Kara Walker – The Bush. Skinny. De-boning

Sale price€12.500,00

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Kara Walker (American, b. 1969)

The Bush. Skinny. De-boning (Deutsche Guggenheim Berlin Edition No. 19), 2002

Medium: The complete set of three free-standing, laser-cut stainless steel sculptures, painted black

Dimensions of The Bush: 16.5 x 13.7 x 1.6 cm (6 1/2 x 5 3/8 x 5/8 in)
Dimensions of Skinny: 14.6 x 15.2 x 1.6 cm (5 3/4 x 6 x 5/8 in)
Dimensions of De-boning: 11.1 x 10.2 x 1.6 cm (4 3/8 x 4 x 5/8 in)

Edition of 100: Hand-signed and numbered in black ink on a label affixed to the cover of the original box

Publisher: Deutsche Guggenheim, Berlin

Condition: Excellent (sold in the original box)

This artwork ships worldwide.

About this artwork

Kara Walker – The Bush. Skinny. De-boning

Kara Walker’s 2002 sculpture The Bush, Skinny, De-Boning uses silhouetted forms to depict how the violence of slavery reverberates within Black communities. Across three panels, Walker shows a woman turning a hoe against herself, forcing a child to consume a phallic object, and grappling with a dismembered head—each act revealing how internalized trauma and inherited pain take root. The work confronts the impossibility of clean separation from racial violence, suggesting that its legacy persists through both bloodlines and memory.

“Kara Walker’s unwieldy imagination is fixated with race in the starkest and most American of terms, black and white, as they were forged in the ante-bellum South, a time not so long ago in a galaxy called here.” – Hamza Walker, Parkett No. 59, 2000

Kara Walker - Boo-Hoo

About Kara Walker

Kara Walker stands as a trailblazing artist, renowned for her provocative and visually stunning explorations of race, gender, and identity in America. Born in 1969 in Stockton, California, Walker rose to prominence in the 1990s with her distinctive silhouette installations, collages, and prints that challenge historical narratives and reveal the complex layers of American history. Her artwork is characterized by its use of black cut-paper silhouettes, a form reminiscent of 19th-century portraiture that she reinterprets with radical power. By subverting the quaintness of the medium, Walker confronts uncomfortable truths about the nation’s past, particularly its legacy of slavery and oppression.

Her silhouettes, often life-sized and arranged in narrative tableaux, depict unsettling scenes that compel viewers to face the harsh realities of racism and its enduring influence. Walker’s collages and fine art prints reveal a masterful balance of technical skill and conceptual depth. The stark contrast between black and white heightens the emotional gravity of her imagery, drawing viewers into necessary dialogue about race and power. Through her refined use of line, shadow, and composition, Walker invites a layered engagement with history and identity, transforming visual storytelling into a powerful act of cultural reckoning.

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