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
If I go to the museum and see white bodies, black bodies, Asian bodies, Latino bodies, then I will expect to see those things every time I go. That matters a lot.
Interpretation
Representation in art is crucial for shaping perceptions and expectations of diversity.
Kerry James Marshall's quote emphasizes the importance of seeing diverse representations in museums and art galleries. When a variety of bodies and cultures are prominently displayed, it creates an expectation for continued visibility and representation, thus shaping how society perceives diversity in art and culture.
In practice
A discussion on the importance of representation in an art history class.
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.
Art is purposiveness without purpose.
I know this is going to sound very self-serving, and I apologize for it, but if you can write comedy, you can pretty much write anything, because it's the hardest. It's the most technically demanding, the most precisely evaluated form of writing. People know if it works or not. There's a big button marked 'fail,' and that's when nobody laughs.
Metaphor is not just the detection of patterns; it is the creation of patterns.
The main thing is to be moved, to love, to hope, to tremble, to live. Be a man before being an artist!
Now that the black experience isn't viewed as box-office death, people are catching up to untapped auteurs.
I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.
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