Kara In Black

"Kara in Black takes place January through March of 2003, beginning prior to the invasion of Iraq and finishing three days after the invasion. Eighteen-year-old Kara's older sister, Della, is leaving to join her Army unit and travel to Kuwait to prepare for the possible invasion of Iraq. While Della is proud to serve and proud to be a woman in the Army, is ready to prove herself, and believes in the policies of the administration, Kara, after thinking about such things for the first time in her life, begins to oppose her sister going, and the impending war itself. Their dialog begins as Della is preparing to depart to join her unit and continues by phone up to the night before the invasion. Together with Juanita and Sue Ellen, two of her friends, Kara researches the first Gulf War to try to understand what may occur in this one. As the research continues and questions multiply, a rising chorus of voices opposes Kara: Sue Ellen, other students, Della, Della's best friend Rachel, and, seemingly, the majority of the American people. To understand more about war and its effects on people, Kara talks to Stevens--Juanita's former stepfather--a decorated Vietnam vet who speaks directly from the reality of his combat experience. Kara finds her way to Women in Black, an international organization, begun in Israel, which holds nonviolent vigils protesting violence toward women and children. Motivated by Steven's revelations, her love for her sister, and her budding political sensibility, Kara (with Juanita) decides to open a local chapter of Women In Black to protest the invasion of Iraq. Throughout the play Kara struggles with her feelings of isolation, frustration, fear, ignorance and helplessness to begin to understand her own views and to find the courage--against the opposing voices--to express herself publicly on matters important to her."--Publisher's website.

A serious intellectual engagement with Afrofuturism and the philosophical questions of space and time Queer Times, Black Futures considers the promises and pitfalls of imagination, technology, futurity, and liberation as they have persisted in and through racial capitalism. Kara Keeling explores how the speculative fictions of cinema, music, and literature that center black existence provide scenarios wherein we might imagine alternative worlds, queer and otherwise. In doing so, Keeling offers a sustained meditation on contemporary investments in futurity, speculation, and technology, paying particular attention to their significance to queer and black freedom. Keeling reads selected works, such as Sun Ra’s 1972 film Space is the Place and and the 2005 film The Aggressives, to juxtapose the Afrofuturist tradition of speculative imagination with the similar “speculations” of corporate and financial institutions. In connecting a queer, cinematic reordering of time with the new possibilities technology offers, Keeling thinks with and through a vibrant conception of the imagination as a gateway to queer times and black futures, and the previously unimagined spaces that they can conjure.

An enormous clothbound panorama of Kara Walker's works on paper--all reproduced for the first time This gorgeous 600-page volume provides an exciting opportunity to delve into the creative process of Kara Walker, one of the most celebrated artists working in the United States today. Primarily recognized for her monumental installations, Walker also works with ink, graphite and collage to create pieces that demonstrate her continued engagement with her own identity as an artist, an African American, a woman and a mother. More than 700 works on paper created between 1992 and 2020--which are reproduced in print for the first time from the artist's own strictly guarded private archive--are collected in this volume, thus capturing Walker's career with an unprecedented level of intimacy. Since the early 1990s, the foundation of her artistic production has been drawing and working on paper in various ways. Walker's completed large-format pieces are presented among typewritten notes on index cards and dream journal entries; sketches and studies for pieces appear alongside collages. The result is a volume that allows readers to become eyewitnesses to the genesis of Walker's art and the transformative power of the figures and narratives she has created over the course of her career. Now based in New York, Kara Walkerwas born in Stockton, California, in 1969. She received her Master of Fine Arts from the Rhode Island School of Design in 1994; soon afterwards, Walker rose to prominence for her large, provocative silhouettes installed directly onto the walls of exhibition spaces. Walker's work confronts history, race relations and sexuality in a decidedly non-conciliatory manner, urging the public to reconsider established narratives surrounding the experiences of African Americans in particular.

DIVThrough an analysis of filmic representations of Black femininity, and the Black Femme in particular, this book highlights the ways "the cinematic" structures both racist and sexist portrayals, and their potential undoing./div

The masked American hero ventures to the Middle East incognito (as Tom Sawyer) to fight Nazis in pursuit of a mysterious object of terrible power—a weapon of unknown origin, older than the pyramids, which could fuel the Thousand Year Reich of Hitler’s dreams. This story originally appeared in Dark Horse Presents #28-32.

Set in the neighbourhood of “Little Jamaica,” Frying Plantain follows a girl from elementary school to high school graduation as she navigates the tensions between mothers and daughters, second-generation immigrants experiencing first-generation cultural expectations, and Black identity in a predominantly white society. Kara Davis is a girl caught in the middle — of her North American identity and her desire to be a “true” Jamaican, of her mother and grandmother’s rages and life lessons, of having to avoid being thought of as too “faas” or too “quiet” or too “bold” or too “soft.” In these twelve interconnected stories, we see Kara on a visit to Jamaica, startled by the sight of a severed pig’s head in her great-aunt’s freezer; in junior high, the victim of a devastating prank by her closest friends; and as a teenager in and out of her grandmother’s house, trying to cope with ongoing battles of unyielding authority. A rich and unforgettable portrait of growing up between worlds, Frying Plantain shows how, in one charged moment, friendship and love can turn to enmity and hate, well-meaning protection can become control, and teasing play can turn to something much darker.

Walker es una artista con amplia trayectoria y reconocimiento, en cuya obra se trabajan temas como el racismo, el apartheid, la explotación, las cuestiones de género, las injusticias sociales y la esclavitud. La muestra de basa en una instalación que Walker ha creado especialmente para el CAC, en la que se recrean una serie de figuras, en apariencia inocentes y de estilo victoriano, recortadas, al estilo de las primeras imágenes del cine.

Written in the tradition of historians like Stacy Schiff and Amanda Foreman who find modern lessons in ancient history, this provocative narrative explores the lives of five remarkable pharaohs who ruled Egypt with absolute power, shining a new light on the country's 3,000-year empire and its meaning today.