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Kara Walker (born November 26, 1969) is an American contemporary artist who explores race, gender, sexuality, violence and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes. Walker lives in New York and is on the faculty of the MFA program at Rutgers University. ==Background== Walker was born in Stockton, California in 1969. Her father, Larry Walker,〔Julie L. Belcove (March 2007), (History Girl ) ''W''.〕 is a formally educated artist as well as a retired professor and administrator.〔 Her mother worked as an administrative assistant.〔(【引用サイトリンク】url= http://arttattler.com/archivewalkerwalker.html )〕 “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.” —Kara Walker〔Flo Wilson, “On Walls and the Walkers,” The International Review of African American Art 20.3: 17–19〕 Kara Walker moved to her father's native Georgia〔Blake Gopnik (April 25, 2014), (Rarely One for Sugarcoating: Kara Walker Creates a Confection at the Domino Refinery ) ''New York Times''.〕 at the age of 13 when he accepted a position at Georgia State University. She received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994.〔(【引用サイトリンク】publisher= Walker Art Center )〕 Walker first came to art world 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 unusual cut-paper silhouette mural, presenting an old-timey south filled with sex and slavery was an instant hit.〔Cotter, Holland. "Kara Walker." ''The New York Times'', n.d.〕 At the age of 27 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, Walker Art Center exhibition ''Kara Walker: My Complement, My Oppressor, My Enemy, My Love'' was the artist’s first full-scale U.S. museum survey. Walker currently lives in New York, where she has been a professor of visual arts in the MFA program at Columbia University since 2001.〔〔 Influences include Andy Warhol, with his omnivorous eye and moral distance, and Robert Colescott, who inserted cartoonish Dixie sharecroppers into his version of Vincent van Gogh’s Dutch peasant cottages.〔 Walker was afraid to address race during college and didn't start inviting this topic into her art until attending Rhode Island School of Design for her master's. There was a distinct worry that having race be the nucleus of Walker's content would be received as "typical" or "obvious." Edgar Allen Beem, in an article in the Boston Globe, describes how Walker's family's move down south in her youth contributed to her later work because she saw intense discrimination. The move also affected her personal relationships with her interracial relationship ending up being, to an extent, traumatic thus resulting in her feeling even more like the "other." Kara's sexual relationships with white men, which left her with a feeling of disconnect with herself, are also part of what charges the sexual content in her silhouettes. As Beem puts it: "America is only about 200 years old yet slavery was in North America for over 245 years, and yet is swept under the rug, because it's uncomfortable. Kara Walker is disinterested about the readers discomfort regarding the art. In fact Walker feels it's a necessity. The art itself depicts a larger theme of what humans are capable of. It's recognition of how humans can and have treated one another and exposes the darkest side of human behavior." The tone of Walker's art offers up for critique the problem of the broader culture's inability to come to terms with the past." 〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kara Walker」の詳細全文を読む スポンサード リンク
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