printmaking from the Rhode Island School of Design, located in Providence. 8. Artwork Analysis In late spring of 2014, Creative Time presented the first large-scale public project by Kara Walker, one of the most important artists of our era. Sited in the sprawling industrial relics of Brooklyn’s legendary Domino Sugar Factory, Walker’s physically and conceptually expansive installation a massive, sugar-coated sphinxlike woman responded to the building and its
The Gothic is the study of the otherness; the unseen. It disturbs us as it is associated with anxiety, chaos, darkness, the grotesque and evokes images of death, destruction and decay. (Steele, 1997)According to Catherine Spooner in ‘Contemporary Gothic’ 2006, “The Gothic lurks in all sorts of unexpected corners.” It is incredibly broad - superstitions, the uncanny, the monstrous, the forgotten past, the Gothic feminine - to name but a few are all elements which combine to form this theme. The Gothic
entrapment within her marriage and the domestic setting. Gilman uncovers that there is something menacing about the wallpaper’s yellow colour, representing something stale, old and decayed. The yellow is described as “unclean” that is “strangely faded by slow-turning sunlight.” Similarly Gothic imagery is something presented as ‘grotesque’ in Sylvia Plath’s poem Lady Lazarus. The poem is widely considered by critics to be ‘humanly offensive’ and her illicit appropriation of the imagery of Jewish martyrs
of distortion and exaggeration towards such a purpose. O’Connor does not hesitate to distort appearance in order to show a hidden truth for an ultimate change. It so happened that when contemporary literary criticism hoisted objections to the grotesque nature of her fiction, faulting her lack of tenderness or compassion, O’Connor reminded them of her being incredibly judgemental God – a God who recognizes sin as such. She says that if one believes in Faith at all, sees it as something which can