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
The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you can produce beauty in the context of a figure that has that kind of velvety blackness. It can be done.
Interpretation
This quote reflects on the societal bias towards skin color and emphasizes the beauty of darker skin tones.
Kerry James Marshall's quote addresses the pervasive issue of colorism, highlighting the societal preference for lighter skin while acknowledging the marginalization faced by individuals with darker skin. Through his art, he aims to challenge these perceptions by asserting that beauty exists in all shades, particularly in the richness of deeper skin tones, thereby encouraging a broader appreciation of diversity in beauty.
In practice
In a discussion on colorism in art, this quote can be used to highlight how artists like Kerry James Marshall challenge societal norms.
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.
I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
When you are painting you should take a flat mirror and often look at your work within it, and it will then be seen in reverse, and will appear to be by the hand of some other master, and you will be better able to judge of its faults than in any other way.
Fiction is a branch of neurology: the scenarios of nerve and blood vessels are the written mythologies of memory and desire.
Strangely enough, the first character in Fried Green Tomatoes was the cafe, and the town. I think a place can be as much a character in a novel as the people.
There are some experiences in life which should not be demanded twice from any man, and one of them is listening to the Brahms Requiem.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
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