Kara Walker’s amazing sugar sphinx, ‘A Subtlety’

I really admire Walker’s strongly interdisciplinary approach to art making:

Her range has never really diminished. Over the years, she’s made paintings and drawings with everything from watercolors and oils to graphite and coffee. Her 1997 book, Freedom: A Fable, uses pop-up illustrations to tell the tale of a freed slave—perhaps a stand-in for herself—who “concluded it her duty to become a god.” Much of Walker’s work is performative, too, including magic-lantern projections, text pieces, animations, stage sets and shadow-puppet shows, both live and filmed. Her one previous sculptural work, Burning African Village Play Set with Big House and Lynching (2006), is frankly theatrical: It’s composed of painted steel pieces—burning huts and a black man with an erection carrying a whip—that can be recombined into different narratives.

‘Walker’s Thought-Provoking Art’ - Carol Kino, Wall St Journal, Nov 5 2014