#KaraWalker's bold installations of wall-sized black-and-white silhouettes address the complex legacy of discrimination, oppression, and sexual exploitation initiated by the transatlantic slave trade. Blending elegantly crafted forms, biting humor, and horrific, often violent subjects drawn from stereotypes of the antebellum South, she avoids explicit narratives, instead compelling the viewer to contemplate multiple interpretations. #WomensHistoryMonth #5womenartists • “Excerpt,” 2014, by Kara Walker © 2014 Kara Walker. “The Emancipation Approximation (Scene #18),” from the set of twenty-six screenprints “The Emancipation Approximation,” 1999–2000; screenprint by Kara Walker; printed by Jean Yves Noblet, New York; published by Jenkins Sikkema Editions, New York © 2014 Kara Walker.

philamuseumさん(@philamuseum)が投稿した動画 -

フィラデルフィア美術館のインスタグラム(philamuseum) - 3月11日 22時54分


#KaraWalker's bold installations of wall-sized black-and-white silhouettes address the complex legacy of discrimination, oppression, and sexual exploitation initiated by the transatlantic slave trade. Blending elegantly crafted forms, biting humor, and horrific, often violent subjects drawn from stereotypes of the antebellum South, she avoids explicit narratives, instead compelling the viewer to contemplate multiple interpretations. #WomensHistoryMonth #5womenartists
•
“Excerpt,” 2014, by Kara Walker © 2014 Kara Walker. “The Emancipation Approximation (Scene #18),” from the set of twenty-six screenprints “The Emancipation Approximation,” 1999–2000; screenprint by Kara Walker; printed by Jean Yves Noblet, New York; published by Jenkins Sikkema Editions, New York © 2014 Kara Walker.


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