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.
Actors are always afraid of ending up like overcooked old soup over time. What's risky is that you don't realize this has happened, and you just get thick and boring. Going abroad was like getting a new pot to cook everything again. I was a rookie, a new self. And they were asking me, 'Who are you?'
Disneyland is the star, everything else is in the supporting role.
Literature is always trying to show other parts of this immense universe in which we live. It's endless. I'm sure there will be other writers who will discover new worlds.
There is something about giving everything to your profession. In Italian, an obsession is not necessarily negative. It's the art of putting all your energy into one thing; it's the art of transforming even what you eat for lunch into architecture.
Good design is a lot like clear thinking made visual.
Writing, real writing, should leave a small sweet bruise somewhere on the writer . . . and on the reader.
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