
Paper collage, gouache on wood panel (Kara Walker)
Kara Walker is notorious for her titllating and salacious imagery of the antebullum South. However in some of her pieces like this 2007 collage "Somebody Call on Ambivalence" she doesn't aim for shock value but has a more contemplative vien. Piece has a minimal effect as subject matter is only limited to two characters against a stained white background. However the seemingly simple and pristine imagery belies the complexity of painting. The lynched corpse that seem as a sort of sordid decoration effortlessly blend and stain white background which perhaps indict the altruism--whatever it may be--of black woman. Walker keeping with her tradition of simplicity makes a provocative statement while allowing viewer to pause in a deafening and uncomfortable silence.

Wangechi Mutu unlike Walker takes another approach on her collage pieces. She doesn't aim for aesthetic simplicity but instead creates a sumptous visual feast by distorting the human figure. Her collages--which mostly comes from a mixture of porn and high fashion magazines gives her macabre compositions a perverted sexiness and a savage loveliness to paintings. Wangechi somehow manages to both exploit and explore the myths and realities of 'idealized' beauty all the while contextualizing this 'menage a trois' of information overload to further analyze how the African body is treated and percieved visually, culturally and physically in a Western world.

No comments:
Post a Comment