By Black Woman at http://askthisblackwoman.com/
The NYTimes wrote a piece about Walker. Here are a couple of my favorite quotes:
—"With its mock-antique form and Old South flavor, the piece had the airy, Valentine’s Day prettiness of a romantic ballet. But this was no love story. It was a danse infernal of sex, slavery and chitlin-circuit comedy. Moms Mabley and the Marquis de Sade were the choreographers. Margaret Mitchell did sets. Flannery O’Connor cued the lights."
—"Nearby a child strangles a duck and offers it to a woman whose body doubles as a boat. A second woman lifts a leg and two infants drop to the ground as if she’s defecating babies. Seen in profile, she has caricatured Negroid features, as does a man who floats in the sky above her, buoyed by balloonlike genitals. In the center of the picture, a prepubescent black girl fellates a white boy, possibly a slave-master’s son. Nearby the master is caught in a slapstick coupling with a black woman who spits out her corncob pipe in surprise."
Many believe Kara Walker’s work utilizes stereotypical and insulting images of Black people. Some African-American artists condemned her work and one even launched a boycott against her. The criticism of her work unfairly includes her marriage to a white man. I do not believe her art to be stereotypical or insulting; just a raw interpretation of race relations in the US
What I’d like to see from Kara Walker next is her depictions of modern black/white relations.
“Kara Walker: My Complement, My Enemy, My Oppressor, My Love” runs through Feb. 3 at the Whitney Museum of American Art, 945 Madison Avenue, at 75th Street; (212) 570-3600, whitney.org.