BGuthrie Photos: DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)

DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Kara Walker: Harper’s Pictorial History of the Civil War (Annotated):

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Description of Pictures: Kara Walker: Harper’s Pictorial History of the Civil War (Annotated)
October 13, 2017 – March 11, 2018
The Smithsonian American Art Museum presents the complete set of Kara Walker's print series, Harper’s Pictorial History of the Civil War (Annotated) for the first time since it was acquired in 2008. In this group of fifteen works, Walker appropriated select illustrations from Harper’s Pictorial History of the Civil War—a two-volume anthology from 1866—enlarging and overlaying them with dark stenciled figures that depict disturbing imagery, including racial stereotypes and graphic acts of violence. According to the artist, the Civil War prints “are the landscapes that I imagine exist in the back of my somewhat more austere wall pieces.”
In this exhibition, Walker's works are presented alongside a selection of the original Harper’s prints on which they are based, also drawn from SAAM's collection.

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[1] SIPGKW_171020_001.JPG	[2] SIPGKW_171020_005.JPG	[3] SIPGKW_171020_014.JPG
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGKW_171020_001.JPG: Kara Walker: Harper's Pictorial History of the Civil War (Annotated)
2. SIPGKW_171020_005.JPG: Kara Walker: Harper's Pictorial History of the Civil War (Annotated) October 13, 2017 – March 11, 2018 In this exhibition, Walker's works are presented alongside a selection of the original Harper's prints on which they are based, also drawn from SAAM's collection. For over two decades, African American artist Kara Walker (born 1969) has been making work that weaves together imagery from the antebellum South, the brutality of slavery, and racist stereotypes. Best known for her use of the cut-paper silhouette, she transforms the genteel eighteenth-century portrait medium into stark, haunting tableaux. Walker plays with the idea of misrepresenting misrepresentations, stating, "The whole gamut of images of black people, whether by black people or not, are free rein in my mind." Her work has stirred controversy for its use of exaggerated caricatures that reflect existing racial and gender stereotypes and for its lurid depictions of history, challenging viewers to consider America's origins of racial inequality. In Walker's art, the present is defined by the past and the past exerts a savage power. Harper's Pictorial History of the Civil War (Annotated) is a series of fifteen prints based on the two-volume anthology published in 1866. To create her prints, Walker enlarged select illustrations and then overlaid them with large stenciled figures. The shadowy images visually disrupt the original scenes and suffuse them with traumatic scenarios left out of the official record. Mangled and grotesque figures escape the boundaries of the anthology's pictures, expanding into the margins and the space of real life. Walker's prints are presented alongside a selection of the original Harper's images on which they are based. Seen together, the two bodies of work shed light on Walker's artistic process and her approach to history as an always-fraught, always-contested narrative. Her ghostly scenes assert the influence of racial history on contemporary life and create a provocative dialogue between the past and the present. Kara Walker: Harper's Pictorial History of the Civil War (Annotated) is organized by Sarah Newman, The James Dicke Curator of Contemporary Art.
3. SIPGKW_171020_014.JPG: Harper's and the Civil War First published in 1866 under the title Harper's Pictorial History of the Great Rebellion, the lavish two-volume anthology is composed of 836 pages of scenes, maps, plans, portraits, and writings on the conflict and its personages. Harper's, the most widely read weekly magazine of the era, featured foreign and domestic news, essays, illustrations, and humor. Writing from New York in the war's immediate aftermath, the editors described their aims in the preface: We have undertaken to write the History of the Great Conspiracy which finally culminated in the Great Rebellion in the United States. . . . We purposed at the outset to narrate events just as they occurred; to speak of living men as impartially as though they were dead; to praise no man unduly because he strove for the right, to malign no man because he strove for the wrong; to anticipate, as far as we might, the sure verdict of after ages upon events. Kara Walker's appropriation of Harper's engravings suggests the impossibility of any such "impartial" telling of history. Her silhouettes obliterate some scenes and disrupt others -- altering Union movements as much as Confederate ones -- suggesting that the stories she tells have little to do with official events. Her overlaid narrative is as if out of a nightmare: happening at the same time but having little to do with the storied battles that share their fram
4. SIPGKW_171020_025.JPG: Kara Walker Kara Walker (b. 1969) is a painter, sculptor, printmaker, filmmaker, and installation artist, best known for her room-size tableaux of cut-paper silhouettes. Her work explores race, sexuality, violence, and identity in the context of the antebellum South and the Civil War. Born in Stockton, California, Walker moved with her family to Atlanta at the age of thirteen. She remained there until 1991, when she received her BFA from the Atlanta College of Art. "Spending my formative years in the South," she says, "I came to see the Civil War as an internal conflict." She completed her MFA at the Rhode Island School of Design in 1994. In 1997, she received the MacArthur Foundation Achievement Award, and in 2008, the USA Eileen Harris Norton Fellowship. In 2012, she became a member of the American Academy of Arts and Letters. In 2007, a major retrospective of her career was organized by the Walker Art Center in Minneapolis; it also traveled to Paris, New York, Los Angeles, and Fort Worth. Walker's work is found in the collections of museums around the world including the Metropolitan, the Guggenheim, and MoMA in New York, the Menil Collection in Houston, the Seattle Art Museum, the High Museum in Atlanta, the Tate Gallery in London, and the Museo Nazionale delle Arti del XXI Secolo (MAXXI) in Rome.
5. SIPGKW_171020_102.JPG: Soldiers and Silhouettes "The silhouette says a lot with very little information, but that's also what the stereotype does." -- Kara Walker Although Kara Walker's silhouettes may appear to echo and interact with the scenes beneath them, there is no clear narrative between the two. Her shadowy figures represent a hidden history running parallel to these published scenes. By imposing the silhouettes over the soldiers and battles , Walker makes history's invisible participants visible again -- the flat opacity of their forms grabbing our attention and boldly obscuring the subject of the original print. But the motivations of her figures remain mysterious and the lives they lead are purposely cryptic, even as they force us to confront themes of race, gender , and power. According to Walker, "I don't think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history."
6. SIPGKW_171020_117.JPG: Caricatures in Walker's Art Kara Walker's work exposes a dark period of oppression and racism in America's past. Throughout the nineteenth century, particularly during and after the Civil War, African Americans were portrayed with vicious and dehumanizing caricatures. Used as propaganda, the depictions sought to demonize black people to justify slavery and later to legitimize Jim Crow laws that enforced segregation. Walker revisits these images in her work, often exaggerating the racial caricatures and emphasizing the violence perpetrated against them in order to confront the fictions that gave rise to stereotypes. Her work has spawned controversy because it does not explicitly denounce or undercut these distorted views. Instead, Walker challenges viewers to confront the discomfort these misrepresentations provoke and the unconscious prejudices they unmask, prodding us to consider how racist imagery of the past shapes attitudes in the present.
7. SIPGKW_171020_120.JPG: "I think there are many open-ended questions that artists can pose and we can ask communities to feel empowered enough to reply, respond, rebel, and feel amazed by the relentless spiraling of thought and image and action that is the artist's profession." -- Kara Walker
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