Kara Walker (American, born 1969). <em>Burning African Village Play Set with Big House and Lynching</em>, 2006. Painted laser-cut steel, 24 x 38 1/4 x 90 in. (61 x 97.2 x 228.6 cm). Brooklyn Museum, Purchased with funds given by John and Barbara Vogelstein and Stephanie and Tim Ingrassia, 2008.53.1a-v. © artist or artist's estate (Photo: Brooklyn Museum, 2008.53.1a-v_detail4_PS4.jpg)

Kara Walker (American, born 1969). Burning African Village Play Set with Big House and Lynching, 2006. Painted laser-cut steel, 24 x 38 1/4 x 90 in. (61 x 97.2 x 228.6 cm). Brooklyn Museum, Purchased with funds given by John and Barbara Vogelstein and Stephanie and Tim Ingrassia, 2008.53.1a-v. © artist or artist's estate (Photo: Brooklyn Museum, 2008.53.1a-v_detail4_PS4.jpg)

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Why is this called a playset?

This work by Kara Walker shows us scenes associated with the Civil War-era South, and deals with gender, race, and sexual dynamics of the time.

The play set aspect is a focus, it creates a work that shows us the possibility of many different narratives. The work presents these possible stories while critiquing stereotypical and racist imagery, and the effect it can have from a very young age. The use of the term “play set” can also be seen as ironic. There are no happy endings to the many narratives that can be created from the set. They all end in tragedy.

Tell me more.

In this work by Kara Walker, she is subverting the original function of 19th century cut-paper silhouettes, which were originally used for genteel portraits of socially prominent individuals. She reinterprets them here to explore relationships based on power. She gathers stereotypical Civil War era imagery of the South – a plantation mansion, enslaved African Americans, confederate soldiers and southern belles. Despite the figures all being "black," you can easily understand the different races and racial stereotypes being displayed.

There are so many different themes being explored here. You have the presence of the stereotypical plantation characters and the presence of the black female sexuality and exploitation of black bodies by white slave owners. The whole thing is also framed as a play set, complicating the discussion by bringing to mind the idea that a child would play with this.

I know Kara Walker has (had?) a larger piece at the MFA Boston. Does she work in both large and small scale?

Yes! Her wall-scale silhouettes are her more famous works, but she has also produced much smaller drawings and works like this "play set."

Got it!

And they are always the black and white silhouettes?

She was been working more lately in other styles and media, but the silhouettes are definitely her "signature" work. It's really interesting, the way she has taken a technique that was so popular in the 19th century and reinterpreted it. These pieces of laser cut steel, of course, mimic cut paper silhouettes.

The idea that runs through her work is the stereotyping of black identity and black history in the United States.

Very signature indeed! The second I walked by this glass case I knew it was her. Thanks!

What is the thing on the woman's head supposed to represent? Is it some sort of fashion accessory?

That's a great question that we have not been asked before. I know that Walker is largely building on known stereotypes and the shape doesn't resemble any accessories I am familiar with. I am looking more into it.

I can't seem to find any commentary on that particular element. However, taking the title "Burning African Village..." into consideration, I would guess that it is smoke.

Oh that makes sense. Thanks!

Burning African Village Play Set with Big House and Lynching

Kara Walker

Contemporary Art

In several mediums, Kara Walker subverts the original function of nineteenth-century cut-paper silhouettes, initially used for genteel portraits of socially prominent individuals. She reinterprets them to create intense explorations of relationships based on power. Here, working in cut steel, Walker gathers into a set the stereotypical Civil War-era imagery of the South—a stately plantation mansion, small huts, enslaved African Americans, Confederate soldiers, and Southern belles.

As she explores afresh the interplay between these familiar elements, Walker’s “play set” seems to suggest that the cast of characters and their settings could be rearranged—creating new narratives that revolve around the continuing issues of oppression and power, race and gender, with a disturbing sense of moral ambiguity.

ARTIST Kara Walker, American, born 1969

MEDIUM Painted laser-cut steel

DATES 2006

DIMENSIONS 24 x 38 1/4 x 90 in. (61 x 97.2 x 228.6 cm) (show scale)

COLLECTIONS Contemporary Art

ACCESSION NUMBER 2008.53.1a-v

CREDIT LINE Purchased with funds given by John and Barbara Vogelstein and Stephanie and Tim Ingrassia

EXHIBITIONS

MUSEUM LOCATION This item is not on view

CAPTION Kara Walker (American, born 1969). Burning African Village Play Set with Big House and Lynching, 2006. Painted laser-cut steel, 24 x 38 1/4 x 90 in. (61 x 97.2 x 228.6 cm). Brooklyn Museum, Purchased with funds given by John and Barbara Vogelstein and Stephanie and Tim Ingrassia, 2008.53.1a-v. © artist or artist's estate (Photo: Brooklyn Museum, 2008.53.1a-v_detail4_PS4.jpg)

EDITION Edition: 16/20

IMAGE detail, 2008.53.1a-v_detail4_PS4.jpg. Brooklyn Museum photograph, 2012

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