School of Fish, 2011. 9 photographs, ed. of 5.
School of Fish (detail).
X (After the Barcelona Chair), 2010. 9 C-prints, 50 x 50 cm.
X (After the Barcelona Chair) (detail).
Njideka Akunyili | The Beautiful Ones #1b [alternative take] & Nwantinti [along two details], both 2012.
"It was a layering of multiple interests. Obviously my love for Nigeria where I was born, my love for my life here, my love for my husband.. and just try to figure out a way the two kinda exist in a harmonious way.”
"I think of my work as capturing the very ordinary. Just normal.. everyday stuff. I think there is something beautiful and powerful in the things that happen daily. Intimate situations.. sensual situations.. these [situations] people don’t get to see. I think there is a beauty in that I’m very attracted to.. that I try to get out.”
@ Studio Museum’s Artists-in-Residence talk on youtube.
Don’t forget to visit her website for more.
Kara Walker’s new sculpture “A Subtlety” is pure white, coated in 160,000 pounds of bleached sugar; with this modern take on the ancient sphinx, the legendary artist crafts a towering black face in honor of the slave laborers who worked in sugar cane fields. The powerful work is meant to address racial and sexual exploitation; like the sugar that coats her polystyrene core, this black female figure has been pressured, against nature, into succumbing to whiteness.
The work is now on display at the old Williamsburg, Brooklyn Domino sugar factory shed, where it reaches to the ceiling and extends for a magnificent 75 feet. The mythical creature is a powerful assertion of the black female self; the face quite resembles the artists’ own, and a carefully wrought bandana subtly references the stereotypical (and often offensive) symbol of the mammy, a slave woman who nurtured and brought up white children. Walker has been the subject of debate in the past for her use of contested imagery, and despite the controversy surrounding the “mammy” figure, she is presented here as powerful and divine.