You have to recover the capacity to imagine yourself as an ideal and figure out how to project that into the world.
Kerry James MarshallRead
For black people, everything we do has to be ratified and endorsed by a power structure that is white. And that reinforces a kind of racial hierarchy where whiteness is the privileged position to be in, and ethnicity is problematic.
Interpretation
The quote highlights the systemic racial hierarchy that privileges whiteness and marginalizes Black identities and actions.
Kerry James Marshall's quote reflects on the societal dynamics where Black individuals must seek validation from a predominantly white power structure, illustrating how this dependency creates a hierarchical system that privileges whiteness. This systemic endorsement challenges the intrinsic value of Black culture and identity, marking it as 'problematic' within the prevailing social order, and emphasizes the need to confront and dismantle these inequities.
In practice
In a discussion on systemic racism in a community meeting.
You have to recover the capacity to imagine yourself as an ideal and figure out how to project that into the world.
In Western Catholicism, darkness was evil. In the colonial and imperial context, dark skin was always weak, powerless, subjugated. If you see these images all the time, they become commonplace, and they no longer become a spectacular or sensational thing.
My introduction to art history was like everybody else's. You see an art history book that has works by Rembrandt and Leonardo da Vinci and Michelangelo. Yes, these things are great. But I don't see a reflection of myself in any of these things I'm looking at.
If you think about the way we experience art, the paradigm is still Western European. If I go to the National Gallery, what am I going to see the most of? I'm not going to see a whole lot of black figures in pictures.
When you go to an art museum, the thing you're least likely to encounter is a picture of a black person. When it comes to ideas about art and about beauty, the black figure is absent.
The history of political movements in the African diaspora is that the solution to the problem is never in the hands of people who are advancing the movement. I try and operate on my own terms.
You know what I think?" she says. "That people's memories are maybe the fuel they burn to stay alive. Whether those memories have any actual importance or not, it doesn't matter as far as the maintenance of life is concerned. They're all just fuel. Advertising fillers in the newspaper, philosophy books, dirty pictures in a magazine, a bundle of ten-thousand-yen bills: when you feed 'em to the fire, they're all just paper.
People almost invariably arrive at their beliefs not on the basis of proof but on the basis of what they find attractive.
Human rights is the soul of our foreign policy, because human rights is the very soul of our sense of nationhood.
Since the nation's founding, African Americans repeatedly have been controlled through institutions such as slavery and Jim Crow, which appear to die, but then are reborn in new form, tailored to the needs and constraints of the time.
There are roles I am never considered for. Meryl Streep roles, let's say. Why not? I really wanted to do 'Ironweed,' for example, because the depression era in this country was one of the best for multiracial people, because everybody was poor. Everybody lived in the tents, and under buildings, and under gratings, together.
The real problems of our planet are not economic or technical, they are philosophical. The philosophy of unbridled materialism is being challenged by events.
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