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Born in 1969, Kara Walker is a young African American woman who has established her place in the contemporary art scene. ... The older generation of African American artists who experienced the civil rights era such as Betye Saar, who were fighting the presentations of negative images of black people, was very upset with Walker’s presentation. She believed that Walker stoops to accommodate the White art world to ensure her financial success (MacArthur Foundation Achievement Award), and “circulated a petition that urged the MacArthur foundation to withdraw its ‘genius’ award to Walker” (Corris 430).
The controversy relates to the differences between Kara and the 1960 generation of blacks. ... Walker, on the other hand argues that things are not as simple as Saar’s ways when she tries to “empower Aunt Jemima with guns and hand grenades” (Hobbs, 13) as seen in her work, The Liberation of Aunt Jemima. By romanticizing of slavery in the southern United States, Walker is not accepting herself to the White society that once shared the belief that slavery was justifiable. ... Walker even suggested that “all blacks love slavery just a little bit” (Saltz 86), which were clearly fighting words for many African Americans. ... To Walker, being a slave is being a better fighter knowing how to put up with things. ... Walker suggests that stereotypes have not disappeared: they have only been hidden. ... Using humor, Walker made an effort to help the people to digest the indigestible pain of the past. ... The angry reaction of the older generation of the African Americans to Walker’s candid, and even exaggerated scenes of the painful past can also be related to how the older generations of Koreans are dealing with Japan.
Approximate Word count = 1277
Approximate Pages = 5.1
(250 words per page double spaced)
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