Global cultures 1980–now
- Christian Boltanski, Personnes, 2010
- Betye Saar, Liberation of Aunt Jemima
- Reflecting on "We the People"
- Kara Walker, Darkytown Rebellion
- Walker, Darkytown Rebellion
- Kara Walker on the dark side of imagination
- Romance novels and slave narratives: Kara Walker imagines herself in a book
- Kara Walker, "A Subtlety, or the Marvelous Sugar Baby"
- Turning Uncle Tom's Cabin upside down, Alison Saar's Topsy and the Golden Fleece
- An interview with Kerry James Marshall about his series Mementos
- Speaking to past and present, Clarissa Rizal’s Resilience Robe
- Tenzing Rigdol, Pin drop silence: Eleven-headed Avalokiteshvara
- An unflinching memorial to civil rights martyrs, Thornton Dial's Blood and Meat
- Titus Kaphar, The Cost of Removal
- Wendy Red Star, 1880 Crow Peace Delegation
- Yee I-Lann, Picturing Power #6…
- Superman, World War II, and Japanese-American experience (Roger Shimomura, Diary: December 12, 1941)
- Fred Wilson’s museum interventions
- Ken Gonzales-Day, Erased Lynching Series
- History and deception: Kenseth Armstead’s Surrender Yorktown 1781
- Carrie Mae Weems on her series "From Here I Saw What Happened and I Cried"
- Lam Tung Pang on "A Day of Two Suns (2019)"
- Abdoulaye Ndoye, Ahmed Baba
Video by SFMOMA. Artist Kara Walker talks about on the often-violent subject matter of her work, and wonders what her imagination reflects about society as a whole. Created by Smarthistory.
I guess all of the pieces, and somewhat, the large installations, are sort of disparate narratives or scenes or interactions that maybe are drawn on a very sort of base, you know, nineteenth century stereotypes of black characters, picaninnies or whatever, and then characters that are just sort of loosely designed around that, but then are, you know, clearly my own identity, my own hand, or another sort of, sort of trope But they've all been, you know, reduced to this, this one thing, this black paper My thinking is if a person like me can find themselves making, you know, picaninny negro, you know, minstrel art, meaning for it to be ironic, there's still this kind of, you know, back-handed cycle at play, you know, that sort of undoes even my most sort of progressive ambitions, which is that it can still kind of fall back into familiar terrain My heart and, and my art was filled with a fair amount of, of sort of received violence, you know, some of it real and some of it sort of exaggerated The interesting thing for me in my work is how well, how easy it is, actually, to how easy it is to commit atrocities I mean, that's actually kind of what the work is about It's just like if a girl like me can think this stuff, then what? So I have an uneasy relationship with my own imagination At the same time I'd rather make the work, than hold it all inside and get strange