Maxine Walker (born 1962) is a British-Jamaican photographer and critic. Based in Handsworth and active between 1985 and 1997, Walker has been described by Rianna Jade Parker as "a force within the Black British Art movement". [1] Her photographs emphasise the fictive nature of documentary convention, and "raise questions about the nature of identity, challenging racial stereotypes". [2]
Maxine Walker was born in 1962 in Birmingham. [3]
Walker's 1987 series Auntie Lindie's House challenged the unmediated nature of documentary photography, replicating photographic conventions within a fictional context. Black Beauty, a 1980s series, and Untitled, a series for the 1995 Self Evident exhibition, both consisted of self-portraits. [2] Untitled contained a sequence of ten closely-cropped black and white photographs, in which Walker appeared to peel away successive layers of her surface skin. [4]
Walker has written various reviews and texts for art magazines and exhibition-related publication. [5] After Polareyes, a 1987 exhibition of black women photographers at the Camden Arts Centre, she co-edited and contributed to a short-lived journal of the same name. In 1999 she published a short artist's book in the series published by Autograph. [6]
Maxine Walker (born 1962) is a British-Jamaican photographer and critic. Based in Handsworth and active between 1985 and 1997, Walker has been described by Rianna Jade Parker as "a force within the Black British Art movement". [1] Her photographs emphasise the fictive nature of documentary convention, and "raise questions about the nature of identity, challenging racial stereotypes". [2]
Maxine Walker was born in 1962 in Birmingham. [3]
Walker's 1987 series Auntie Lindie's House challenged the unmediated nature of documentary photography, replicating photographic conventions within a fictional context. Black Beauty, a 1980s series, and Untitled, a series for the 1995 Self Evident exhibition, both consisted of self-portraits. [2] Untitled contained a sequence of ten closely-cropped black and white photographs, in which Walker appeared to peel away successive layers of her surface skin. [4]
Walker has written various reviews and texts for art magazines and exhibition-related publication. [5] After Polareyes, a 1987 exhibition of black women photographers at the Camden Arts Centre, she co-edited and contributed to a short-lived journal of the same name. In 1999 she published a short artist's book in the series published by Autograph. [6]