"I always felt that my goal in life was to make meaning in a visual way, through my art. My hope is that somebody will respond in kind." - Kara Walker
The Peter Norton Christmas Project, Santa Monica
Gifted by the above to the present owner in 1997
The Rhode Island School of Design Museum, One Voice, Many Visions: Work By African American Artists, February 20 - June 14, 1998 (another example exhibited)
The Rhode Island School of Design Museum, Bodies of Evidence, July 1 - September 25, 2005 (another example exhibited)
Montclair Art Museum, Kara Walker: Virginia's Lynch Mob and Other Works, September 15, 2018 - January 6, 2019 (another example exhibited)
Carol Kino, "Yes, Virginia, There Is a Resale Market", The New York Times, December 15, 2005, online
Katerina Wasserman, The Book as Art: Artists' Books from the National Museum of Women in the Arts, Hudson, 2006, p. 44 (another example illustrated)
Stephen G. Hoffius and Angela D. Mack, eds., Landscape of Slavery: The Plantation in American Art, South Carolina, 2008, p. 81 (another example illustrated)
American • 1969
Kara Walker sugarcoats nothing. Her masterpiece public art commission, A Subtlety, 2014, was a 35-foot high racial confrontation of artifact, mythology and American history in the form of a sphinx packed from 80-tonnes of Domino white sugar crystals. Walker's practice first caught audiences with her haunting paper cutout silhouettes retelling the injustices of slavery and the foundations of American capitalist culture.
Walker's immense talent matched by her cunning commentary has made her one of the most important contemporary artists today, having enjoyed major exhibitions at the Walker Art Center, Minneapolis and the Whitney Museum of Art, New York in addition to permanent placements within the collections of the Metropolitan Museum of Art and Art Institute Chicago. Her auction market is strong for a mid-career artist, with works reaching more than $300,000.
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