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One anonymous landscape, mysteriously titled Darkytown, intrigued Walker and inspired her to remove the over-sized African American caricatures. She placed them, along with more figures (a jockey, a rebel, and others), within a scene of rebellion, hence the re-worked title of her 2001 installation.
One anonymous landscape, mysteriously titled Darkytown, intrigued Walker and inspired her to remove the over-sized African American caricatures. She placed them, along with more figures (a jockey, a rebel, and others), within a scene of rebellion, hence the re-worked title of her 2001 installation.
In Darkytown Rebellion (2001), Afro-American artist Kara Walker (1969) displays a group of silhouettes on the walls, projecting the viewer, through his own shadow, into the midst of the scene.
Drawing her inspiration from sources as varied as the antebellum South, testimonial slave narratives, historical novels, and minstrel shows, Walker has invented a repertoire of powerful narratives in which she conflates fact and fiction to uncover the living roots of racial and gender bias.
One anonymous landscape, mysteriously titled Darkytown, intrigued Walker and inspired her to remove the over-sized African-American caricatures. She placed them, along with more figures (a jockey, a rebel, and others), within a scene of rebellion, hence the re-worked title of her 2001 installation.
In Darkytown Rebellion, in addition to the silhouetted figures (over a dozen) pasted onto 37 feet of a corner gallery wall, Walker projected colored light onto the ceiling, walls, and floor. The effect creates an additional experiential, even psychedelic dimension to the work.
“Darkytown Rebellion” es una instalación a gran escala que sumerge a los espectadores en una escena caótica y pesadillesca llena de siluetas distorsionadas y grotescas. La obra es un comentario sobre las tensiones raciales en curso y la persistencia del racismo en la América contemporánea.
