Kara Walker Quotes

#1. It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun.

Kara Walker

#2. The promise of any artwork is that it can hold us - viewer and maker - in a conflicted or contestable space, without real-world injury or loss.

Kara Walker

#3. To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.

Kara Walker

#4. The illusion is that most of my work is simply about past events: a point in history and nothing else.

Kara Walker

#5. I think really the whole problem with racism and its continuing legacy in this country is that we simply love it. Who would we be without the 'struggle?'

Kara Walker

#6. I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.

Kara Walker

#7. I'm a sponge for historical images of black people and black history on film.

Kara Walker

#8. There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.

Kara Walker

#9. I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.

Kara Walker

#10. Sugar crystallizes something in our American soul. It is emblematic of all industrial processes. And of the idea of becoming white. White being equated with pure and 'true': it takes a lot of energy to turn brown things into white things. A lot of pressure.

Kara Walker

#11. I never learned how to be adequately black. I never learned how to be black at all.

Kara Walker

#12. There's no diploma in the world that declares you as an artist - it's not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist.

Kara Walker

#13. 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.

Kara Walker

#14. I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.

Kara Walker

#15. I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.

Kara Walker

#16. Silhouettes are reductions, and racial stereotypes are also reductions of actual human beings.

Kara Walker

#17. A lot of my work has been about the unexpected - that kind of wanting to be the heroine and yet wanting to kill the heroine at the same time. That kind of dilemma - that push and pull - is the underlying turbulence that I bring to each of the pieces that I make.

Kara Walker

#18. From Clara Barton's tireless work founding the American Red Cross to the first female Medal of Honor winner, Dr. Mary Walker, to our first female combat fighter pilot Lt. Kara Hultgreen, no list of American heroes is complete without the names of some of these extraordinary women.

Brian Kilmeade

#19. I trust my hand. If I go into a space with a roll of paper, I can make a work, some kind of work, and feel pretty satisfied.

Kara Walker

#20. I took a political stance early on, but I don't think my work is overtly political. I respond to events.

Kara Walker

#21. My work is really abject and self-effacing sometimes. I mean, it's big and overwrought, but it's just paper dolls, and it's kind of silly.

Kara Walker

#22. I've seen people glaze over when they're confronted with racism, and there's nothing more, you know, damning and demeaning to having any kind of ideology than people just walking the walk and saying what they're supposed to say and nodding, and nobody feels anything.

Kara Walker

#23. Im not really about blackness, per se, but about blackness and whiteness, and what they mean and how they interact with one another and what power is all about.

Kara Walker

#24. I know that in my family there are histories of violence that are internal family things and that are oftentimes dealt with internally. By internally, I mean inside the family group, but also partly inside ourselves. You know, self-hatred and hostility and rage and this cycle that won't break.

Kara Walker

#25. Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.

Kara Walker

#26. Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.

Kara Walker

#27. I really love to make sweeping historical gestures that are like little illustrations of novels.

Kara Walker

#28. The silhouette says a lot with very little information, but that's also what the stereotype does.

Kara Walker

#29. As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win - or just not be so sad!

Kara Walker

#30. I have no interest in making a work that doesn't elicit a feeling.

Kara Walker

#31. Once you open up the Pandora's box of race and gender ... you're never done.

Kara Walker

#32. I don't know how much I believe in redemptive stories, even though people want them and strive for them.

Kara Walker

#33. I often compare my method of working to that of a well-meaning freed woman in a Northern state who is attempting to delineate the horrors of Southern slavery but with next to no resources, other than some paper and a pen knife and some people she'd like to kill

Kara Walker

#34. A lot of what I was wanting to do in my work and what I have been doing has been about the unexpected ... that unexpected situation of wanting to be the heroine and yet wanting to kill the heroine at the same time.

Kara Walker

#35. If you're a Black artist, you could paint a wall of smiley faces, and someone will still ask you, 'Why are you so angry?'

Kara Walker

#36. I grew up partially around Stone Mountain, Georgia, and in that part of the country, there was always this aura of mythology and palpable sense of otherness about being a Southerner.

Kara Walker

#37. I am performing this role of the artist and this role of the 'negress' coming into a white-box institution. It's kind of a self-appointed role: the self-designated negress.

Kara Walker