Kara Walker Quotes

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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!

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

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?'

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

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

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

I didn't want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn't walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful

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

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.

I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.

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.

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.

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.