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Да, на это произведение искусства все еще распространяется действие авторского права.

GLUKLYA / Natalya Pershina – YakimanskayaBorn in Leningrad (now St. Petersburg), Russia, in 1969.She lives and works in St. Petersburg and Amsterdam, The Netherlands.Russian artist GLUKLYA states her aim plainly: “The place of the artist is by the side of the weak.” These words belong to the manifesto of Factory of Found Clothes (FCC), the artist collective she cofounded with Tsaplya (Olga Egorova) in St. Petersburg in 1995. FCC’s recurring motif of a diminutive white dress in early performances and actions conveyed the qualities—acceptance of fragility and brazenness—that FCC perceives as decisive in attaining social justice. In FCC, GLUKLYA has whetted her sewing needles on the Soviet Union’s failed promise of female emancipation through equal labor that reinforced tropes of ideal masculinity through strength and domination. More recent FCC performances, installations, workshops, and videos extend to vulnerable social groups, particularly unskilled migrants from former Soviet republics and pensioners. This shift accompanies GLUKLYA’s transition to the helm of FCC in 2010 and her participation in the leftwing intellectual platform Chto delat? (What is to be done?) since 2003. FCC’s video installation Wings of Migrants (2012) brings together professional Russian dancers with illegal migrants from Central Asia working in construction to create a performance. As the gestures of Russian high art and punishing physical labor contaminate and enrich one another, a choreography emerges that negotiates the path to greater empathy on both sides. The video closes with one of the workers casting off his uniform and abandoning the dilapidated construction site for a self-determined, if uncertain, future.\t FCC’s ongoing performance Utopian Clothes Shop (2004–) translates the stories of individuals, often young women, into words or images emblazoned across items of clothing, or sometimes concealed in their linings or tucked under flaps of fabric. In 2012, GLUKLYA transformed this project into a public action titled Clothes for the Demonstration (2012) that challenged the legitimacy of Vladimir Putin’s reelection to president. The vestments that had once disclosed private hopes and fears became public banners demanding recognition and change. If GLUKLYA’s earlier practice of collaborating in intimate, private settings was a means of protest and a mode of survival shared with other artists who came of age under Communism, then Clothes for the Demonstration suggests that today, in striving for social and political transformation in Russia, one must be seen to be heard.

Биография художника

Kara Walker: Unearthing Histories Through Shadow and Silhouette

Kara Walker is a singular voice in contemporary art, a name synonymous with unsettling beauty, potent social commentary, and the masterful manipulation of silhouette. Born in November 1969, her work has consistently challenged viewers to confront uncomfortable truths about race, gender, sexuality, violence, and the enduring legacy of American history. Walker’s journey from early explorations of photography and drawing to her now-iconic room-sized tableaux is a testament to her evolving artistic vision – one deeply rooted in research, meticulous craft, and a willingness to grapple with difficult subjects.

Early influences shaped Walker's distinctive style. Growing up in Atlanta, Georgia, she was immersed in the rich tapestry of Southern folklore, particularly the traditions of storytelling and visual representation that often served as both entertainment and reinforcement of social hierarchies. This environment fostered a keen awareness of power dynamics and the ways in which narratives are constructed – a sensibility that would become central to her artistic practice. Her initial explorations involved photography, specifically documenting the architecture and landscapes of the American South, but it was through the medium of cut paper silhouettes that she truly found her voice.

The Rise of the Silhouette Room

Walker’s breakthrough came with the creation of her “Darkytown Rebellion” series in the 1990s. These monumental room-sized installations, often described as "shadow plays," are constructed entirely from black cut paper silhouettes depicting scenes of antebellum slavery and its aftermath. The figures, rendered in a deceptively elegant style reminiscent of 18th-century portraiture, are placed within meticulously recreated interiors – grand ballrooms, opulent plantations, and unsettlingly familiar domestic spaces. The stark contrast between the delicate beauty of the silhouettes and the brutal realities they represent is profoundly disturbing, forcing viewers to confront the complexities of American history without offering easy answers or comfortable resolutions.

Technique: Walker’s process is incredibly labor-intensive. Each silhouette is painstakingly cut by hand from black paper, a meticulous and time-consuming undertaking that underscores the dedication and precision required to execute her ambitious installations.
Scale & Immersion: The sheer scale of these room-sized environments creates an immersive experience for the viewer, drawing them into the narratives depicted within.
Symbolism: Walker’s use of silhouettes is not merely a stylistic choice; it's a deliberate strategy to strip away individual identities and focus on broader themes of power, oppression, and representation.

Critical Acclaim and Artistic Recognition

Walker’s work quickly garnered critical acclaim and significant recognition. In 1997, at the age of 28, she received a MacArthur Fellowship – often referred to as a “genius grant” – a remarkable achievement for an emerging artist. This award not only provided financial support but also served to elevate her profile within the art world and solidify her position as one of the most important contemporary artists working today. Her work has been exhibited extensively in museums and galleries around the globe, including the Tate Modern in London, the Museum of Contemporary Art in Chicago, and the Whitney Museum of American Art in New York City.

Beyond the Silhouette: Expanding Artistic Boundaries

While her silhouette installations remain Walker’s most recognizable work, she has consistently expanded her artistic practice beyond this singular medium. She has created prints, drawings, films, and performance pieces that explore similar themes of race, gender, and violence, often employing a wider range of materials and techniques. Her recent projects have delved into the history of American tourism and the construction of racial stereotypes, further demonstrating her commitment to challenging dominant narratives and prompting critical reflection.

A Legacy of Confrontation and Complexity

Kara Walker’s art is not designed to provide easy answers or comfortable viewing experiences. Instead, it demands engagement, provocation, and a willingness to confront the uncomfortable truths about American history and its ongoing impact on contemporary society. Her work serves as a powerful reminder that silence is complicity and that confronting difficult histories is essential for building a more just and equitable future. As an artist who continues to push boundaries and challenge conventions, Kara Walker remains a vital voice in the 21st century art world, ensuring that the stories of the past continue to resonate with urgency and power.

natalia pershina-yakimanskaya

1969 - , Russia

Основные сведения

Artistic Movement Or Style: Silhouettist, installation artist
Artists Or Movements Influenced By This Artist: ['Fons Americanus']
Artists Who Influenced This Artist: ['Augustus Saint-Gaudens']
Date Of Birth: November 26, 1969
Full Name: Kara Elizabeth Walker
Nationality: American
Notable Artworks:
- Darkytown Rebellion
- no place (like home)
Place Of Birth: United States

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