"Kara
Walker: Excavated from the Black Heart of a Negress," July
16-Sept. 28, 2003, at the Studio Museum in Harlem, 144 West
125th Street, New York, N.Y. 10027
Kara Walker's wall works are a kind of cakewalk -- "a musical
promenade of black American origin with the prize of a cake
awarded to couples who demonstrated the most intricate or
imaginative dance figures and steps," according to the
dictionary.
They certainly take the cake for imaginative brilliance and
strutting wit, but what's the ideological point, beyond the
fancy art footwork, for doing a cakewalk these days? The civil
rights surge of the 1960s has passed into history. Prejudice
remains -- against Asians, Jews, women and gays as well as
blacks -- and, these days, perhaps most of all against
heterosexual white males, but there's no special pleading on
their behalf.
The daunting task of social integration remains unfinished,
and is likely to remain unfinished, considering the regressive
need for scapegoats and human hostility in general. But the
place of blacks in American society has changed for the better
-- Colin Powell, Condolezza Rice and the heads of Coca Cola and
AOL suggest as much (they seem more than establishment tokens)
-- however many problems remain for them.
And for every other minority: and who isn¹t a minority these
days of social fragmentation, conflict and incoherence? Thus,
Walker's mural -- and the clever "footnotes" that accompany it
on small index cards on the wall across the way (many rather
arch, even stilted jokes) -- with its plantation-imagery, has a
socially retardataire feel, for all its irony. The images of
blacks and whites -- all the figures in the mural are pitch
black silhouettes, adding an ironical twist to its "black" humor
and minstrel show look -- seem peculiarly quaint, whatever the
morbid atmosphere generated by the intense blackness, which
seems even more exhibitionistic and confrontational than the
subtly nightmarish "figures of fun."
Walker's work is certainly high drama, weirdly tragicomic,
with a deft narrative twist, but it has less to do with social
reality than black rage, resentment and bitterness. The mural
suggests a futile attempt -- or is it a deliberate refusal? --
to come to terms with past history, suggesting that there is a
regressive dimension to the sense of being a victim.
Walker seems obsessed with the past, as though to preclude a
vision of the future, perhaps because it is a generalized
American future rather than a specifically black one. Is she
holding on to black difference in defiant fear of American
sameness (which is more of a myth than reality)?
Oddly enough, it is because of this obsession that she seems
to turn black suffering into a parody of itself, unwittingly
reinforcing the stereotypes she parodies. Paradoxically, the
means she uses to subvert the representation of blacks seems to
reify it.
I am suggesting that Walker's art is much more interesting
for what it tells us about her psyche than for its ideology --
its political correctness, filtered through intellectually
correct irony -- and much more important for what it tells us
about Walker's artistic cunning than for what it tells us about
her in-your-face "attitude."
Walker's mural is, perhaps first and foremost, a surreal
dream picture, enigmatic and absurd however burdened by populist
clichés. It is not the dream Martin Luther King had, but of
private suffering -- more generally human than particularly
black -- given a public veneer. The mural treads, with
surefooted ingenuity, the tight wire between abstraction and
representation.
It is a kind of magic lantern show -- an ironically
old-fashioned slice of filmic life, as it were. It is
meticulously executed directly on the wall, and as flat as the
wall, like a Sol LeWitt wall drawing, giving it a transience --
it will be painted out after the exhibition -- which confirms
its dreamlike character, and the index cards are incidental
language pieces, executed with an old-fashioned typewriter, it
seems, unwittingly suggesting Walker's regressive, obsolete
ideology.
The installation as a whole is a kind of pastiche spectacle
-- a theater of the absurd, in which the spectator, standing in
the center, is assaulted by a buckshot of texts and overwhelmed
by the big screen-size image. The change in scale, medium and
import is disorienting, adding to the sense of victimization:
one is forced to identify with blacks -- forced into their
position. The figures and jokes are amusing however macabre, and
the installation as a whole is moralizing, and meant to instruct
us in the social truth by provoking painful emotions.
But I have to say I experienced no pity and terror -- no
catharsis despite the stressful drama -- nor did I feel
particularly enlightened with new insights into the situation or
mentality of black America, if there is any single situation or
frame of mind that defines it (doubtful).
I am suggesting that Walker's work is an ideological failure
and intellectually inadequate, and hardly as subversive as it
pretends to be, but an artistic success, integrating, with
postmodern verve, familiar modernist modes of art, to exciting
new effect. She puts modernism to new use, giving it a fresh
sense of expressive and esthetic purpose, showing that the
artistic past can be changed, and come to real life, however
much dead social history cannot be.
But her work, however artistically eloquent, remains haunted
by T. W. Adorno's dialectical view of the jazz performer:
It is well known that jazz is characterized by its
syncopated rhythm, thus by a displacement which inserts
apparent beats within the regular measures, comparable to
the intentionally clumsy stumbling of the eccentric clown,
familiar enough from the American film comedies. A helpless,
powerless subject is presented, one that is ridiculous in
his expressive impulses. Now the formula of jazz is this,
that precisely by virtue of his weakness and helplessness
this subject represented by the irregular rhythms adapts
himself to the regularity of the total process, and because
he, so to speak, confesses his own impotence, he is accepted
into the collective and rewarded by it. Jazz projects the
schema of identification: in return for the individual
erasing himself and acknowledging his own nullity, he can
vicariously take part in the power and the glory of the
collective to which he is bound by this spell. [T.W.
Adorno, "Sociology of Art and Music," Aspects of
Sociology, Boston: Beacon, 1972, p. 113].
Ironically, the relentless, intimidating, assertive blackness of
Walker's work seems to represent this self-erasure and nullity.
The imperious blackness is the abyss of history, internalized by
suffering -- black or otherwise -- and as such an ironical
source and marker of identity.
Identity politics art is ultimately about the failure of
identity, for if identity is defined entirely in terms of
collective history and ideological oppression, it is a
confession of self-alienation.