Kara Walker
Salvation
1999
Scroll
Kara Walker
Salvation
1999
Physical Qualities
Cut paper silhouettes, overhead projector, color transparency, Overall: 3658 x 4877 mm. (144 x 192 in.)
Credit Line
Friends of Modern Art Fund
Object Number
2001.14
2001.14.1: color transparency; 2001.14.2: maquette for transparency (collage of paper with graphite drawing, colored polyester film, and glassine; 2001.14.3a-k: silhouette (white chalk on black paper with transparent paper); 2001.14.4a-k: stencil on white card. [Template master for paper; film master for overhead projector; certificate authenticated by artist. Original cut paper by artist.]
The Baltimore Museum of Art by purchase, 2001; Brent Sikkema, New York, NY
A Color Called Freedom: William Kentridge/Kara Walker
How Do We Know the World?
'Look Away! Look Away! Look Away!,' Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, 9/23-10/22/1995, pp. 5-28.
Jerry Saltz, 'Kara Walker Ill-Will and Desire,' 'Flash Art,' Nov.-Dec. 1996, pp. 82-86
Hamza Walker, 'Cut it Out,' Renaissance Society Exhibition Catalogue, 1997 'Kara Walker: Upon My Many Masters,' 'New Work,' San Francisco Museum of Modern Art, 2/14-5/13/1997.
Dan Cameron, 'Kara Walker, Rubbing History the Wrong Way,' 'On Paper', Sept.-Oct. 1997, pp. 10-14.
Alex Alberro, 'Kara Walker,' Index Magazine issue 2, February, 1996
PARKETT, volume 59, 2000: Elizabeth Janus, "As American as Apple Pie",pp.139-142; Gwendolyn Dubois Shaw, "Final Cut", pp. 129-132; Hamza Walker, "Nigger Lover or Will There Be Any Black People in Utopia?", pp. 152-158.
Hamlin, Amy K. "Kara Walker's Mourning Play." Oxford Art Journal 41, no. 1 (March 2018): 101-118, https://doi.org/10.1093/oxartj/kcx040.
'In The Spotlight,' 'BMA Today,' March/April 2002, p.8, ill.