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The work of the American artist Kara Walker is simultaneously celebrated as a potent allegory on the state of race relations in the US and reviled for its use of blatant racial stereotyping that harkens back to the era of slavery in the ante‐bellum South. In a staged dialogue aimed at addressing the terms of the controversy surrounding Walker, the authors explore the subtleties and contradictions of the artist's approach by examining, amongst other examples, the origins and significance of the large‐scale panorama Slavery, Slavery (1997).
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