Kara Walker

“As a child, I was subjected to a lot of spaghetti Westerns and hated them. I wanted the Indians to win - or just not be so sad!”

“I have no interest in making a work that doesn't elicit a feeling.”

“I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.”

“I know that in my family there are histories of violence that are internal family things and that are oftentimes dealt with internally. By internally, I mean inside the family group, but also partly inside ourselves. You know, self-hatred and hostility and rage and this cycle that won't break.”

“I took a political stance early on, but I don't think my work is overtly political. I respond to events.”

“To be a truly conscientious artist, you have to look at what's not working and challenge it. You riff on things.”

“Sugar crystallizes something in our American soul. It is emblematic of all industrial processes. And of the idea of becoming white. White being equated with pure and 'true': it takes a lot of energy to turn brown things into white things. A lot of pressure.”

“Challenging and highlighting abusive power dynamics in our culture is my goal; replicating them is not.”

“I really love to make sweeping historical gestures that are like little illustrations of novels.”

“I never learned how to be adequately black. I never learned how to be black at all.”

“I don't know how much I believe in redemptive stories, even though people want them and strive for them.”

“Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.”

“There is something very strange and unsettling for me about making a work that doesn't fit with what's the norm or what's acceptable. There's something both liberating about it and challenging. I can imagine it doing more harm than good.”

“It feels like a game, this work I do. It is totally heartfelt, and I love the sticky terrain, the straight-up cartoons, how the irrepressible and icky rise to the surface. But I am not just trying to call forth bugaboos and demons for the sake of it, for fun.”

“There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.”

“I'm a sponge for historical images of black people and black history on film.”

“I knew I wanted to be an artist, but I didn't really know what it was I wanted to say.”

“My work is really abject and self-effacing sometimes. I mean, it's big and overwrought, but it's just paper dolls, and it's kind of silly.”

“A lot of what I was wanting to do in my work and what I have been doing has been about the unexpected... that unexpected situation of wanting to be the heroine and yet wanting to kill the heroine at the same time.”

“I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.”