(1) From all the reviews and interviews on this topic, I find the previously posted comment the most lucid statement of all:
"In reality, no one who can identify with the experience of being white in America can truly claim to be colorblind as his or her identity is built on the opposite. And even for the most well-meaning white liberal, Kara's work panders to this subconscious. As this white supremacist subconscious is deeply rooted in all Americans, Walker's work does not
(2) subvert the white supremacist imagination of blackness but rather re-presents it in the tangible here-and-now, bows to its hegemonic force and makes offerings of eagerly copulating slave women, debased pickaninnies and confused buckcoons."
It is no wonder that this work has gained international recognition. It seems particularly well suited for a predominantly white European culture, which is only capable of
(3) deciphering the United States through caricature and stereotype: i.e. all "Indians" live(d) in tee-pees.
Unfortunately, this body of work is so stuck in a specific time and place and is so far from comprehending and experiencing those realities that it does not serve as a metaphor for a broader theme of power and abuse. This shortcoming creates a disconnect so that the Brit, German, "Yankee" etc. is bemused by 'play of shadows' but does not see how
(4) they too are wearing the plantation owner's polished boots and that the cut-out victims are also the masses their own ancestors oppressed and murdered (and still treat like animals). What Czech, for example, would view this work, look under his or her nose and see that this might as well be the testimony of a modern day "gypsy" aimed at him or her. It is too easy to arrest the atrocities of the South to the South. Plantation slavery was an imposed
(5) British economic system since the first African arrived to Jamestown in 1619. Every white European and Northerner benefited from it the same way Ms. Walker is benefiting from it now. She is, in some regard, the last living slave owner in America: touring her black "objects" around the country and the world, selling off pieces at the auction block.
(6) the above is a quote by Drew Martin of The Museum of Peripheral Art... In response to my original critique of Walker's art found on brandshire (dot) com...
@blackberryjuice1 This remark is beyond (or beneath?) asinine. Is every Brother or Sister who surfs the net or who uses an electrical appliance or reads a book "benefiting from it"? Is every Brother or Sister who sells music, literature, a painting or play, touring her/his "black objects"? You embody the dirty-little-secret that it's not just the "White man" who is the enemy of Black Art/Intelligence. You are the viral result of the Slave System and more a threat to Black Progress than the KKK.
@blackberryjuice1 A comeback worthy of 2nd grade. Devastating. Btw, can you translate some of your comments into English? Start with this sentence: "It is too easy to arrest the atrocities of the South to the South."
I'm really conflicted about Kara Walker, she seems kind of neoliberal in her ideas, exploiting these stereotypes for sensationalistic gain in the artworld... As a black man, I can tell you, I do not "love the struggle", I am not a "happy victim" and do not like feeling subordinated day in and day out.
theatre is still a very white supremacist institution. and I find it quite condescending that this all-white dance class (hmm, why would that be?) think they have anything relevant to say about Kara Walker's work...
(pt2) The same ballet teachers who say that black bodies are not suited to ballet, the same students who uncritically accept that fact that all their dancemates are white and internalize the belief that white bodies are the apex of engineering for intricately executed high-art dance, are feeding off of the same stereotypes these likely self-professed white "liberals" would claim to be denouncing but are secretly celebrating.
@washu2002 Disagree. I have plenty to say about Slavoj Žižek's work and I'm not Slovenian. I think you have to narrow the focus of your critique until it's particular enough to be just. Also, "condescending" is not only a poor choice of words, but it says something about your own subconscious reading of where Kara Walker is, in the hierarchy, compared to these students. How can beginner-level dance students "condescend" to a Master of such accomplishment? They're doing their best; are you?
race aside. the video is stupid and has nothing to do with her work period.
neferno2alex 9 months ago
(1) From all the reviews and interviews on this topic, I find the previously posted comment the most lucid statement of all:
"In reality, no one who can identify with the experience of being white in America can truly claim to be colorblind as his or her identity is built on the opposite. And even for the most well-meaning white liberal, Kara's work panders to this subconscious. As this white supremacist subconscious is deeply rooted in all Americans, Walker's work does not
blackberryjuice1 4 years ago
(2) subvert the white supremacist imagination of blackness but rather re-presents it in the tangible here-and-now, bows to its hegemonic force and makes offerings of eagerly copulating slave women, debased pickaninnies and confused buckcoons."
It is no wonder that this work has gained international recognition. It seems particularly well suited for a predominantly white European culture, which is only capable of
blackberryjuice1 4 years ago
(3) deciphering the United States through caricature and stereotype: i.e. all "Indians" live(d) in tee-pees.
Unfortunately, this body of work is so stuck in a specific time and place and is so far from comprehending and experiencing those realities that it does not serve as a metaphor for a broader theme of power and abuse. This shortcoming creates a disconnect so that the Brit, German, "Yankee" etc. is bemused by 'play of shadows' but does not see how
blackberryjuice1 4 years ago
(4) they too are wearing the plantation owner's polished boots and that the cut-out victims are also the masses their own ancestors oppressed and murdered (and still treat like animals). What Czech, for example, would view this work, look under his or her nose and see that this might as well be the testimony of a modern day "gypsy" aimed at him or her. It is too easy to arrest the atrocities of the South to the South. Plantation slavery was an imposed
blackberryjuice1 4 years ago
(5) British economic system since the first African arrived to Jamestown in 1619. Every white European and Northerner benefited from it the same way Ms. Walker is benefiting from it now. She is, in some regard, the last living slave owner in America: touring her black "objects" around the country and the world, selling off pieces at the auction block.
blackberryjuice1 4 years ago
(6) the above is a quote by Drew Martin of The Museum of Peripheral Art... In response to my original critique of Walker's art found on brandshire (dot) com...
blackberryjuice1 4 years ago
@blackberryjuice1 This remark is beyond (or beneath?) asinine. Is every Brother or Sister who surfs the net or who uses an electrical appliance or reads a book "benefiting from it"? Is every Brother or Sister who sells music, literature, a painting or play, touring her/his "black objects"? You embody the dirty-little-secret that it's not just the "White man" who is the enemy of Black Art/Intelligence. You are the viral result of the Slave System and more a threat to Black Progress than the KKK.
The0Endless0Thread 1 year ago
brandshire (dot) com
blackberryjuice1 4 years ago
@blackberryjuice1 Pure drivel
The0Endless0Thread 1 year ago
@The0Endless0Thread I agree. What you just said was pure drivel.
blackberryjuice1 1 year ago
@blackberryjuice1 A comeback worthy of 2nd grade. Devastating. Btw, can you translate some of your comments into English? Start with this sentence: "It is too easy to arrest the atrocities of the South to the South."
The0Endless0Thread 1 year ago
I'm really conflicted about Kara Walker, she seems kind of neoliberal in her ideas, exploiting these stereotypes for sensationalistic gain in the artworld... As a black man, I can tell you, I do not "love the struggle", I am not a "happy victim" and do not like feeling subordinated day in and day out.
washu2002 4 years ago
Very compelling interpretive work. Much success & I look forward to seeing the rest!
Pirate7X 4 years ago
theatre is still a very white supremacist institution. and I find it quite condescending that this all-white dance class (hmm, why would that be?) think they have anything relevant to say about Kara Walker's work...
washu2002 4 years ago 6
(pt2) The same ballet teachers who say that black bodies are not suited to ballet, the same students who uncritically accept that fact that all their dancemates are white and internalize the belief that white bodies are the apex of engineering for intricately executed high-art dance, are feeding off of the same stereotypes these likely self-professed white "liberals" would claim to be denouncing but are secretly celebrating.
washu2002 4 years ago
(pt3) It's not "the struggle" America loves so much but rather "white supremacy"!
washu2002 4 years ago
@washu2002 that is exacting what I was thinking as I looked at this video...
BohoHobo 1 year ago
@washu2002 Disagree. I have plenty to say about Slavoj Žižek's work and I'm not Slovenian. I think you have to narrow the focus of your critique until it's particular enough to be just. Also, "condescending" is not only a poor choice of words, but it says something about your own subconscious reading of where Kara Walker is, in the hierarchy, compared to these students. How can beginner-level dance students "condescend" to a Master of such accomplishment? They're doing their best; are you?
The0Endless0Thread 1 year ago