#: locale=en ## Tour ### Description ### Title tour.name = MOCA Jax: Kara Walker ## Skin ### Button Button_0307E4DE_59F1_4779_41C7_5EBE24D4378F.label = Next Button_0307E4DE_59F1_4779_41C7_5EBE24D4378F_mobile.label = Next Button_0319E4DF_59F1_4777_41C7_0DCB159E3E58.label = Close Panel Button_0319E4DF_59F1_4777_41C7_0DCB159E3E58_mobile.label = Close Panel Button_031AB4DC_59F1_4779_41D4_0138184653A3.label = Expand Art Button_031AB4DC_59F1_4779_41D4_0138184653A3_mobile.label = Expand Art Button_031AD4DD_59F1_477B_41B1_E29F6A8428D8.label = Previous Button_031AD4DD_59F1_477B_41B1_E29F6A8428D8_mobile.label = Previous Button_04E07A16_59F3_C2C9_41CE_3B7BF14846FC.label = Close Panel Button_04E07A16_59F3_C2C9_41CE_3B7BF14846FC_mobile.label = Close Panel Button_04E2AA14_59F3_C2C9_41C7_E939754F7039.label = Previous Button_04E2AA14_59F3_C2C9_41C7_E939754F7039_mobile.label = Previous Button_04E45A13_59F3_C2CF_41D3_18310CB55BF2.label = Expand Art Button_04E45A13_59F3_C2CF_41D3_18310CB55BF2_mobile.label = Expand Art Button_04E46204_59F3_C2C9_41BE_9C68B84B4D1D.label = Previous Button_04E46204_59F3_C2C9_41BE_9C68B84B4D1D_mobile.label = Previous Button_04E50206_59F3_C2C9_41C4_A009C857F721.label = Close Panel Button_04E50206_59F3_C2C9_41C4_A009C857F721_mobile.label = Close Panel Button_04E51A15_59F3_C2CB_41BA_4248374B5D77.label = Next Button_04E51A15_59F3_C2CB_41BA_4248374B5D77_mobile.label = Next Button_04E6B205_59F3_C2CB_41BC_74769ADA4582.label = Next Button_04E6B205_59F3_C2CB_41BC_74769ADA4582_mobile.label = Next Button_04E9E203_59F3_C2CF_41C1_D55A9551A88F.label = Expand Art Button_04E9E203_59F3_C2CF_41C1_D55A9551A88F_mobile.label = Expand Art Button_070CA5E5_59F1_414B_41D2_6780C1DF0A91.label = Close Panel Button_070CA5E5_59F1_414B_41D2_6780C1DF0A91_mobile.label = Close Panel Button_070D35E3_59F1_414F_41C9_B2D51097E8C8.label = Expand Art Button_070D35E3_59F1_414F_41C9_B2D51097E8C8_mobile.label = Expand Art Button_0760504D_59F0_DF5B_41D4_C926DAD3FFE4.label = Close Panel Button_0760504D_59F0_DF5B_41D4_C926DAD3FFE4_mobile.label = Close Panel Button_0760B04C_59F0_DF59_41C0_24BF00D44AED.label = Expand Art Button_0760B04C_59F0_DF59_41C0_24BF00D44AED_mobile.label = Expand Art Button_07C1F036_59F3_FEC9_41D1_D43B66173C06.label = Next Button_07C1F036_59F3_FEC9_41D1_D43B66173C06_mobile.label = Next Button_07FE8034_59F3_FEC9_41C8_17679471E4D4.label = Expand Art Button_07FE8034_59F3_FEC9_41C8_17679471E4D4_mobile.label = Expand Art Button_07FEA035_59F3_FECB_41C3_6DA20EC6CD69.label = Previous Button_07FEA035_59F3_FECB_41C3_6DA20EC6CD69_mobile.label = Previous Button_07FF8037_59F3_FF37_41C3_8E77939F88EE.label = Close Panel Button_07FF8037_59F3_FF37_41C3_8E77939F88EE_mobile.label = Close Panel Button_088CDC7D_59F1_473B_41C6_9961F30026E6.label = Previous Button_088CDC7D_59F1_473B_41C6_9961F30026E6_mobile.label = Previous Button_088EDC7D_59F1_473B_4194_D7D4A2401BDE.label = Next Button_088EDC7D_59F1_473B_4194_D7D4A2401BDE_mobile.label = Next Button_088F8C7C_59F1_4739_41BE_7A14215F6920.label = Expand Art Button_088F8C7C_59F1_4739_41BE_7A14215F6920_mobile.label = Expand Art Button_08B31C7E_59F1_4739_4195_57F560E0576E.label = Close Panel Button_08B31C7E_59F1_4739_4195_57F560E0576E_mobile.label = Close Panel Button_08E00146_59F1_4149_41D2_F090022CE350.label = Close Panel Button_08E00146_59F1_4149_41D2_F090022CE350_mobile.label = Close Panel Button_08E05144_59F1_4149_41B2_B8BE428B759E.label = Expand Art Button_08E05144_59F1_4149_41B2_B8BE428B759E_mobile.label = Expand Art Button_08E1D145_59F1_414B_41C5_9AF2FAAAF84A.label = Previous Button_08E1D145_59F1_414B_41C5_9AF2FAAAF84A_mobile.label = Previous Button_08E7E145_59F1_414B_41D4_9FF9929035DB.label = Next Button_08E7E145_59F1_414B_41D4_9FF9929035DB_mobile.label = Next Button_099501B4_59D0_C1C9_41D4_022ACA830AAE.label = Expand Art Button_099501B4_59D0_C1C9_41D4_022ACA830AAE_mobile.label = Expand Art Button_0996E1B6_59D0_C1C9_41B7_AF4642239011.label = Close Panel Button_0996E1B6_59D0_C1C9_41B7_AF4642239011_mobile.label = Close Panel Button_0A7018E5_59CF_4F4B_41C1_7D847F60F113.label = Previous Button_0A7018E5_59CF_4F4B_41C1_7D847F60F113_mobile.label = Previous Button_0A7018E6_59CF_4F49_41D2_9693FB8B1CEB.label = Next Button_0A7018E6_59CF_4F49_41D2_9693FB8B1CEB_mobile.label = Next Button_0A7058E7_59CF_4F57_41A2_18C6C67D4A1B.label = Close Panel Button_0A7058E7_59CF_4F57_41A2_18C6C67D4A1B_mobile.label = Close Panel Button_0A7088E5_59CF_4F4B_41B6_E8EDA81DEBA9.label = Expand Art Button_0A7088E5_59CF_4F4B_41B6_E8EDA81DEBA9_mobile.label = Expand Art Button_0BCC378F_59F0_C1D7_41AD_3B40F7F6ACE2.label = Next Button_0BCC378F_59F0_C1D7_41AD_3B40F7F6ACE2_mobile.label = Next Button_0BCCF78E_59F0_C1D9_41D2_AD2BBAE29F4D.label = Expand Art Button_0BCCF78E_59F0_C1D9_41D2_AD2BBAE29F4D_mobile.label = Expand Art Button_0BF2378F_59F0_C1D7_41C9_959475138A5D.label = Previous 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Button_1330DE68_59D1_4359_41C6_780A3AD24E55.label = Close Panel Button_1330DE68_59D1_4359_41C6_780A3AD24E55_mobile.label = Close Panel Button_13313E67_59D1_4357_41CE_490DCBEA8585.label = Previous Button_13313E67_59D1_4357_41CE_490DCBEA8585_mobile.label = Previous Button_13315E67_59D1_4357_41D6_3406A2266E23.label = Next Button_13315E67_59D1_4357_41D6_3406A2266E23_mobile.label = Next Button_1331AE66_59D1_4349_41C5_9CAD9894B44A.label = Expand Art Button_1331AE66_59D1_4349_41C5_9CAD9894B44A_mobile.label = Expand Art Button_135E414C_59D1_4159_418C_992AD852B433.label = Previous Button_135E414C_59D1_4159_418C_992AD852B433_mobile.label = Previous Button_135E414D_59D1_415B_4180_C50B48150B3D.label = Next Button_135E414D_59D1_415B_4180_C50B48150B3D_mobile.label = Next Button_135EE14E_59D1_4159_41B2_0F6910D8BD8C.label = Close Panel Button_135EE14E_59D1_4159_41B2_0F6910D8BD8C_mobile.label = Close Panel Button_135FD14B_59D1_415F_419B_B0B0838EB451.label = Expand Art 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KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


beacon (after R.G.)



etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_031DF4DB_59F1_477F_41D3_D9B6147B111A_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


beacon (after R.G.)



etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.
HTMLText_04EBCA12_59F3_C2C9_41B9_773B65E32858.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography


In 2017, Kara Walker was invited to participate in Prospect.4, the
New Orleans citywide triennial of contemporary art. She
selected Algiers Point for a site-specific installation of a calliope
mounted on a wagon. The organ-like musical instrument
was reminiscent of nineteenth century riverboats, as well as the
steam engine, the cotton gin, and other inventions of the Industrial
Revolution era. Walker commissioned American jazz pianist Jason
Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf
Karavan, taken from the Haitian Creole word for “catastrophe,”
refers to the life of subjugation, violence, and humiliation African
captives endured before and after passing through the holding center
located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_04EBCA12_59F3_C2C9_41B9_773B65E32858_mobile.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography



In 2017, Kara Walker was invited to participate in Prospect.4, the New Orleans citywide triennial of contemporary art. She selected Algiers Point for a site-specific installation of a calliope mounted on a wagon. The organ-like musical instrument was reminiscent of nineteenth century riverboats, as well as the steam engine, the cotton gin, and other inventions of the Industrial Revolution era. Walker commissioned American jazz pianist Jason Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf Karavan, taken from the Haitian Creole word for “catastrophe,” refers to the life of subjugation, violence, and humiliation African captives endured before and after passing through the holding center located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_04ED7202_59F3_C2C9_41AD_506BE5E9697C.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography


In 2017, Kara Walker was invited to participate in Prospect.4, the
New Orleans citywide triennial of contemporary art. She
selected Algiers Point for a site-specific installation of a calliope
mounted on a wagon. The organ-like musical instrument
was reminiscent of nineteenth century riverboats, as well as the
steam engine, the cotton gin, and other inventions of the Industrial
Revolution era. Walker commissioned American jazz pianist Jason
Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf
Karavan, taken from the Haitian Creole word for “catastrophe,”
refers to the life of subjugation, violence, and humiliation African
captives endured before and after passing through the holding center
located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_04ED7202_59F3_C2C9_41AD_506BE5E9697C_mobile.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography



In 2017, Kara Walker was invited to participate in Prospect.4, the New Orleans citywide triennial of contemporary art. She selected Algiers Point for a site-specific installation of a calliope mounted on a wagon. The organ-like musical instrument was reminiscent of nineteenth century riverboats, as well as the steam engine, the cotton gin, and other inventions of the Industrial Revolution era. Walker commissioned American jazz pianist Jason Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf Karavan, taken from the Haitian Creole word for “catastrophe,” refers to the life of subjugation, violence, and humiliation African captives endured before and after passing through the holding center located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_070FC5E2_59F1_4149_41C7_AE78EE512194.html =
KARA WALKER
(American, born 1969)


I'll Be A Monkey's Uncle, edition 24/25, 1996



lithograph
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






HTMLText_070FC5E2_59F1_4149_41C7_AE78EE512194_mobile.html =
KARA WALKER
(American, born 1969)


I'll Be A Monkey's Uncle, edition 24/25, 1996



lithograph
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






HTMLText_0760D04B_59F0_DF5F_4162_E44766AD19AA.html =
KARA WALKER
(American, born 1969)


Pastoral, edition 5/15, 1999



wall painting in black latex
paint
Collection of the Jordan
Schnitzer Family Foundation






HTMLText_0760D04B_59F0_DF5F_4162_E44766AD19AA_mobile.html =
KARA WALKER
(American, born 1969)


Pastoral, edition 5/15, 1999



wall painting in black latex
paint
Collection of the Jordan
Schnitzer Family Foundation






HTMLText_07C55032_59F3_FEC9_41C4_37FEF54EAB03.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography


In 2017, Kara Walker was invited to participate in Prospect.4, the
New Orleans citywide triennial of contemporary art. She
selected Algiers Point for a site-specific installation of a calliope
mounted on a wagon. The organ-like musical instrument
was reminiscent of nineteenth century riverboats, as well as the
steam engine, the cotton gin, and other inventions of the Industrial
Revolution era. Walker commissioned American jazz pianist Jason
Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf
Karavan, taken from the Haitian Creole word for “catastrophe,”
refers to the life of subjugation, violence, and humiliation African
captives endured before and after passing through the holding center
located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_07C55032_59F3_FEC9_41C4_37FEF54EAB03_mobile.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography



In 2017, Kara Walker was invited to participate in Prospect.4, the New Orleans citywide triennial of contemporary art. She selected Algiers Point for a site-specific installation of a calliope mounted on a wagon. The organ-like musical instrument was reminiscent of nineteenth century riverboats, as well as the steam engine, the cotton gin, and other inventions of the Industrial Revolution era. Walker commissioned American jazz pianist Jason Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf Karavan, taken from the Haitian Creole word for “catastrophe,” refers to the life of subjugation, violence, and humiliation African captives endured before and after passing through the holding center located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_08878C7B_59F1_473F_41CC_23AB7FA3BE24.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


buoy




etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_08878C7B_59F1_473F_41CC_23AB7FA3BE24_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


buoy




etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.
HTMLText_08FE4143_59F1_414F_41D1_6AB27EF6706C.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


dread




etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_08FE4143_59F1_414F_41D1_6AB27EF6706C_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


dread




etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.



HTMLText_099BD1B3_59D0_C1CF_41B3_3B307891A872.html =
KARA WALKER
(American, born 1969)


African/American, edition 22/40, 1998



linocut on paper
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






HTMLText_099BD1B3_59D0_C1CF_41B3_3B307891A872_mobile.html =
KARA WALKER
(American, born 1969)


African/American, edition 22/40, 1998



linocut on paper
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






HTMLText_0A4D68E3_59CF_4F4F_419F_CFB2F57D0DAC.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


the secret sharerer



etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_0A4D68E3_59CF_4F4F_419F_CFB2F57D0DAC_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


the secret sharerer



etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.



HTMLText_0BC5578D_59F0_C1DB_41C9_E19894D401EC.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


no world




etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_0BC5578D_59F0_C1DB_41C9_E19894D401EC_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


no world




etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.
HTMLText_0D08496E_59D7_4159_41CE_0CBC1FDA393B.html =
KARA WALKER
(American, born 1969)


The Keys to the Coop, edition 39/40, 1997



linoleum block
Collection of Jordan D. Schnitzer
Photo by Strode Photographic








HTMLText_0D08496E_59D7_4159_41CE_0CBC1FDA393B_mobile.html =
KARA WALKER
(American, born 1969)


The Keys to the Coop, edition 39/40, 1997



linoleum block
Collection of Jordan D. Schnitzer
Photo by Strode Photographic








HTMLText_0D95C7F5_59F3_414B_41C8_7939C9C66B36.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


savant




etching with aquatint, sugar lift,
spitbite, and drypoint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint
etching techniques, Walker created the series of six prints
to address the brutality of the transatlantic slave trade and its
legacy, as well as the magical thinking of captives dreaming of
flying or swimming back to Africa and freedom. In this body
of work, the artist who claims to have “an uneasy relationship
with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet
improbable two-dimensional and monochromatic tale.



HTMLText_0D95C7F5_59F3_414B_41C8_7939C9C66B36_mobile.html =
KARA WALKER
(American, born 1969)


An Unpeopled Land in
Uncharted Waters, edition
19/30, 2010


savant




etching with aquatint, sugar lift, spitbite, and drypoint Collection of Jordan D. Schnitzer Photos by Strode Photographic


In 2010, Walker created a fictionalized account of the
Middle Passage in An Unpeopled Land in Uncharted
Waters. Combining aquatint, sugar lift, spitbite, and drypoint etching techniques, Walker created the series of six prints to address the brutality of the transatlantic slave trade and its legacy, as well as the magical thinking of captives dreaming of flying or swimming back to Africa and freedom. In this body of work, the artist who claims to have “an uneasy relationship with [her] own imagination” takes poetic license with scale
and proportion to weave a heartbreakingly plausible yet improbable two-dimensional and monochromatic tale.
HTMLText_13344E64_59D1_4349_41D6_0ADE20321DE3.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_13344E64_59D1_4349_41D6_0ADE20321DE3_mobile.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_135AB8B5_59D1_4FCB_41D1_3CDEA5177EF5.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_135AB8B5_59D1_4FCB_41D1_3CDEA5177EF5_mobile.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_135DA149_59D1_415B_41CB_39DA096510B4.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_135DA149_59D1_415B_41CB_39DA096510B4_mobile.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_13E79DAE_59D7_41D9_41CA_2EA7FCE4E74C.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_13E79DAE_59D7_41D9_41CA_2EA7FCE4E74C_mobile.html =
KARA WALKER
(American, born 1969)


Fons Americanus, edition 9/30, 2019



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography
HTMLText_158061F5_59D1_C14B_41D4_29EC6A33D164.html =
KARA WALKER
(American, born 1969)


Boo-hoo (for Parkett no. 59), edition PP 5/6, 2000



linocut on paper
Collection of Jordan D. Schnitzer
Photo by Strode Photographic







HTMLText_158061F5_59D1_C14B_41D4_29EC6A33D164_mobile.html =
KARA WALKER
(American, born 1969)


Boo-hoo (for Parkett no. 59), edition PP 5/6, 2000



linocut on paper
Collection of Jordan D. Schnitzer
Photo by Strode Photographic
HTMLText_1D6EA476_5850_C749_41A2_BF9818AF4D2F.html =
KARA WALKER
(American, born 1969)


The Bush, Skinny, De-boning,
edition 53/100, 2002



stainless steel cut-outs painted
matte black
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_1D6EA476_5850_C749_41A2_BF9818AF4D2F_mobile.html =
KARA WALKER
(American, born 1969)


The Bush, Skinny, De-boning,
edition 53/100, 2002



stainless steel cut-outs painted
matte black
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_208BF07F_5857_FF37_41D4_9A9FD83C5FA0.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #8/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_208BF07F_5857_FF37_41D4_9A9FD83C5FA0_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #8/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2096980F_5857_4ED7_41B9_AA65184AC2F1.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #10/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2096980F_5857_4ED7_41B9_AA65184AC2F1_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #10/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20A3E750_5857_4149_41CB_FD3DA326DC20.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #12/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20A3E750_5857_4149_41CB_FD3DA326DC20_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #12/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20A6C068_5857_5F59_4181_892992A8A173.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #4/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20A6C068_5857_5F59_4181_892992A8A173_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #4/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20AD88CF_5857_4F57_4188_9A4517AB0D48.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #11/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20AD88CF_5857_4F57_4188_9A4517AB0D48_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #11/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20BCC7E7_5857_4157_41C8_BB7B7ED83B99.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #13/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20BCC7E7_5857_4157_41C8_BB7B7ED83B99_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #13/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20EB3CF9_584F_C73B_41D0_06693F19B315.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Cotton Hoards in Southern Swamp




screenprint
Collection of Jordan D. Schnitzer




HTMLText_20EB3CF9_584F_C73B_41D0_06693F19B315_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Cotton Hoards in Southern Swamp




screenprint
Collection of Jordan D. Schnitzer




HTMLText_20F37F18_5857_C2F9_417E_483A0CE6C065.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #6/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_20F37F18_5857_C2F9_417E_483A0CE6C065_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #6/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_224BA27F_5851_4337_41D2_52580971F509.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #25/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_224BA27F_5851_4337_41D2_52580971F509_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #25/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_22680537_5851_4137_41D1_890F167F39FD.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #26/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_22680537_5851_4137_41D1_890F167F39FD_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #26/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_22C03F57_5851_C177_41D5_3B995E76A86B.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Colophon), edition 7/20, 1999-2000



screenprint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic




HTMLText_22C03F57_5851_C177_41D5_3B995E76A86B_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Colophon), edition 7/20, 1999-2000



screenprint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic




HTMLText_230B93DE_5850_C179_41C5_A9E5296AE8D5.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #16/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_230B93DE_5850_C179_41C5_A9E5296AE8D5_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #16/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2316A457_5850_C777_41C0_053502BFB9DA.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #17/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2316A457_5850_C777_41C0_053502BFB9DA_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #17/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23241307_5851_42D7_41D5_F84E0E5A6417.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #18/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23241307_5851_42D7_41D5_F84E0E5A6417_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #18/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2339E317_5851_42F7_41C0_8E779F209900.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #19/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_2339E317_5851_42F7_41C0_8E779F209900_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #19/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23445817_5857_CEF7_4181_C11BC82D1B36.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #9/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23445817_5857_CEF7_4181_C11BC82D1B36_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #9/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_234E55BF_5850_C137_41CC_EA6C00EB968D.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #14/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_234E55BF_5850_C137_41CC_EA6C00EB968D_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #14/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_235721DF_5850_C177_41D1_FD95C6415262.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #15/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_235721DF_5850_C177_41D1_FD95C6415262_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #15/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23A1219F_5851_C1F6_41AC_1717CAB2738E.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #23/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23A1219F_5851_C1F6_41AC_1717CAB2738E_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #23/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23AF90B7_5851_DF37_41B8_16AE621D0329.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #24/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23AF90B7_5851_DF37_41B8_16AE621D0329_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #24/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23B67F5E_5851_C179_4161_7F4FC830C7B7.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #22/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23B67F5E_5851_C179_4161_7F4FC830C7B7_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #22/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23C07FE1_5831_C14B_41CD_93E3713D04B7.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Pack-Mules in the Mountains



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_23C07FE1_5831_C14B_41CD_93E3713D04B7_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Pack-Mules in the Mountains



offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_23D64350_5851_4149_41C3_76E03B046CBE.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #20/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23D64350_5851_4149_41C3_76E03B046CBE_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #20/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23F37067_5857_3F57_41D0_D0C58681D723.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #5/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23F37067_5857_3F57_41D0_D0C58681D723_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #5/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23F5753F_5851_4137_41AD_4805536998A8.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #21/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_23F5753F_5851_4137_41AD_4805536998A8_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #21/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_25C60AAF_5850_C3D7_41CA_965463653809.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #3/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_25C60AAF_5850_C3D7_41CA_965463653809_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #3/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_28408A71_5831_C34B_41C3_B27F703777D6.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Crest of Pine Mountain, Where General Polk Fell



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_28408A71_5831_C34B_41C3_B27F703777D6_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Crest of Pine Mountain, Where General Polk Fell



offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic


HTMLText_2B9A7D67_5830_C157_41A8_1B3D68D0E715.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Alabama Loyalists Greeting the Federal Gun-Boats



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2B9A7D67_5830_C157_41A8_1B3D68D0E715_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Alabama Loyalists Greeting the Federal Gun-Boats



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2C1092E9_5830_C35B_41C6_661C754E04BA.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Banks's Army Leaving
Simmsport,



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2C1092E9_5830_C35B_41C6_661C754E04BA_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Banks's Army Leaving
Simmsport,



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2D114A47_5831_4357_41C8_6833DAE799C7.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Alabama Loyalists Greeting the Federal Gun-Boats



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2D114A47_5831_4357_41C8_6833DAE799C7_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Alabama Loyalists Greeting the Federal Gun-Boats



screenprint
Collection of Jordan D. Schnitzer




HTMLText_2D68B948_5833_C159_41CC_4753CB58A777.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Confederate Prisoners Being Conducted from Jonesborough




offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_2D68B948_5833_C159_41CC_4753CB58A777_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Confederate Prisoners Being Conducted from Jonesborough




offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_2D9503AA_5837_41D9_41BC_2BB13BEAFB63.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Signal Station, Summit of Maryland Heights




offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_2D9503AA_5837_41D9_41BC_2BB13BEAFB63_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Signal Station, Summit of Maryland Heights




offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_2DCA0F82_5831_41C9_41B6_F7CF7CCC756D.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Deadbrook after the Battle of Ezra's Church





offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_2DCA0F82_5831_41C9_41B6_F7CF7CCC756D_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Deadbrook after the Battle of Ezra's Church





offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_2DFEB1B8_5830_C139_41CD_CDF7D89567C5.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Exodus of Confederates from Atlanta



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_2DFEB1B8_5830_C139_41CD_CDF7D89567C5_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of the Civil War (Annotated), edition 21/35, 2005:


Exodus of Confederates from Atlanta



offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_321A7D11_5830_C6CA_41C4_34D70A3E347A.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Foote's Gun-Boats Ascending to Attack Fort Henry



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_321A7D11_5830_C6CA_41C4_34D70A3E347A_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Foote's Gun-Boats Ascending to Attack Fort Henry



offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic




HTMLText_328ACDB2_59D0_C1C9_41CD_F85BA5BFA2CD.html =
KARA WALKER
(American, born 1969)


Burning African Village Play Set with Big House and Lynching, edition 4/20, 2006



painted laser cut steel
Collection of Jordan D. Schnitzer




HTMLText_328ACDB2_59D0_C1C9_41CD_F85BA5BFA2CD_mobile.html =
KARA WALKER
(American, born 1969)


Burning African Village Play Set with Big House and Lynching, edition 4/20, 2006



painted laser cut steel
Collection of Jordan D. Schnitzer




HTMLText_3298454A_5830_C159_41C2_104F84A9E83E.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Lost Mountain at Sunrise



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_3298454A_5830_C159_41C2_104F84A9E83E_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Lost Mountain at Sunrise



offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic





HTMLText_338F1611_59D0_C2CB_41D4_334BF230E82B.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Occupation of Alexandria



offset lithography and
screenprint
Collection of Jordan D.
Schnitzer
Photos by Strode Photographic




HTMLText_338F1611_59D0_C2CB_41D4_334BF230E82B_mobile.html =
KARA WALKER
(American, born 1969)


From the series:
Harper's Pictorial History of
the Civil War (Annotated),
edition 21/35, 2005:


Occupation of Alexandria


offset lithography and screenprint
Collection of Jordan D. Schnitzer
Photos by Strode Photographic




HTMLText_39D7BA03_59F7_42CF_41D5_90FD619F2BFB.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography


In 2017, Kara Walker was invited to participate in Prospect.4, the
New Orleans citywide triennial of contemporary art. She
selected Algiers Point for a site-specific installation of a calliope
mounted on a wagon. The organ-like musical instrument
was reminiscent of nineteenth century riverboats, as well as the
steam engine, the cotton gin, and other inventions of the Industrial
Revolution era. Walker commissioned American jazz pianist Jason
Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf
Karavan, taken from the Haitian Creole word for “catastrophe,”
refers to the life of subjugation, violence, and humiliation African
captives endured before and after passing through the holding center
located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_39D7BA03_59F7_42CF_41D5_90FD619F2BFB_mobile.html =
KARA WALKER
(American, born 1969)


The Katastwóf Karavan (maquette), edition 29/30, 2017


painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography



In 2017, Kara Walker was invited to participate in Prospect.4, the New Orleans citywide triennial of contemporary art. She selected Algiers Point for a site-specific installation of a calliope mounted on a wagon. The organ-like musical instrument was reminiscent of nineteenth century riverboats, as well as the steam engine, the cotton gin, and other inventions of the Industrial Revolution era. Walker commissioned American jazz pianist Jason Moran to compose and perform songs and sounds inspired by African American anthems of protest and celebration. The title Katastwóf Karavan, taken from the Haitian Creole word for “catastrophe,” refers to the life of subjugation, violence, and humiliation African captives endured before and after passing through the holding center located at Algiers Point.


Follow the link below view original installation courtesy of Art21


https://art21.org/watch/extended-play/kara-walker-jason-moran-sending-out-a-signal-short/



HTMLText_4135B71E_6407_7F49_41B8_FF971F8DF4E8.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_4135B71E_6407_7F49_41B8_FF971F8DF4E8_mobile.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_440AE020_5837_5EC9_41C1_D57208ABC371.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and
Crown, superimposed, edition
6/40, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_440AE020_5837_5EC9_41C1_D57208ABC371_mobile.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and
Crown, superimposed, edition
6/40, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_4584F362_5830_C149_41D6_0A7C1540E2EB.html =
KARA WALKER
(American, born 1969)


Porgy & Bess, edition 6/400,
2013



book with 16 lithographs
Collection of Jordan D. Schnitzer






HTMLText_4584F362_5830_C149_41D6_0A7C1540E2EB_mobile.html =
KARA WALKER
(American, born 1969)


Porgy & Bess, edition 6/400,
2013


book with 16 lithographs
Collection of Jordan D. Schnitzer






HTMLText_45959758_5837_C17A_41B9_A4792285B37B.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Strawberry
Woman, edition 6/40, 2013



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_45959758_5837_C17A_41B9_A4792285B37B_mobile.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Strawberry
Woman, edition 6/40, 2013



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_45F26D98_5830_C1F9_41B8_1E67C87373B4.html =
DIANA AL-HADID
(Syrian-American, b. 1981)
Woven Woman, 2019


Polymer modified gypsum, fiberglass, powder coated aluminum, pigment
Courtesy of the artist






HTMLText_45F26D98_5830_C1F9_41B8_1E67C87373B4_mobile.html =
DIANA AL-HADID
(Syrian-American, b. 1981)
Woven Woman, 2019


Polymer modified gypsum, fiberglass, powder coated aluminum, pigment
Courtesy of the artist






HTMLText_46867F05_5831_42CB_41D5_789BA321A9D5.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and
Crown, superimposed, edition
6/40, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_46867F05_5831_42CB_41D5_789BA321A9D5_mobile.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and
Crown, superimposed, edition
6/40, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_4CE7CEE6_58F7_C349_41D5_6A8A60FD4B20.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_4ECA8E96_63BB_0ECA_41D2_3D928E334127.html =
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
HTMLText_4F7FCE85_5831_C3CB_4199_FBCBFD89B05F.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_4F7FCE85_5831_C3CB_4199_FBCBFD89B05F_mobile.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_510EE388_6CBB_52C4_41D1_C9044DF8EF5A.html =
KARA WALKER
(American, born 1969)


National Archives Microfilm M999 Roll 34: Bureau of Refugees, Freedmen and Abandoned Lands:Six Miles from Springfield on the Franklin Road,
edition 4/5, 2009
Duration: 13’ 22”
Original music by Alicia Hall and Jason Moran
Collection of the Jordan Schnitzer Family Foundation


Mining the National Archives for War Department microfilm, Walker discovered the extensive records kept by the Bureau of Refugees, Freedmen, and Abandoned Lands, which informs the subject matter of her 2009 video Six Miles from Springfield on the Franklin Road. The bureau operated from 1865 until 1872, to assist those doing family and community research on the period following the Civil War and during Reconstruction. Precise records were maintained on disgraceful acts. Walker’s video, part history and part fiction, begins with a Black family engaged in daily chores, but soon the narrative switches to violence. Walker does not conceal her presence, but rather claims authorship by manipulating the figures and exposing the behind-the-scenes mechanics of production. Following the murder of the male protagonist, the burning of the family home is communicated through red and orange pieces of Mylar that flicker like flames to the chilling sound of sizzling bacon or fatback. This audio effect may be a reference to the meager diet of some rural Americans, or an allusion to branding and other forms of torture using fire and heat. A rape inflicts the final degradation.


HTMLText_510EE388_6CBB_52C4_41D1_C9044DF8EF5A_mobile.html =
KARA WALKER
(American, born 1969)


National Archives Microfilm M999 Roll 34: Bureau of Refugees, Freedmen and Abandoned Lands:Six Miles from Springfield on the Franklin Road,
edition 4/5, 2009
Duration: 13’ 22”
Original music by Alicia Hall and Jason Moran
Collection of the Jordan Schnitzer Family Foundation



Mining the National Archives for War Department microfilm, Walker discovered the extensive records kept by the Bureau of Refugees, Freedmen, and Abandoned Lands, which informs the subject matter of her 2009 video Six Miles from Springfield on the Franklin Road. The bureau operated from 1865 until 1872, to assist those doing family and community research on the period following the Civil War and during Reconstruction. Precise records were maintained on disgraceful acts. Walker’s video, part history and part fiction, begins with a Black family engaged in daily chores, but soon the narrative switches to violence. Walker does not conceal her presence, but rather claims authorship by manipulating the figures and exposing the behind-the-scenes mechanics of production. Following the murder of the male protagonist, the burning of the family home is communicated through red and orange pieces of Mylar that flicker like flames to the chilling sound of sizzling bacon or fatback. This audio effect may be a reference to the meager diet of some rural Americans, or an allusion to branding and other forms of torture using fire and heat. A rape inflicts the final degradation.


HTMLText_61040857_5850_CF77_41CA_291923CEC621.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video
Testimony: Narrative of a Negress Burdened by Good
Fortune (2004), reveals the hand of the artist and her use
of rudimentary production values. Walker’s physical
presence among the shadow puppets reinforces an
intentionality as potent as that of her precursors in social
commentary: Honoré Daumier, Francisco Goya, Georg Grosz,
and Käthe Kollwitz. Walker’s debt to the early twentiethcentury
animated films of Lotte Reiniger, long present in her
silhouettes, is foregrounded in her photogravures and video art.
HTMLText_61040857_5850_CF77_41CA_291923CEC621_mobile.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video Testimony: Narrative of a Negress Burdened by Good Fortune (2004), reveals the hand of the artist and her use of rudimentary production values. Walker’s physical presence among the shadow puppets reinforces an intentionality as potent as that of her precursors in social commentary: Honoré Daumier, Francisco Goya, Georg Grosz, and Käthe Kollwitz. Walker’s debt to the early twentiethcentury animated films of Lotte Reiniger, long present in her silhouettes, is foregrounded in her photogravures and video art.
HTMLText_6111F556_5851_C149_41D2_4E7D44D39A78.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video
Testimony: Narrative of a Negress Burdened by Good
Fortune (2004), reveals the hand of the artist and her use
of rudimentary production values. Walker’s physical
presence among the shadow puppets reinforces an
intentionality as potent as that of her precursors in social
commentary: Honoré Daumier, Francisco Goya, Georg Grosz,
and Käthe Kollwitz. Walker’s debt to the early twentiethcentury
animated films of Lotte Reiniger, long present in her
silhouettes, is foregrounded in her photogravures and video art.
HTMLText_6111F556_5851_C149_41D2_4E7D44D39A78_mobile.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video Testimony: Narrative of a Negress Burdened by Good Fortune (2004), reveals the hand of the artist and her use of rudimentary production values. Walker’s physical presence among the shadow puppets reinforces an intentionality as potent as that of her precursors in social commentary: Honoré Daumier, Francisco Goya, Georg Grosz, and Käthe Kollwitz. Walker’s debt to the early twentiethcentury animated films of Lotte Reiniger, long present in her silhouettes, is foregrounded in her photogravures and video art.
HTMLText_613518D9_585F_CF7B_41BE_4C8689E9F313.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video
Testimony: Narrative of a Negress Burdened by Good
Fortune (2004), reveals the hand of the artist and her use
of rudimentary production values. Walker’s physical
presence among the shadow puppets reinforces an
intentionality as potent as that of her precursors in social
commentary: Honoré Daumier, Francisco Goya, Georg Grosz,
and Käthe Kollwitz. Walker’s debt to the early twentiethcentury
animated films of Lotte Reiniger, long present in her
silhouettes, is foregrounded in her photogravures and video art.
HTMLText_613518D9_585F_CF7B_41BE_4C8689E9F313_mobile.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video Testimony: Narrative of a Negress Burdened by Good Fortune (2004), reveals the hand of the artist and her use of rudimentary production values. Walker’s physical presence among the shadow puppets reinforces an intentionality as potent as that of her precursors in social commentary: Honoré Daumier, Francisco Goya, Georg Grosz, and Käthe Kollwitz. Walker’s debt to the early twentiethcentury animated films of Lotte Reiniger, long present in her silhouettes, is foregrounded in her photogravures and video art.
HTMLText_61C1D873_6850_EFE4_41D0_F0C1CAEFA645.html =
The 1935 opera Porgy and Bess is set in 1920s Charleston, South Carolina, to music by George Gershwin with a libretto by DuBose Heyward and Ira Gershwin. Porgy, a disabled beggar, tries to free the beautiful Bess from her manipulative lover, Crown, and the drug dealer Sportin’ Life. The tragedy was criticized almost from the beginning for its characterization of the lifestyle of poor African Americans, as well as its use of their dialect, as imagined by white authors. While observing rehearsals for a 2011 performance, Walker made sketches “to understand the music and to allow myself to get caught up in the fantasy of theater.” Later, Walker created sixteen original lithographs to illustrate a 2013 publication of the libretto by Arion Press. She also produced four companion lithographs not included in the book. Lithography is well suited to the expressiveness of Walker’s smudges, rubbings, and loose, broad strokes. The artist says of the characters, “They’ve become archetypes of another no less grand drama, that of ‘American Negroes’ drawn up by white authors, and retooled by individual actors, amid charges of racism, and counter charges of high art on stage and screen, in the face of social and political upheaval, over generations
HTMLText_61C1D873_6850_EFE4_41D0_F0C1CAEFA645_mobile.html =
The 1935 opera Porgy and Bess is set in 1920s Charleston, South Carolina, to music by George Gershwin with a libretto by DuBose Heyward and Ira Gershwin. Porgy, a disabled beggar, tries to free the beautiful Bess from her manipulative lover, Crown, and the drug dealer Sportin’ Life. The tragedy was criticized almost from the beginning for its characterization of the lifestyle of poor African Americans, as well as its use of their dialect, as imagined by white authors. While observing rehearsals for a 2011 performance, Walker made sketches “to understand the music and to allow myself to get caught up in the fantasy of theater.” Later, Walker created sixteen original lithographs to illustrate a 2013 publication of the libretto by Arion Press. She also produced four companion lithographs not included in the book. Lithography is well suited to the expressiveness of Walker’s smudges, rubbings, and loose, broad strokes. The artist says of the characters, “They’ve become archetypes of another no less grand drama, that of ‘American Negroes’ drawn up by white authors, and retooled by individual actors, amid charges of racism, and counter charges of high art on stage and screen, in the face of social and political upheaval, over generations
HTMLText_61C3B4FF_6850_A0DC_41C6_5838901557E7.html =
Walker shocked the art world in the 1990s with cut-paper silhouettes constructed from racist imagery of “Sambo art,” problematic caricatures of Black bodies with exaggerated physiognomy popular during the nineteeth century. The full lips, bug eyes, and wiry hair that define Topsy (1994), the character of an enslaved girl in Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), put a racist caricature on full display in a fine art context. The author, intending to be empathetic, ultimately articulated a characterization of otherness based on race that endured through the Civil War, during Jim Crow, segregation, the civil rights era, and beyond. Such problematic representations still dominate, both consciously and unconsciously, societal thought and influence practices that uphold this country’s racial hierarchy. The descendants of formerly enslaved workers continued to receive little of the wealth they created with subsequent farm labor systems such as sharecropping, tenant farming, and the forced servitude practiced in some prisons today
HTMLText_61C3B4FF_6850_A0DC_41C6_5838901557E7_mobile.html =
Walker shocked the art world in the 1990s with cut-paper silhouettes constructed from racist imagery of “Sambo art,” problematic caricatures of Black bodies with exaggerated physiognomy popular during the nineteeth century. The full lips, bug eyes, and wiry hair that define Topsy (1994), the character of an enslaved girl in Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), put a racist caricature on full display in a fine art context. The author, intending to be empathetic, ultimately articulated a characterization of otherness based on race that endured through the Civil War, during Jim Crow, segregation, the civil rights era, and beyond. Such problematic representations still dominate, both consciously and unconsciously, societal thought and influence practices that uphold this country’s racial hierarchy. The descendants of formerly enslaved workers continued to receive little of the wealth they created with subsequent farm labor systems such as sharecropping, tenant farming, and the forced servitude practiced in some prisons today
HTMLText_61C6207E_6853_5FDC_41C2_9C6DDCDC3F2A.html =
The title of the series Emancipation Approximation (1999-2000) is a play on the Emancipation Proclamation, issued by Abraham Lincoln on January 1, 1863. This document is understood by many as the edict abolishing slavery in the United States. However, the Emancipation Proclamation only freed enslaved people in states that had ceded from the Union. The owning of people continued until the ratification of the 13th Amendment on December 6, 1865, which legally abolished slavery. Reconstruction (1865-1877), the era extolled by Lincoln as “a new birth of freedom” did not restore the promised declarations of full rights and liberty. The vestiges of slavery still act to constrict the scope of Black freedom. Walker’s imagery alludes to the Greek myth of Leda and the Swan, in which the Olympic god Zeus takes the form a swan to rape the human Leda — a subject tackled by artists throughout Western Art History from Leonardo da Vinci and Antonio Correggio, to Cy Twombly and Fernando Botero
HTMLText_61C6207E_6853_5FDC_41C2_9C6DDCDC3F2A_mobile.html =
The title of the series Emancipation Approximation (1999-2000) is a play on the Emancipation Proclamation, issued by Abraham Lincoln on January 1, 1863. This document is understood by many as the edict abolishing slavery in the United States. However, the Emancipation Proclamation only freed enslaved people in states that had ceded from the Union. The owning of people continued until the ratification of the 13th Amendment on December 6, 1865, which legally abolished slavery. Reconstruction (1865-1877), the era extolled by Lincoln as “a new birth of freedom” did not restore the promised declarations of full rights and liberty. The vestiges of slavery still act to constrict the scope of Black freedom. Walker’s imagery alludes to the Greek myth of Leda and the Swan, in which the Olympic god Zeus takes the form a swan to rape the human Leda — a subject tackled by artists throughout Western Art History from Leonardo da Vinci and Antonio Correggio, to Cy Twombly and Fernando Botero
HTMLText_61C9171C_6851_615C_41D4_06BA4AE9AE28.html =
About the Jordan Schnitzer Family Foundation


All works in this exhibition were acquired by Jordan D. Schnitzer, one of the premier collectors in the United States. The Foundation was established in 1997 as a non-profit organization to manage the collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation. Today, the collection has become one of the most important post-war and contemporary collections in all media, exceeding 20,000 objects, and has grown to be the country’s largest private collection of prints and multiples. He generously lends work from his collection to qualified institutions with no additional fees. Since the program’s inception, the Foundation has organized over 180 exhibitions and has loaned works to over 160 museums. In addition, The Foundation publishes scholarly brochures, exhibition catalogues, and catalogues raisonnés in conjunction with exhibitions drawn from the collections.


For more information go to www.jordanschnitzer.org



HTMLText_61C9171C_6851_615C_41D4_06BA4AE9AE28_mobile.html =
About the Jordan Schnitzer Family Foundation


All works in this exhibition were acquired by Jordan D. Schnitzer, one of the premier collectors in the United States. The Foundation was established in 1997 as a non-profit organization to manage the collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation. Today, the collection has become one of the most important post-war and contemporary collections in all media, exceeding 20,000 objects, and has grown to be the country’s largest private collection of prints and multiples. He generously lends work from his collection to qualified institutions with no additional fees. Since the program’s inception, the Foundation has organized over 180 exhibitions and has loaned works to over 160 museums. In addition, The Foundation publishes scholarly brochures, exhibition catalogues, and catalogues raisonnés in conjunction with exhibitions drawn from the collections.


For more information go to www.jordanschnitzer.org



HTMLText_61C94036_6851_DF6D_41C4_97CE290AAAB6.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_61C94036_6851_DF6D_41C4_97CE290AAAB6_mobile.html =
Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation


May 20, 2022 – September 25, 2022


Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.



Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler




HTMLText_62B481CE_5850_C159_41C6_44CF1BB89A0D.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video
Testimony: Narrative of a Negress Burdened by Good
Fortune (2004), reveals the hand of the artist and her use
of rudimentary production values. Walker’s physical
presence among the shadow puppets reinforces an
intentionality as potent as that of her precursors in social
commentary: Honoré Daumier, Francisco Goya, Georg Grosz,
and Käthe Kollwitz. Walker’s debt to the early twentiethcentury
animated films of Lotte Reiniger, long present in her
silhouettes, is foregrounded in her photogravures and video art.
HTMLText_62B481CE_5850_C159_41C6_44CF1BB89A0D_mobile.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video Testimony: Narrative of a Negress Burdened by Good Fortune (2004), reveals the hand of the artist and her use of rudimentary production values. Walker’s physical presence among the shadow puppets reinforces an intentionality as potent as that of her precursors in social commentary: Honoré Daumier, Francisco Goya, Georg Grosz, and Käthe Kollwitz. Walker’s debt to the early twentiethcentury animated films of Lotte Reiniger, long present in her silhouettes, is foregrounded in her photogravures and video art.
HTMLText_62C730DB_6851_A0DB_41C0_DEA33AE0DDB2.html =
Between 1861 and 1865, Harper’s Weekly reported contemporaneous accounts of Civil War battles and political developments, largely in support of Lincoln and the federal government. In 1894, the weekly published one thousand illustrations of battlefields, maps, plans, and likenesses of military figures in Harper’s Pictorial History of the Civil War, by Alfred H. Guernsey and Henry M. Alden. In 2005, Kara Walker superimposed her signature silhouettes over large scale prints from the pictorial history. The Harper’s Weekly images had been intentionally inoffensive to a Southern white readership. Walker’s flat, opaque figures insistently interject a previously, conspicuously absent African American point of view. Silhouettes obfuscate the original intention while beckoning the viewer into a black hole of spiraling emotions about the unreliability of history. Who is telling the story? Whose history is included and whose is omitted? Who is validated and who is obliterated?
HTMLText_62C730DB_6851_A0DB_41C0_DEA33AE0DDB2_mobile.html =
Between 1861 and 1865, Harper’s Weekly reported contemporaneous accounts of Civil War battles and political developments, largely in support of Lincoln and the federal government. In 1894, the weekly published one thousand illustrations of battlefields, maps, plans, and likenesses of military figures in Harper’s Pictorial History of the Civil War, by Alfred H. Guernsey and Henry M. Alden. In 2005, Kara Walker superimposed her signature silhouettes over large scale prints from the pictorial history. The Harper’s Weekly images had been intentionally inoffensive to a Southern white readership. Walker’s flat, opaque figures insistently interject a previously, conspicuously absent African American point of view. Silhouettes obfuscate the original intention while beckoning the viewer into a black hole of spiraling emotions about the unreliability of history. Who is telling the story? Whose history is included and whose is omitted? Who is validated and who is obliterated?
HTMLText_66A20B81_5857_C1CB_41CE_51AFC2EB30E3.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic


The Testimony suite (2005), five scenes from the video
Testimony: Narrative of a Negress Burdened by Good
Fortune (2004), reveals the hand of the artist and her use
of rudimentary production values. Walker’s physical
presence among the shadow puppets reinforces an
intentionality as potent as that of her precursors in social
commentary: Honoré Daumier, Francisco Goya, Georg Grosz,
and Käthe Kollwitz. Walker’s debt to the early twentiethcentury
animated films of Lotte Reiniger, long present in her
silhouettes, is foregrounded in her photogravures and video art.
HTMLText_66A20B81_5857_C1CB_41CE_51AFC2EB30E3_mobile.html =
KARA WALKER
(American, born 1969)


Testimony Suite #1-5, edition 12/14, 2005


photogravure prints
Collection of Jordan D. Schnitzer
Photo by Strode Photographic



The Testimony suite (2005), five scenes from the video Testimony: Narrative of a Negress Burdened by Good Fortune (2004), reveals the hand of the artist and her use of rudimentary production values. Walker’s physical presence among the shadow puppets reinforces an intentionality as potent as that of her precursors in social commentary: Honoré Daumier, Francisco Goya, Georg Grosz, and Käthe Kollwitz. Walker’s debt to the early twentiethcentury animated films of Lotte Reiniger, long present in her silhouettes, is foregrounded in her photogravures and video art.
HTMLText_6BFE50D6_5871_3F49_4187_CBD43EF4935A.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6BFE50D6_5871_3F49_4187_CBD43EF4935A_mobile.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6C69BC15_5851_46CB_41D6_1E157FCF0D1E.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6C69BC15_5851_46CB_41D6_1E157FCF0D1E_mobile.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6CCB2CE5_5870_C74B_41D3_D9BF36BAE006.html =
KARA WALKER
(American, born 1969)


Snared, edition PP 3/4, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_6CCB2CE5_5870_C74B_41D3_D9BF36BAE006_mobile.html =
KARA WALKER
(American, born 1969)


Snared, edition PP 3/4, 2013


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_6CDE349E_5851_47F9_41C8_0D2CCEE46565.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6CDE349E_5851_47F9_41C8_0D2CCEE46565_mobile.html =
KARA WALKER
(American, born 1969)


The High Note, The Low Note, The Psychotic and The Judge, edition 22/30, 2018



painted laser-cut stainless steel
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_6D52817C_5871_C139_41BB_C99DFFBC3C05.html =
KARA WALKER
(American, born 1969)


Excerpt, edition PP 3/5 , 2014


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_6D52817C_5871_C139_41BB_C99DFFBC3C05_mobile.html =
KARA WALKER
(American, born 1969)


Excerpt, edition PP 3/5 , 2014


lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_7016E060_5877_3F49_41D2_235A71A02B6F.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_7016E060_5877_3F49_41D2_235A71A02B6F_mobile.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_70272907_5870_CED7_41C8_2AB98308AC74.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_70272907_5870_CED7_41C8_2AB98308AC74_mobile.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_714EFFC2_5871_4149_41B7_35FA59F2233B.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_714EFFC2_5871_4149_41B7_35FA59F2233B_mobile.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_717F791B_5870_CEFF_41C1_5D9B7B0CF302.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_717F791B_5870_CEFF_41C1_5D9B7B0CF302_mobile.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_76704477_587F_C737_41C2_312D1CFD0130.html =
KARA WALKER
(American, born 1969)


False Face, edition 1/10, 2017



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





HTMLText_76704477_587F_C737_41C2_312D1CFD0130_mobile.html =
KARA WALKER
(American, born 1969)


False Face, edition 1/10, 2017



bronze
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Chanterelle Menus: Untitled
(May 21, 2006), 2006



screenprint
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Chanterelle Menus: Untitled
(May 21, 2006), 2006



screenprint
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography



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KARA WALKER
(American, born 1969)


Untitled, from Collective
Impressions, edition 65/70, 1998



lithograph
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Untitled, from Collective
Impressions, edition 65/70, 1998



lithograph
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and Bess,
embracing, edition 6/40, 2013



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Porgy & Bess: Porgy and Bess,
embracing, edition 6/40, 2013



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Untitled (Monkey Grinder),
edition 21/30, 2002



screenprint
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Untitled (Monkey Grinder),
edition 21/30, 2002



screenprint
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Do Just So..., Landfall Press Impressions (1 of 3), 1996



etching and aquatint
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Do Just So..., Landfall Press Impressions (1 of 3), 1996



etching and aquatint
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Porgy & Bess: Sailboat in storm,
edition 6/40, 2013



llithograph
Collection of Jordan D. Schnitzer






HTMLText_794C3511_5833_46CB_41C8_30951481E5A0_mobile.html =
KARA WALKER
(American, born 1969)


Porgy & Bess: Sailboat in storm,
edition 6/40, 2013



llithograph
Collection of Jordan D. Schnitzer






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KARA WALKER
(American, born 1969)


Topsy, edition AP, 1994 circa



photoetching
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Topsy, edition AP, 1994 circa



photoetching
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, edition of 4000, 1997


leather bound book
Collection of Jordan D.
Schnitzer






HTMLText_798442F0_5851_C349_4180_3D80D613B098_mobile.html =
KARA WALKER
(American, born 1969)


Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, edition of 4000, 1997


leather bound book
Collection of Jordan D.
Schnitzer






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KARA WALKER
(American, born 1969)


Resurrection Story with Patrons, edition 7/25, 2017



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Resurrection Story with Patrons, edition 7/25, 2017



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography





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KARA WALKER
(American, born 1969)


Vanishing Act, edition 27/35, 1997



photoetching
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Vanishing Act, edition 27/35, 1997



photoetching
Collection of Jordan D. Schnitzer
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Untitled (John Brown),edition



etching with aquatint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic








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KARA WALKER
(American, born 1969)


Untitled (John Brown),edition



etching with aquatint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic






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KARA WALKER
(American, born 1969)


Sketch for a Fabulous Tale, from Skowhegan portfolio no. 1, edition 10/30, 2011



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






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KARA WALKER
(American, born 1969)


Sketch for a Fabulous Tale, from Skowhegan portfolio no. 1, edition 10/30, 2011



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






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KARA WALKER
(American, born 1969)


Li'l Patch of Woods, edition 27/35, 1997



etching with aquatint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic





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KARA WALKER
(American, born 1969)


Li'l Patch of Woods, edition 27/35, 1997



etching with aquatint
Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic





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KARA WALKER
(American, born 1969)


Sketch for a Fabulous Tale, from Skowhegan portfolio no. 1, edition 10/30, 2011



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






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KARA WALKER
(American, born 1969)


Sketch for a Fabulous Tale, from Skowhegan portfolio no. 1, edition 10/30, 2011



lithograph
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






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KARA WALKER
(American, born 1969)


Canisters, edition of 100, 1997


glass
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






HTMLText_7C098DB8_5851_C139_4195_4C82EAAA560A_mobile.html =
KARA WALKER
(American, born 1969)


Canisters, edition of 100, 1997


glass
Collection of Jordan D. Schnitzer
Photo by Aaron Wessling Photography






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Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler


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Community Advisory Committee for the Exhibition


Deja Echols
Yvenie Etienne
Hope at Hand
Dr. David Jamison
Chad Labenz
Dr. Tru Leverette
Princess Simpson Rashid
Sheila Spivey
Adonnica L. Toler


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Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.


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Offering a broad overview of her career, this exhibition positions Kara Walker (b. 1969) as a leading artist of her generation through more than 80 works in a variety of media. Created between 1994 and 2019, these powerful and provocative images address themes of racism, gender violence, and exploitation, along with power structures like imperialism and colonialism, especially as they play out in the histories and hierarchies of Art. Walker is best known for her large-scale silhouette cutouts that have stirred controversy though their depictions of exaggerated racial and gender caricatures and imageries of the Antebellum South.


Walker’s process involves extensive research in literature, historical records, world and art history, and popular culture. Intentionally unsentimental and ambiguous, the works are disturbing while also utilizing satire and humor, challenging viewers to consider America’s painful legacy of slavery and racism that we continue to contend with today.


This exhibition was originally organized for the Frist Art Museum, Nashville, TN by co-curators former Director Susan H. Edwards, and poet Ciona Rouse. Curated for MOCA Jacksonville by Ylva Rouse, with the support of Shana Dickler.


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Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation



May 20, 2022 – September 25, 2022


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Kara Walker: Cut to the Quick
from the Collections of Jordan D. Schnitzer and His Family Foundation



May 20, 2022 – September 25, 2022


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KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




HTMLText_7F0F1FF0_5873_4149_41C4_D8D10B32F09C_mobile.html =
KARA WALKER
(American, born 1969)


The Means to an End...A Shadow Drama in Five Acts,
1995


etching and aquatint
Collection of Jordan D.
Schnitzer
Photo by Strode Photographic




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KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #7/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_C542A1C6_5870_C149_41D3_9620E9C755E1_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #7/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
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KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #2/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_D8906EC3_5851_434F_41B7_AD278F411535_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #2/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_D9D7F6F5_5853_434B_41A0_A3570B56A7D8.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #1/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
HTMLText_D9D7F6F5_5853_434B_41A0_A3570B56A7D8_mobile.html =
KARA WALKER
(American, born 1969)


The Emancipation Approximation (Scenes #1/26), edition 7/20, 1999-2000



Collection of the Jordan
Schnitzer Family Foundation
Photo by Strode Photographic
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