![]() ![]() Perhaps that is only fitting, because Walker is certainly paying attention as she cuts along the dotted lines of race and gender, manipulates paper marionettes on film, and conjures the gray area as she types in black ink on white paper. People have been paying attention-both positive and negative-to Walker’s work since she became one of the youngest artists to receive a MacArthur Foundation “genius” fellowship, in 1997. Who better to ask about the division/fusion of past and present, how to live in the middle of “yes” and “no,” where the real and imagined intersect? About a month ago I finished writing a book of poems, Modern Life, which is populated by catgoats and centaurs, civilians and soldiers, and I found myself wanting to talk to her. Two years ago, a bleeding barn from one of her watercolors appeared in one of my poems. I’ve been thinking about Kara Walker’s work for a long time. ![]() Museum of Bad Art Rejection Collection Auctionby Kerry Folanĭavid Levine's Bauerntheaterby Aaron Cedolia & Geoffrey Scott Masha Tupitsyn's Beauty Talk & Monstersby Jeanine Herman Visible Language, Fluxus Issuesby Saul Ostrowįred Willman's Why Mascots Have Tales: The Illinois High School Mascot Manualby Brian McMullenĬAConrad's Deviant Propulsionby Kendall Grady Incantations: Songs, Spells and Images by Mayan Womenby Ambar Pastīas Jan Ader's Please Don't Leave Me & In Search of the Miraculous: Bas Jan Ader Discovery File ![]()
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