Precarious Dialogues with “Inner Plantation” in Kara Walker’s Silhouette and Sculpture Installations

84 PRECARIOUS DIALOGUES WITH “INNER PLANTATION” IN KARA WALKER’S SILHOUETTE AND SCULPTURE INSTALLATIONS Valeriya Sabitova DOI: https://doi.org/10.14712/2571452X.2022.64.6 Abstract: With reference to the traumatic legacy of slavery, this article analyses two works of American contemporary painter, silhouettist and installation artist Kara Walker: The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven (1995) and A Subtlety, or The Marvelous Sugar Baby: an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plan (2014). The article, through the analysis of capitalization on stereotypes as an artistic strategy, argues that Walker not only moves beyond common cultural and representational paradigm of dealing with trauma and violence of slavery but also targets the process of internalization of a paradigm per se. Positing historical references against the ambiguity of her images and against the reaction of contemporary audience, Walker uses the theatrical potential of gallery and installation space, not merely immersing the viewers into her artwork but exposing the trauma and violence of slavery as subsumed by their representation. Such elusive boundaries which Walker terms “inner plantation” are taken as a point of departure for the analysis. Keywords: culture, representation, stereotype, trauma, violence, Kara Walker, audience, silhouette, installation, affect Having brought the archive of her drawings and writings to Basel and Frankfurt for the exhibition Kara Walker: A Black Hole Is Everything a Star Longs to Be in 20212022, American contemporary painter, silhouettist, print-maker and installation artist Kara Walker (1969), in conversation with Anita Haldelmann, a curator at the Kunstmuseum Basel, refers to an artistic endeavour as a form of colonialism. The artist’s control over the page or the canvas makes him, according to Walker, “the holder of a kind of manifest destiny [with] colonialist attitude” to canvas whose Precarious Dialogues 85 space is at the artist’s complete disposal.1 According to Walker, it is exactly the desire to overcome this artistic colonialism that has brought her beyond drawing and painting to cutouts and installations: “I also wanted to understand in what ways the painting or the paper or the substrate might come after me, might resist my attempts to ensnare it in my own sort of grand design.”2 Walker also refers to her turn to silhouettes as “a game” played to maintain “control over having a voice and improvisational resistance to doing what is expected or necessary.”3 Having found for herself a unique medium in silhouette in the 1990s, Walker claimed that making silhouettes “simplified the frenzy [she] was working [herself] into [and] created the outward appearance of calm.”4 However, the calm that the artist seemed to derive from the medium was by far the affect that Walker’s silhouettes produced. In regards to Walker’s 1997 exhibition of The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven (1995) spread across the gallery space in cycloramic fashion, Shaw notes that an attack on the cliches and stereotypes about plantation life [as] a part of the popular understanding of the past [was] a moment of communal visuality in which the act of viewing within the space of the gallery became a spectacular spectacle, a cyclical scopic activity in which museum patrons watched other museum patrons watching them back.5 Kara Walker’s capitalization on the racist stereotypes of the “Mammy,” the “Uncle Tom” and the “Nigger Wench” re-positions the readings of slave’s and master’s bodies against the fringes of the critical discourses focused on slavery. Affective economies associated with the representation of these, to some extent, not only evolve at the boundary of the unrepresentable but also between what Jacques Rancière terms representative and aesthetic regimes of art.6 It is from this 1 Kara Walker, “Artist Talk with Kara Walker,” interview by Anita Haldemann, Kunstmuseum Basel, 4 June 2021, 22:08, https://www.youtube.com/watch?v=7jZyg7nOkcc&t=6s. 2 Walker, interview 22:38. 3 Walker, interview 23:10. 4 Gwendolyn Dubois Shaw, Seeing the Unspeakable: The Art of Kara Walker (Durham, NC and London: Duke University Press, 2004) 13. 5 Shaw, Seeing the Unspeakable 1. 6 In the essay “Are Some Things Unrepresentable,” Jacques Rancière distinguishes among the “representational” and the “aesthetic.” The representational regime of art is based on the relationship of mimesis to poiesis and aesthesis necessary for the adjustment of the visible (experienced) to speech (means of representation) and of the reality to the image. Valeriya Sabitova 86 perspective of seemingly neat distinction of two regimes of art that Walker’s work launches its own regime of indeterminate nature, a fringe, which transcends not merely representational economy (a part, if not an essential space of culture) but the notion of economy and regime per se in the movement towards the interstices and liminal connections between the allowed and the prohibited, the conceivable and the imaginable, the accepted and the rejected, the praised and the condemned. Dwelling at the very heart of traumatic historical heritage and, therefore, of cultural presuppositions and stereotypes, these precarious interstices capitalize on the reference to such history but in doing so, Walker attempts to demolish what she refers to as “inner plantation” – “a godlike game we artists play with our canvases forcing color and figures and allegories to do our bidding, as if they had no will of their own.”7 In other words, “inner plantation” represents culturally mediated stock categories – those of trauma, victimization and testimony – that are part and parcel of the colonizing attitude towards art. It is within this “inner plantation” that the liminal connections within multiplicity become bound to the unifying dynamics of cultural production. It is within such “inner plantation” perspective that Walker’s fellow artists and critics have initially reacted to her work with outrage. One of the most infamous responses to Walker’s works is that of the once avant-garde African-American assemblage artist, Betye Saar. Her letter campaign against the display of Walker’s works characterized the latter as “derogatory and racist,” questioning the “validity of a black person’s attempt to reclaim and reverse racist imagery through irony” and claiming that “Kara is selling us down the river.”8 Over time, the critical discourses surrounding Walker’s œuvre have evolved towards, in Darby English’s terms, the necessity to perceive art in its multiplicity and avoid generalizations.9 Vouching for such multiplicity through the dialogues The notion of “unrepresentable” is only conceivable within this regime, which poses the issues of compatibility of “the surplus of presence” of the repeatable representation versus the gravity of the actual and singular event. On the other hand, the aesthetic regime of art, poses “an equality of the visible” making “all subjects [available] for any artistic form whatsoever.” See Jacques Rancière, “Are Some Things Unrepresentable?” The Future of the Image, trans. Gregory Elliott (London and New York: Verso, 2007) 112-18. 7 Darby English, “A New Context for Reconstruction: Some Crises of Landscape in Kara Walker’s Silhouette Installations,” How to See a Work of Art in Total Darkness (Cambridge, MA and London: MIT Press, 2007) 97. 8 Shaw, Seeing the Unspeakable 15. 9 Darby English writes about the dangers of generalization in art, and in the works of Black artists, in particular: “Assessments of what Black artists do overwhelmingly boil Precarious Dialogues 87 to “inner plantation” of her own and of the audience, the materiality of Walker’s art, according to English, calls for opening up “a remarkably capacious blackness: quite literally discolored, commingled with contraries, contradictorily populated, the yield of certain theatricalization […] not, at last, by reference to a foreknown certainty such as ‘the black artist’ or a ‘black experience.”10 Thus, referentiality to “blackness” as a discursive construct and theatricality in its performative connection to the visual launch in Walker’s work what Gwendolyn Shaw refers to as “a cyclical scopic activity.” I would like to suggest that Walker’s art as “a game of resistance” strives beyond paradigms in a broader sense: the paradigm of historicized slavery and historicization, the paradigm of culturalized notions of trauma and victimization, and the paradigm of cultural production. What allows for this “game of resistance” and what consequences it bears is thus a focus of the present consideration of Walker’s two installations – The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven (1995), hereafter The Grand Tableau, and A Subtlety, or The Marvelous Sugar Baby: an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plan (2014), hereafter A Subtlety.11 Through the analysis of these works, it is argued that Kara Walker’s use of referentiality and ambiguity in the case of The Grand Tableau and the point of contact in the case of A Subtlety foreground culture as the medium of one’s “inner plantation.” Staging Ambiguous Referentiality in The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven The Grand Tableau is a black and white wall-size silhouette installation featuring six scenes. The first from the left is described as featuring three similarly looking down to one or two things: they show us things about ourselves, or they show other things about us. Once upon a time, this discursive bondage, this limitation, was externally imposed: it was a way for anti-Black racism to keep the conceptual and practical ranges as narrow as possible. Today we produce it internally, replicating in our own image a situation where the range of subjects Black artists can speak to is shockingly narrow – far narrower than their actual engagements indicate […].” In this sense, English already foregrounds the reductive frame of cultural discourses imposed on Black artists. Darby English, “Art Historian Darby English on Why the New Black Renaissance Might Actually Represent a Step Backwards,” interview by Folasade Ologundudu, Artnet, 26 February 2021, https://news.artnet.com/art-world/darby-english-1947080. 10 English, How to See a Work of Art in Total Darkness 2. 11 Images of Kara Walker’s works are available at http://www.karawalkerstudio.com. Valeriya Sabitova 88 bare-breasted slave women mutually nursing each other and ignoring the infant trying to get fed. This act of self-indulgence and neglect, if not rejection, of maternal action, according to multiple critical readings, counteracts female slave body stereotype at the origin of the “Mammy” image. Another scene with the motives of sadomasochism and defecation depicts a woman, usually described as a young mistress, with an axe blade turned backward and surrounded by a slave girl with a sharp-ended stick, a naked boy holding a small basket and a boy in the far left midstride in the act of defecation. Next scene features the silhouette of a bent adolescent girl described as being raped by a legless master character whose enormous belly rests on her back. The merging of two figures whereby the legs of the slave girl substitute the man’s missing limbs is interpreted by Shaw as the victim’s “taking in the body of the oppressor [and] becoming one with him.”12 In the fourth scene, the mature male slave bends in prayer as a cord connects his anus to the baby underneath him. The scene itself is characterized by Shaw as uncanny mirror reflection of the previous one, whereby the praying slave mirrors the master who preys on his victim.13 Critical interpretations of these scenes point towards transgression within clearly preserved boundaries of the spaces of victimhood and perpetration. Preservation of such boundaries is at the origin of cultural stereotypes and reductive attitude to representation of victimhood and perpetration, which are seen only content-wise rather than in their wider discursive implications for posing questions regarding cultural production. To make a move from the content of The Grand Tableau, its several features should be noted in addition to the ones widely analyzed. First and foremost, it is the semi-cycloramic shape and wall size dimensions of this installation. The latter makes the silhouette figures either life-size or larger than the figures of the audience. The cycloramic shape of the installation functions by analogy with cyclorama curtain in theatre forming a partial background for the stage and by such an enclosure bringing the stage to the full visual focus. Analogously, it may be argued that cycloramic shape in this particular case creates a so-called stage decoration for the gallery where viewers do not simply behold the work of art but are also positioned side by side with the silhouette figures on almost equal footing, as for example, an actor’s body will be positioned against cycloramic background stage decoration depicting other figures. Finally, the juxtaposition of the scenes involving black silhouettes on the white canvas does not prescribe any direction of reading the scenes or connecting them into a sequential narrative. With a certain degree of reservation, it may be claimed that the scenes of child sexual abuse by 12 Shaw, Seeing the Unspeakable 58. 13 Shaw, Seeing the Unspeakable 58. Precarious Dialogues 89 the armed adults are in the centre of the installation, but such an attempt may already be an imposition of a certain reading. These three significant features – the shape, dimension, and fragmentary nature of scenes on the tableau foreground the mechanism of Walker’s attempt to transcend the paradigmatic cultural conception of slavery and her work representing it. The notion of the paradigm becomes an essential element in approaching Walker’s work. Zygmunt Bauman in Culture in a Liquid Modern World (2011) notes that culture “[as] a catch word and a call to action” had evolved from Enlightenment’s project of being “an agent of change” and currently reached the stage of “liquid modernity [when] none of the consecutive forms of social life is able to maintain its shape for long” and none of them are, no matter how solid or improved, “resistant to melting.”14 For Bauman, culture today – resembling Lyotard’s conceptualization of the metaphysics of development15 – is a postparadigmatic phenomenon with the dynamics of a game.16 The concept which unites the two theorists of culture is the mediating nature of the point of contact between the elements in a network making such point of contact an element in itself. According to Bauman, “it is praiseworthy and in itself admirable quality of cultural supply in a society in which networks replace structures, and an uninterrupted game of connecting to and disconnecting from those networks and the never-ending sequence of connections and disconnections replace determination, allegiance and belonging.”17 For a network to function in the mode of connecting and disconnecting sequences, it should be based on the points of contact and referentiality. Herein, Bauman’s notion of “uninterrupted game of connecting and disconnecting” networks mirrors Walker’s attempt at “a game of resistance” to what is expected from her as an artist. The way to resist such expectations initially presupposes bringing them to the spotlight, then blending them into the art, and finally theatrically exposing both actions, i.e., showing, not telling. These steps – referentiality, ambiguity and theatricality – are exemplified by critical responses 14 Zygmunt Bauman, Culture in a Liquid Modern World, trans. Lydia Bauman (Oxford: Polity Press, 2015) 3-7. 15 Lyotard claims that “[d]evelopment is not attached to an Idea, like that of the emancipation of reason and of human freedoms. It is reproduced by accelerating and extending itself according to its internal dynamic alone. It assimilates risks, memorizes their informational value and uses this as a new mediation necessary to its functioning.” Jean-Francois Lyotard, The Inhuman: Reflections on Time, trans. Geoffrey Bennington and Rachel Bowlby (Cambridge: Polity Press, 1991) 8. 16 Bauman, Culture 11-13. 17 Bauman, Culture 14. Valeriya Sabitova 90 to Walker’s “game of resistance” when transgression and violence in art are welcomed because they reveal the horrors of slavery, yet there is a certain demand for adjustment of the representation of trauma to the boundaries of cultural perception of such trauma as being unrepresentable. Here, referentiality and ambiguity sustain “inner planation” of the cultural stereotype; in Walker’s “game of resistance,” they attack it. In the essay “Are Some Things Unrepresentable?” Rancière claims that the concept of the unrepresentable appears within the representational regime of art as a result of unavailability of “a form of material presentation […] adequate to the idea; or, conversely, a scheme of intelligibility equal to its material power.”18 Since the phenomenon of slavery is now reconstructed by historical documents rather than the witnesses, it is hardly possible to access the gravity of the already unmediated event. Therefore, the benchmark of incommensurability of traumatic event and its image turns into the benchmark of incommensurability of the images of traumatic historical legacy and the artistic images.19 In this regard, Rancière’s proposition of the unavailability of a form of material presentation is not a static and self-enclosed phenomenon. It can be conceivable as such only if the event is still temporally accessible with the limited degree of mediation and the high degree of the experiential, i.e., through the witness or a victim. Otherwise, it already represents the residual cultural by-product of an ongoing process representational in nature and at several removes from the experiential. Noting that “ongoing experience frames [one’s] understanding of the world,” Nevitt points towards such a product claiming that the analysis following the reception of violence representation re-configures the meaning of violence consequences based on the consensual agreement of “readability.”20 This readability underlies the operation of the stereotype which English speaks about in relation to reductive readings of “blackness.”21 In other words, silhouette as an artistic means in Walker’s case should be seen, due to iterability and recursion, as reductively 18 Rancière, “Are Some Things Unrepresentable?” 110. 19 This radically revises Rancière notion of the “surplus of presence” which stands for repetitive and recursive presence of the image of a traumatic event counteracting the singularity of the event itself by the “status of unreality” and affective residue of pleasure “incompatible with the gravity of the experience it contains.” Rancière, “Are Some Things Unrepresentable?” 110. 20 Lucy Nevitt, Theatre and Violence (London: Palgrave Macmillan, 2013) 15, 19. 21 “Today we [replicate] in our own image a situation where the range of subjects Black artists can speak to is shockingly narrow—far narrower than their actual engagements indicate […].” English, “Why the New Black Renaissance Might Actually Represent a Step Backwards.” Precarious Dialogues 91 downplaying the event at the origin of representation. However, it downplays the dynamics substituting the representation of trauma with trauma itself. This is not only at the core of quasi-unrepresentability but also at the origin of the mechanism blending sanctification of the victim and sanctification of the representation of the victim. This is the expectation Walker plays against through referentiality, ambiguity and theatricality. Gwendolyn Shaw places Walker’s works against multifarious historical contexts of slave discourses – Harriet Beecher Stowe’s Uncle Tom's Cabin; or, Life Among the Lowly (1852) and J.K. Lavater’s (1741-1801) pseudo-scientific physiognomic theory using silhouettes for character reading – and against the experience of negative critical responses shared with other artists. These allow Shaw to read Walker’s tableau as a transformation of “the elegant silhouettes of southern aristocracy into monstruous specters destroying their cultures in cycles of sadistic anarchy” signifying self-repressed culture of the black bourgeoisie.22 It certainly also justifies David Wall’s reading of Walker’s work as the exposure of “grotesque racial stereotypes [which] engage the taboo-laden territory of racial representation [in] an unsettling confrontation with images of [violence, depravity, and] repeated transgression of sexual, social, and racial codes.”23 However, the nature of such referentiality comes to light if seen alongside the discomforting and alienating but irrevocably captivating ambiguity of the scenes. For example, the first scene interpreted by many viewers as a circular selfindulgence of three women ignoring an infant who needs to be fed, may be read in quite the contrary way: the infant is fed by one of the women who are not involved in circular, but rather in sequential, self-indulgence. The furthest and the closest women do not complete the circle but incorporate the child into the sequence. Additionally, the third scene most often read as the depiction of the sodomized girl is interpreted analogously to the last scene where the child lies on the ground connected through cord to Uncle Tom’s anus. However, in addition to the fact that no indication is given that the bent figure is a girl, the figure may also not be considered as bent but rather as appearing out of so-called master’s body – still an analogy with the fourth scene, but a different one. I want to argue that through such ambiguity, Walker, despite the violent nature of depiction, 22 As such Shaw claims that Walker’s “carnivalesque vision of an abject world consumed by violence and perverse sexuality flies in the face of the self-repressed artistic culture of the black bourgeoisie represented by the Friends of African and African American Art in Detroit.” Shaw, Seeing the Unspeakable 122. 23 David Wall, “Transgression, Excess, and the Violence of Looking in the Art of Kara Walker.” Oxford Art Journal 33, no. 3 (2010): 279. Valeriya Sabitova 92 abandons discursive discrimination of borderlines and uses the figures to foreground that violence and trauma are part and parcel of a cultural myth for both the master and for the slave. According to Shaw, Walker’s art points towards the “lack of solidarity with the aims of a specific segment of the African American middle class,” as well as towards the “complicated distortions of cultural history [which The Grand Tableau] resurrects and reenacts [as] a phantasm of inherited guilt over slavery that many Americans have long tried to reconcile in a rush to declare a race-free society.”24 Walker seems to refuse discursive and cultural boundaries in relation to perpetrators and victims of violence, placing out in the open the operations of cultural stereotyping through the ambiguity of these scenes. Theatricality can be seen in Walker’s use of exhibition space. The gallery space itself becomes the exhibition through the use of wall which blends with the dimensions and the shape of the canvass. I have already mentioned the theatrical implications of the latter. In addition to it, the size and dimension of the wall installation immerse the audience into a variety of terrains by blending the boundaries between the space, the artwork, and the audience. Enclosing the gallery wall, the installation interferes with the gallery space. Not framing the scenes individually as a painting would do using frame as a boundary, and instead juxtaposing the scenes on uninterrupted canvas blended with the wall of the gallery, The Grand Tableau subverts the temporal abyss separating the modern viewer from the traumatic legacy by immersing one into the stage set of the gallery and then upsetting the concept of witness. Through reference and ambiguity, the theatrical use of the gallery space turns the witnessing of the representation of slavery into the questioning of the mechanism of cultural production of stereotypes and art, refracting these two through the prism of each other. The white space of the wall as an absence of the ground requires active imagination and clear understanding of the borderline between the event and its cultural mediation.25 Therefore, Walker’s work calls for realization of the difference 24 Shaw, Seeing the Unspeakable 121. 25 This is what Darby English implies by claiming that “Walker’s removal of the ground is in effect what separates the inner plantation from the real one. It is how the tableaux’s characters escape actual confusion with subjects located concretely in the world […]. Too, it is how the tableaux escape the perjury charge so frequently levelled at their ‘distortions’ of the slaves’ truths. It is how Walker’s tableaux organize themselves into a strikingly appropriate way to depict a contemporary cultural landscape where the most pleasurable, terrifying, and consequential relations that occur between subjects do not take place on the ground at all. It specifies the tableaux’s critique by grounding its object in the domain of the symbolic, in its generative play of surfaces.” English, “A New Context for Reconstruction,” 129-30. Precarious Dialogues 99 extent, pave the way towards the condition of pluriverse posited by Mignolo as “a universal project aimed not at changing the world (ontology) but at changing the beliefs and the understanding of the world (gnoseology).”47 Conclusion Placing the discourse of slavery in dialogue with artistic representation, Kara Walker creates a very specific cultural product: an a-paradigmatic image whose tensions and intensities capitalize on discursive stereotypes of racial and colonial narratives but through such capitalization stage the resistance from within. Using discursively and stereotypically burdened media of colour (black and white) and material (sugar), along with culturally and historically laden phenomena of trauma, victimization and violence, she aims at liminal connections between the allowed and the prohibited at the origin of the substitutive impulse equalizing traumatic historical heritage to its representation. Using the notion of “inner plantation” for culturally internalized expectations, the artist places herself, her work, and her audience within the boundaries hard to discard, then pushes towards the disposal of such boundaries, and eventually translocates these processes onto the stage of gallery space and a warehouse. Being a ‘colonizer’ within such artistic space is an option neither for the artist nor for her audience. BIBLIOGRAPHY Ahmed, Sara. The Cultural Politics of Emotion. Edinburgh: Edinburgh University Press, 2014. Bauman, Zygmunt. Culture in a Liquid Modern World. Translated by Lydia Bauman. 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