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, she wrote in her familiar, mock-serious yet dead-serious tone that she was “tired of ‘having a voice’ or worse ‘being a role model’ ” and of “being a featured member of my racial group and/or gender niche.” But Ms. Walker’s desire to stand down from the demands of her particular brand of fame has not made her stand down in her art, which is as disturbing and challenging as ever, if not more so. “The (Private) Memorial Garden of Grandison Harris,” with Sumi ink on paper collaged to linen with oil stick, is part of Ms. Walker’s new show at Sikkema Jenkins in Manhattan. Credit Jake Naughton for The New York Times Honing more insistently to her longtime theme — the bitter legacy of slavery in the United States — the works in this assured exhibition unequivocally enter new territory. Narratively, they land solidly where Ms. Walker has only lightly tread: the remorseless, racialized American present, which is suffused with the death rattle of white male domination and its multiple bigotries. Visually they find the artist returning fully to two dimensions after her triumphal public sculpture, “A Subtlety, or the Marvelous Sugar Baby,” the monumental and vexatious sugarcoated woman-sphinx of 2014. Now she is pushing with new rigor at the boundaries of her primary medium and material — drawing and paper — merging collage, political cartoon and history painting, and this gives her story line more force. The show is a brawl of works on paper that has as much the feeling of a studio visit as an exhibition.
For the original version including any supplementary images or video, visit https://www.nytimes.com/2017/09/07/arts/kara-walker-sikkema-jenkins.html
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