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
Too often, if you look back through the history of representation and you take the work of African-American artists, the work is on such a modest scale that it becomes sort of inconsequential.
Interpretation
The contributions of African-American artists have often been undervalued and underrepresented in history.
Kerry James Marshall’s quote emphasizes the historical underrepresentation and undervaluation of African-American artists in the context of art history. He suggests that their works, despite being significant, are often overlooked, relegated to a modest scale that leads to their inconsequentiality in the broader narrative of art and culture.
In practice
In a speech about cultural history, one might quote this to highlight the overlooked contributions of African-American artists.
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've always wanted to be aware of what's going on around me, and I've wanted to use photography as an instrument of research into and reporting on the life of my own time.
To speak today of a famous novelist is like speaking of a famous cabinetmaker or speedboat designer. Adjective is inappropriate to noun.
In my writing, I want to be laid bare as a human being.
I have found that all ugly things are made by those who strive to make something beautiful, and that all beautiful things are made by those who strive to make something useful.
At first blush I am tempted to conclude that a satisfactory hobby must be in large degree useless, inefficient, laborious, or irrelevant.
The United States themselves are essentially the greatest poem.
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