Greetings beautiful people
As a visual artist and one who admires the arts as a whole, I believe with the exception of performance art, the public seldom knows what the creator really looks like.
Think of it as a metaphor for God.
You have artists who create iconography that will resinate through out our culture till it ends, but many will never know what the artists look like. Ask an average person to describe Michelangelo, and you’ll get a blank stare. Ask the same person what the Sistine Chapel looks like and you’ll soon be ready to ask them to shut their mouths.
So that we may become better acquainted with a modern master, I have posted photographs of “Kara Walker”. I found recent images of Walker taken by famed photorealistic painter and photographer, Chuck Close. Also an image for “Vouge” Magazine of Kara Walker as Glinda the good witch, taken by photography legend, Annie Leibowirz. Hope you dig them.
p.s. Also included a work from Kara Walker and her bio via wikipedia
Kara Walker (born November 26, 1969) is a contemporary African American artist who explores race, gender, sexuality, violence andidentity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes.
Walker was born in Stockton, California. Her retired father is a formally educated artist, a professor, and an administrator. Her mother worked as an administrative assistant and was inspired by her family to reveal her own artistic talents.
Some of Walker’s exhibitions have been shown at The Apartheid Museum in Johannesburg, The Renaissance Society in Chicago, theMuseum of Modern Art in New York, the San Francisco Museum of Modern Art, the Walker Art Center in Minneapolis, the Modern Art Museum of Fort Worth, and the Museum of Contemporary Art in Chicago. Walker has also been shown internationally and featured onPBS. Her work graces the cover of musician Arto Lindsay‘s recording, Salt (2004).
Walker’s silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African American women in particular. However, because of her confrontational approach to the topic, Walker’s artwork is reminiscent of Andy Warhol‘s Pop Art during the 1960s (indeed, Walker says she adored Warhol growing up as a child). Her nightmarish yet fantastical images incorporate a cinematic feel. Walker uses images from historical textbooks to show how African American slaves were depicted during Antebellum South. Some of her images are grotesque, for example, in The Battle of Atlanta,  a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock, a white child is about to insert his sword into a nearly-lynched black woman’s vagina, and a male black slave rains tears all over an adolescent white boy.
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.
In response to Hurricane Katrina, Walker created “After the Deluge,” since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of “black corporeality,” including fatalities from the hurricane reduced to bodies and nothing more. She likened these casualties to African slaves piled onto ships for the Middle Passage, the Atlantic crossing to America.
|“||I was seeing images that were all too familiar. It was black people in a state of life-or-death desperation, and everything corporeal was coming to the surface: water, excrement, sewage. It was a re-inscription of all the stereotypes about the black body.||”|
In 2009, Kara curated volume 11 of Merge Records’, Score!. In February of 2009, Walker was included in the inaugural exhibition of Sacramouche Gallery, “The Practice of Joy Before Death; It Just Wouldn’t Be a Party Without You.”