Kara Walker – Boo-Hoo


Kara Walker (American, b. 1969)

Boo-Hoo, 2000

Medium: Linocut on Arches Cover paper

Dimensions: 100.8 x 52.4 cm (40 x 20 1/2 in)

Edition of 70 + XXX: Hand-signed, titled, dated and numbered in pencil

Publisher: Parkett, Zurich and New York

Printer: Maurice Sanchez, Derrière L’Etoile Studio, New York

Literature: Parkett 59

Condition: Excellent

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About this artwork

Kara Walker – Boo-Hoo

Kara Walker’s Boo-Hoo (2000) is a seminal signed limited edition linocut that exemplifies the artist’s role as one of the most incisive political artists working today. Rendered in stark black against a pale ground, the composition presents a monumental silhouetted female figure whose exaggerated tears transform into whip-like forms, collapsing the boundary between emotional expression and physical violence.

Drawing on the visual language of 19th-century silhouette portraiture and antebellum imagery, Walker reclaims and subverts these historical forms to expose the enduring structures of racial and gendered power in American history. In Boo-Hoo, sentimentality becomes destabilizing rather than consoling: grief turns confrontational, vulnerability merges with aggression, and the figure oscillates between victim and perpetrator. This ambiguity is central to Walker’s political artwork, forcing viewers to confront uncomfortable histories rather than passively consume them.

Commissioned and published by Parkett in 2000 and printed by Maurice Sanchez at Derrière L’Etoile Studio, New York, this linocut underscores Walker’s sustained engagement with printmaking as a direct and democratic medium for political critique. The physicality and scale of the fine art print intensify its impact, reinforcing the immediacy and urgency of its subject matter.

Issued in a signed and numbered edition of 70 plus artist’s proofs and documented in Parkett no. 59, Boo-Hoo stands as a defining example of Kara Walker’s politically charged practice, in which history, race, and power are confronted through uncompromising visual form.

Kara Walker – The Bush. Skinny. De-boning

About Kara Walker

Kara Walker is an internationally acclaimed American contemporary artist, celebrated for her provocative and visually arresting explorations of race, gender, power, and identity. Born in 1969 in Stockton, California, she rose to prominence in the mid-1990s with her groundbreaking silhouette installations, collages, and prints. By reimagining the traditional 19th-century silhouette technique, Walker developed a radical visual language that continues to challenge historical narratives and expose the enduring impact of racism in American society.

At the core of Kara Walker's work are her cut-paper silhouettes, often life-sized and arranged in expansive narrative tableaux. While the silhouette was historically associated with genteel portraiture, Walker subverts the medium's decorative quality, transforming it into a tool for confronting the darkest aspects of U.S. history. Her stark black-and-white scenes depict unsettling images of slavery, violence, and exploitation, forcing viewers to engage with the uncomfortable truths that underpin the nation's collective memory.

Beyond her iconic silhouettes, Walker has expanded her practice to include collage, painting, drawing, printmaking, and large-scale installations. Her limited edition prints in particular demonstrate her exceptional technical mastery, as she explores the tension between delicacy and brutality through line, shadow, and composition. These artworks maintain the bold visual clarity of her silhouettes while deepening the psychological and historical resonance of her narratives.

Kara Walker's art is both visually stunning and conceptually challenging. Through her fearless approach, she continues to provoke dialogue on issues of race, gender, and systemic inequality, cementing her role as one of the most important voices in contemporary art. Her signed lithographs, etchings, and screenprints, whether monumental installations or intimate editions, invite viewers to grapple with history's legacies while reflecting on the complexities of identity in the present.

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