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[AC] Mead Art Museum at Amherst College; [HC] Hampshire College Art Gallery;
[HD] Historic Deerfield; [MH] Mount Holyoke College Art Museum; [MH SK] The Joseph Allen Skinner Museum at Mount Holyoke College; [SC] Smith College Museum of Art; [UM] University Museum of Contemporary Art at UMASS Amherst

 


Maker(s):Walker, Kara Elizabeth
Culture:American (1969- )
Title:Buzzard's Roost Pass, from the series Harper's Pictorial History of the Civil War (Annotated)
Date Made:2005 plate; 2005 print
Type:Print
Materials:Offset lithograph and silkscreen on Somerset textured paper
Place Made:North America; United States; New York; New York City
Measurements:Frame: 58 in x 44 in x 2 1/4 in; 147.3 cm x 111.8 cm x 5.7 cm; Sheet: 53 in x 39 in; 134.6 cm x 99.1 cm; Image: 42 7/16 in x 28 1/4 in; 107.8 cm x 71.8 cm
Narrative Inscription:  SIGNATURE: recto lwr. r. (pencil): KW ; DATE: recto lwr. r. (pencil): 2005 ; EDITION NUMBER: recto lwr. r. (pencil): 1/35 ; ACCESSION NUMBER: verso lwr. r. (pencil): 2012.14.4 ; INSCRIPTION: verso lwr. r. (stamp in amber ink): [illegible] (inscribed in circle)
Accession Number:  MH 2012.14.4
Credit Line:Purchase with the Susan and Bernard Schilling (Susan Eisenhart, Class of 1932) Fund and the Belle and Hy Baier Art Acquisition Fund
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Description:
Four silhouettes of detached body parts of a girl - a left hand and forearm in the margin above the rest of the image; a head with hair in short braids, each tied with a bow, with angular wound-like holes in the silhouette; and two disembodied breasts - printed over a landscape with a column of soldiers marching on foot, an officer sitting on a horse, and a cannon firing in the foreground. In the background is a narrow pass between two mountains with smoke rising up from it.

Label Text:
Contemporary artist Kara Walker’s work reminds us of the inherent subjectivity of historical perspective. This work is one of 15 prints belonging to Walker’s powerful series in which she enlarges selected images from two volumes of Harper’s Pictorial History of the Civil War (1866–68) and then “annotates” them by superimposing her signature silhouettes, thereby disrupting the original narrative. Walker inserts issues of racial stereotypes, slavery, gender, and the violence of oppression otherwise absent in these mid-19th century representations.

-Ellen Alvord, Weatherbie Curator of Education and Academic Programs, Mount Holyoke College Art Museum (Sept. 2016)

6 Related Media Items

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