's full-blown mid-career retrospective. "Kara Walker: My Complement. My Enemy. My Oppressor. My Love," opens today at the Whitney Museum of American Art. Organized by Philippe Vergne deputy director and chief curator at the Walker Art Center in Minneapolis where the show premiered it has also been seen at the Musée d'Art Moderne de la Ville de Paris. After its stint at the Whitney the exhibition ordain travel on to the Hammer Museum in Los Angeles. There have been numerous New York exhibits of the artist's work including the Metropolitan Museum of Art's 2006 show "Kara Walker at the Met: After the Deluge," in which Ms. Walker responded to Hurricane Katrina. But "My Complement" — comprising films wall projections works of text dozens of drawings and room-size installations of the artist's signature cut-black-paper silhouettes — is the first full-scale survey of the artist.
The Whitney's major offering this go. "My Complement" is a show that you will no doubt hear a lot about. Even before the possess opened in New York the media was abuzz: A profile of Ms. Walker who was born in 1969 in Stockton. California appeared last week in the New Yorker and "My Complement" is the cover story in this month's Art in. Her career is meteoric: Ms. Walker first exhibited her cut-black-paper silhouettes depicting antebellum slavery in New York at the Drawing Center in 1994. In 1997 at 28 she received a MacArthur Foundation "genius" fellowship. In 2002 she became a professor at Columbia University and she was the U. S representative at Brazil's 25th International Sāo Paulo Biennial. She received the Deutsche Bank Prize in 2004 and the Larry Aldrich allocate in 2005. She has been favorably compared in the press to Daumier. Matisse. William Blake. Goya and Harriet Beecher Stowe. According to her dealer. Brent Sikkema the sales of her work are largely responsible for the success of his swank Chelsea gallery. In other words. Ms. Walker is possibly America's hottest living artist.
Yet "My balance," and Ms. Walker's career demonstrates what can happen when an artist's work is lauded for all the wrong reasons — for its subject matter and its polish delivery instead of for the quality of its form. The show reminds us just how far away we have moved from demanding that an artist not merely have something to say but also that she has the visual vocabulary with which to say it.
Ms. Walker has said that her father who is a painter talked to her about "push and pull in the use of graphite.
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