New Dimensions
Visual Analysis Due
Liza Lou, Kitchen, 1998.











Jamey Siebenberg's Presentation


platinum cast of a human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead of the skull
Cost the artist £14 million to produce
Hirst claims he sold the skull for the asking price of
£50 million ($100 million)
"Everyone in the art world knows Hirst hasn't sold the skull. It's clearly just an elaborate ruse to drum up publicity and rewrite the book value of all his other work." - Hirst critic
Damien Hirst, For the Love of God, 2007.











Chris Ofili, The Holy Virgin Mary, 1996.























Chris Ofili, Monkey Magic - Sex, Money, Drugs, 1999.











Crhis Ofili, Shit Head, 1993.











Slavery! Slavery!

Kara Walker, Slavery! Slavery! 1997.











Gone An Historical Romance

Kara Walker, Detail from Gone, An Historical Romance of a Civil War As It Occurred Between the Dusky Thighs of One Young Negress and Her Heart, 1994.


Kara Walker in Art 21: Art in the 21st Century











Liberation of Aunt Jemima

"All black people in America want to be slaves just a little bit." - Walker
Kara Walker's work is "sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that is that it was basically for the amusement and the investment of the white art establishment." - Betye Saar
"These are the slave narratives that were never written. Kara's work takes from fact but also fantasy and throws on its head any notion we might have of good and bad, right and wrong, black and white. There are no clear dichotomies." - Thelma Golden
"Walker refuses to see racism as a clear question of 'us versus them.' Instead, she performs a complex excavation of both the psychological and the sociological dimensions of identification."
- David Joselit
Betye Saar, The Liberation of Aunt Jemima, 1972.










You Do

Josephine Baker

Kara Walker, You Do, 1997.
Josephine Baker performing the Danse Sauvage in 1927.
Beyonce. Single Ladies. 2008.











“Needless to say, it is the two hundred year history of a shameful act conducted squarely within our consciousness that makes it possible for Walker to not only refuse shame but to blur the distinction between forms of shame. Even more important, Walker is aware that to speak of shame is simultaneously to speak of disgust, the overcoming of which is a prerequisite for sexual pleasure. Given the volume of shame, it is no wonder that the pleasures derived by her characters are often Sadistic in nature.” – Hamza Walker

installation at the Renaissance Society

Kara Walker, Exhibition at the Renaissance Society, 1997.



Mark Steven Greenfield


Jason and Aaron White, The Dance, 2005.











Kara Walker, A Subtlety or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant, 2014.


Creative Time