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.
That's the thing about musicians: The priority is to create something new that's never been before. And you put your life on the line every time that you play.
Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.
You do not create a style. You work, and develop yourself; your style is an emanation from your own being.
I just make the music feel the way I want it to feel, and I don't put it out until I'm totally happy with it.
I don't care about being a pioneer. People act like it would be cool to be a pioneer. I'm okay to be looked at as that, but it's just that we don't get transmitted our cultural heritage as women artists.
Print will never die. There's no substitute for the feel of an actual book. I adore physically turning pages, and being able to underline passages and not worrying about dropping them in the bath or running out of power. I also find print books objects of beauty.
Subscribe for the occasional hand-picked quote. No noise.