&lt;p&gt;&lt;span&gt;Kara Walker is one of our most influential living artists. Walker won a MacArthur Fellowship (the “genius” grant) before she turned thirty, and became well known for her silhouettes, works constructed from cut black paper using a technique that refers to craft forms of the Victorian era. Walker has put modest materials to work to address very large concerns: the lived experience and historical legacy of American slavery. Though she often depicts the racial and sexual violence that went largely unspoken for centuries in the past, her work is aimed squarely at the modern world. “What I set out to do, in a way, worked too well,” she said, “which was to say, if I pretty everything up with hoop skirts and Southern belles then nobody will recognize that I’m talking about them. And then they didn’t! They said, ‘The past is so bad.’ But I’m not from the past. . . . I do live here now. And so do you.” Walker was interviewed at &lt;/span&gt;&lt;a href="https://festival.newyorker.com/"&gt;&lt;span&gt;The New Yorker Festival&lt;/span&gt;&lt;/a&gt;&lt;span&gt; by Thelma Golden, the director and chief curator of the Studio Museum in Harlem.&lt;/span&gt;&lt;/p&gt;

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Kara Walker Talks with Thelma Golden

The New Yorker Radio Hour