again uncovered.[56]In March 2013 Walker visited the New Jersey Newark Public Library to discuss the work and the controversy. Walker discussed the content of the work, including racism, identity, and her use of ""heroic"" figures such as Obama. Walker asked, ""[d]o these archetypes collapse history? They're supposed to expand the conversation, but they often collapse it.""[54]Walker described the overwhelming subject matter of her works as a ""too-muchness"".[54]
	In the 1999PBSdocumentary ""I'll Make Me a World,""African-AmericanartistBetye Saarcriticized Walker's work for its ""revolting and negative"" depiction ofblack stereotypesand enslaved people. Saar accused the art of pandering to the enjoyment of ""the white art establishment."" In 1997 Saar emailed 200 fellow artists and politicians to voice her concerns about Walker's use of racist and sexist imagery and its positive reception in the art world.[57]This attention to Walker's practice led to a 1998 symposium at Harvard University,_Change a Joke and Slip the Yoke: A Harvard University Conference on Racist Imagery_ , which discussed her work.[58]
	Walker's first museum survey,[59]in 2007, was organized byPhilippe Vergnefor theWalker Art CenterinMinneapolisand traveled to theWhitney Museumin New York, theHammer Museum[60]in Los Angeles, and theARC/Musee d'Art Moderne de la ville de Paris.[61][14]
	* 2007: ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love""[62]- Walker Art Center
	* 2013:_We at the Camden Arts Centre are Exceedingly Proud to present an Exhibition of Capable Artworks by the Notable Hand of the Celebrated American, Kara Elizabeth Walker, Negress_ ,Camden Art Centre, London[64](toured to theMAC, Belfast in 2014[65])
	Among the public collections holding work by Walker are theMinneapolis Institute of Art[73]and theWeisman Art Museum(Minneapolis, Minnesota);[74]theTate Collection, London;[75]thePérez Art Museum Miami,[76]theMuseum of Contemporary Art, Los Angeles,[77]theMadison Museum of Contemporary Art(Madison, WI), theMenil Collection,[78]Houston;[79]and theMuscarelle Museum of Art, Williamsburg, Virginia.[80]Early large-scale cut-paper works have been collected by, among others,Jeffrey DeitchandDakis Joannou.[81]
	In 1997, Walker, who was 28 at the time, was one of the youngest people to receive aMacArthur fellowship.[11]There was a lot of criticism[]because of her fame at such a young age and the fact that her art was most popular within the white community.[82]She was the United States representative for the 25th International São Paulo Biennial in Brazil in 2002.[83]
	Walker received the 2004Deutsche Bank Prize[84]and the 2005Larry Aldrich Award.[85]In 2007, she was listed among magazine's 100 Most Influential People in The World, Artists and Entertainers, in an essay written by artistBarbara Kruger.[86]In 2012, she was elected to theAmerican Academy of Arts and Letters[87]and won the International Artist Award fromAnderson Ranch Arts Centerin Colorado.[88]
	Walker has been featured on thePBSseriesArt21: Art in the Twenty-First Century. Her work appears on the cover of musicianArto Lindsay's recording, ""Salt"" (2004). In addition, she co-wrote the song ""Suicide Demo for Kara Walker"" on theDestroyeralbum ""Kaputt.""
	In 2017, a large scale mural portrait of Kara Walker done by artistChuck Closewas installed in a New York City subway station (Q line, 86th Street), part of aMTA public arts program.[92]She was elected to theAmerican Philosophical Societyin 2018.[93]
	In 2019, Walker was elected to theRoyal Academy of Artsin London, as anHonorary Royal Academician (HonRA).[94]
	Early in her career, Walker lived inProvidence, Rhode Islandwith her husband, German-born jewelry professor Klaus Bürgel,[95][96]whom she married in 1996. In 1997, she gave birth to a daughter.[97][89]The couple separated, and their divorce was finalized in 2010.[98][89]As of 2017, Walker is in a relationship with photographer and filmmakerAri Marcopoulos.[89]They married in 2025.[99]
	Walker moved toFort Greene, Brooklynin 2003 and has been a professor of visual arts in the MFA program atColumbia Universitysince then. She maintained a studio in theGarment District, Manhattanfrom 2010 until 2017.[89]In May 2017, she moved her art practice to a studio inIndustry City.[89]She also owns a country home in ruralMassachusetts.[95]
	In addition to her own practice, Walker served on the board of directors of theFoundation for Contemporary Arts(FCA) between 2011[100]and 2016.[101]
	* D'Arcy, David. ""Kara Walker Kicks Up a Storm,"" ""Modern Painters"" (April 2006).
	* Szabo, Julia. ""Kara Walker's Shock Art,"" ""New York Times Magazine"" 146, no. 50740 (March 1997).
	* Scott, Andrea K. ""Kara Walker's Ghosts of Future Evil"", the ""New Yorker"", September 9, 2017
	* Wall, David (2010).""Transgression, Excess, and the Violence of Looking in the Art of Kara Walker""._Oxford Art Journal_.33(3). Oxford University Press:277–299.doi:10.1093/oxartj/kcq035.ISSN0142-6540.JSTOR40983288.
	* Carpenter, Elizabeth and Joan Rothfuss. ""Bits & Pieces Put Together to Present a Semblance of A Whole: Walker Art Center Collections"". Minneapolis: Walker Art Center, 2005.
	* Shaw, Gwendolyn Dubois. ""Seeing the Unspeakable: The Art of Kara Walker"", Durham and London: Duke University Press (2004).http://www.worldcat.org/oclc/55008318
	* Vergne, Philippe, et al. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love"". Minneapolis: Walker Art Center, 2007.http://www.worldcat.org/oclc/602217956
	* Walker, Kara E. ""Kara Walker: After the Deluge"". New York: Rizzoli, 2007.http://www.worldcat.org/oclc/144225309
	* Walker, Kara E., Olga Gambari, and Richard Flood._Kara Walker: A Negress of Noteworthy Talent_. Torino: Fondazione Merz, 2011.http://www.worldcat.org/oclc/768397358
	* The Art Story: Kara Walker, Modern Art Insight. 2016
	* Green, Adrienne (March 3, 2018).""How Kara Walker Recasts Racism's Bitter Legacy""._The Atlantic_. RetrievedFebruary 16,2022.
	* Intrabartola, Lisa (September 25, 2015).""Esteemed Artist Kara Walker Named Tepper Chair""._www.rutgers.edu_.
	* Mzezewa, Tariro (September 14, 2017).""Opinion \| Kara Walker Is Tired of Talking. But Her Canvases Scream""._The New York Times_.ISSN0362-4331. RetrievedFebruary 16,2022.
	* Sutton, Benjamin (August 30, 2017).""Dear Kara Walker: If You're Tired of Standing Up, Please Sit Down""._Hyperallergic_. RetrievedFebruary 16,2022.
	* Musser, Amber Jamilla (September 1, 2016).""Queering Sugar: Kara Walker's Sugar Sphinx and the Intractability of Black Female Sexuality""._Signs: Journal of Women in Culture and Society_.42(1):153–174.doi:10.1086/686756.ISSN0097-9740.S2CID151909296.
	0-8223-3396-1
	* ^Jump up to:Als, Hilton(October 1, 2007).""Kara Walker's Shadow Act""._The New Yorker_.
	* ^Jump up to:Gopnik, Blake (April 25, 2014).""Rarely One for Sugarcoating Kara Walker Creates a Confection at the Domino Refinery""._The New York Times_. RetrievedFebruary 6,2016.
	* ""Kara Walker American Artist"". The Art Story Foundation. RetrievedApril 20,2017.
	* ""The Art of Kara Walker"".Walker Art Center. Archived fromthe originalon March 8, 2012. RetrievedMarch 13,2012.
	* Kara WalkerArchivedMay 25, 2014, at theWayback MachineSolomon R. Guggenheim Museum, New York.
	* Walker, Kara (June 4, 2021).""Artist Talk with Kara Walker""._Kunstmuseum Basel_.
	* Cotter, Holland (October 12, 2007).""Kara Walker - Kara Walker: My Complement, My Enemy, My Oppressor, My Love Whitney Museum of American Art - Art - Review""._The New York Times_.ISSN0362-4331. RetrievedMarch 4,2016.
	* ""MoMA \| Projects \| 1999 \| Conversations \| Kara Walker""._www.moma.org_. RetrievedMarch 4,2016.
	* Trotman, Krishan (July 2003).""Kara Walker electrifies the Studio Museum in Harlem"". New York Amsterdam News. Archived fromthe originalon October 20, 2014. RetrievedMarch 7,2015.
	* ""Kara Walker \| Biography, Art, & Facts \| Britannica""._www.britannica.com_. April 29, 2024. RetrievedMay 15,2024.
	* Jarenski, Shelly (2013).""""Delighted and Instructed"": African American Challenges to Panoramic Aesthetics in J. P. Ball, Kara Walker, and Frederick Douglass""._American Quarterly_.65(1):119–155.doi:10.1353/aq.2013.0003.ISSN0003-0678.JSTOR41809550.
	* David D'Arcy (April 2006).""The Eyes of the Storm: Kara Walker on Hurricanes, Heroes and Villains"".. RetrievedApril 22,2008.
	* ""Professor Kara Walker: Exhibition Opens at Lehmann Maupin, Sikkema Jenkins"". Archived fromthe originalon September 6, 2011. RetrievedMarch 25,2012.
	* Loos, Ted (February 21, 2018).""After a Blowup, Kara Walker Lets Off Steam in New Orleans (Published 2018)""._The New York Times_.ISSN0362-4331. RetrievedNovember 20,2020.
	* ""Kara Walker – 53 Artworks, Bio & Shows on Artsy""._www.artsy.net_. RetrievedFebruary 13,2016.
	* Kara Walker Pictures From Another Time, published in conjunction with the exhibition ""Kara Walker: An Abbreviated Emancipation (from The Emancipation Approximation)""
	* ""New School University Unveils 'Event Horizon' the First Major Public Art Commission by Artist Kara Walker"". Press release of April 26, 2005.
	* ""CreativeTime Presents Kara Walker"". Creative Time, Inc. RetrievedApril 20,2017.
	* ""Kara Walker - A Subtlety or the Marvelous Sugar Baby""._Artsy_. June 17, 2014. RetrievedFebruary 13,2016.
	* ""How Kara Walker Built A 75-Foot-Long Candy Sphinx In The Abandoned Domino Sugar Factory""._www.vice.com_. May 8, 2014. RetrievedMay 17,2022.
	* ^Jump up to:""Kara Walker's ""A Subtlety""""._Creative Time_.
	* ""A Sonorous Subtlety: KARA WALKER with Kara Rooney"",_Brooklyn Rail_ , May 6, 2014.
	* ^Jump up to:Rea, Naomi (September 30, 2019).""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""._artnet news_. RetrievedMarch 28,2020.
	* Rea, Naomi (September 30, 2019).""""Do You Find Europe's Grand Public Fountains Charming? Kara Walker's Spectacular Turbine Hall Commission May Change That""""._Artnet_. RetrievedMay 2,2024.
	* Francesca Aton (26 May 2023),Kara Walker Receives Major Commission from SFMOMA.
	* Jori Finkel (June 17, 2010),Mark Bradford leads Kara Walker, Cathy Opie and more to create online teacher resource for Getty, ""Los Angeles Times.""
	* Rozalia Jovanovic.""Clifford Owens and Kara Walker at MoMA PS1: An Epilogue With RoseLee Goldberg"", ""Observer,"" March 15, 2012.
	* ^Jump up to:Kramer, Jessica (March 13, 2013).""Kara Walker Addresses Art and Controversy at the Newark Public Library"".. RetrievedApril 26,2014.
	* Hunter, Drohojowska-philp (October 31, 1999). ""Art & Architecture; Reframing a black experience; Kara Walker's images Stir Devte in the African American Community on Whether they Enlighten or Degrade""._Los Angeles Times_. Newspaper.ProQuest421566885.[‍]
	* ""Kara Walker \| Art Exhibitions \| The MAC Belfast""._themaclive.com_. RetrievedMarch 30,2020.
	9780300227154
	* Tate.""Hyundai Commission: Kara Walker – Exhibition at Tate Modern""._Tate_. RetrievedAugust 6,2019.
	* ""Cincinnati Art Museum: Kara Walker: Cut to the Quick, From the Collections of Jordan D. Schnitzer and His Family Foundation""._Cincinnati Art Museum_. RetrievedMarch 17,2023.
	* Walker, Kara (January 24, 2017).""African-American"". Minneapolis Institute of Art.
	* ""Kara Walker - Biography""._www.askart.com_.
	* ""Kara Walker Collection""._tate_. RetrievedMarch 4,2016.
	* ""30 Americans: Kara Walker"". Archived fromthe originalon March 8, 2012. RetrievedMarch 25,2012.
	* Julia Szabo (March 23, 1997),""Kara Walker's Shock Art"",_New York Times Magazine_.
	* Solange James (January 24, 2008).""Art Critique: Kara Walker""._Copious Magazine_. Archived fromthe originalon March 2, 2016. RetrievedJuly 2,2013.
	* ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love — Calendar — Walker Art Center""._www.walkerart.org_. RetrievedFebruary 13,2016.
	* Kara Walker: Fall Frum Grace, Miss Pipi's Blue Tale, April 21 – June 25, 2011ArchivedFebruary 23, 2014, at theWayback MachineLehmann Maupin Gallery, New York.
	* Visual Arts Faculty Kara Walker Inducted into The American Academy of Arts and LettersArchivedFebruary 26, 2014, at theWayback MachineColumbia University School of the Arts, March 20, 2012.
	* ^Jump up to:Doreen St. Félix(April 16, 2017),""Kara Walker's Next Act"", .
	* ""Kara Walker \| Artist \| Royal Academy of Arts""._Royal Academy of Arts_.Archivedfrom the original on February 19, 2023.
	* Curtis, Cathy (November 12, 1997),""Finding Direction: A Fantasy Self Put Artist Kara Walker on the Path to Personal, Professional Identity"", ""Los Angeles Times.""
	* Blake Gopnik (April 25, 2014),""Rarely One for Sugarcoating: Kara Walker Creates a Confection at the Domino Refinery"",_The New York Times_.
	* Vergne, Phillppe. ""Kara Walker: My Complement, My Enemy, My Oppressor, My Love."" Minneapolis: Walker Art Center.ISBN978-0-935640-86-1
	* The ""Time"" 100: ""Time"" magazine's profile of Walker
	* Kara E. Walker's Song of the SouthArchivedJanuary 10, 2016, at theWayback MachineatREDCAT
	* Kara Walkerat _Ocula_
	* Kara Walkerat Smithsonian American Art Museum
	Kara Walker
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