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
People ask me why my figures have to be so black. There are a lot of reasons. First, the blackness is a rhetorical device. When we talk about ourselves as a people and as a culture, we talk about black history, black culture, black music. That's the rhetorical position we occupy.
Interpretation
The use of black in art symbolizes depth and cultural identity.
Kerry James Marshall emphasizes the significance of using black in his artworks as a means to articulate the richness and complexities of black identity and culture. The blackness serves not only as an aesthetic choice but also as a powerful rhetorical tool, engaging in a dialogue about black history and experiences that resonate deeply within the community.
In practice
In a lecture on cultural representation in art, I would cite this quote to highlight the importance of identity.
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.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
There’s a strange quality in stop-motion photography, like in King Kong, that adds to the fantasy. If you make things too real, sometimes you bring it down to the mundane.
Give me a museum and I'll fill it.
Maybe directors who are more interested in realism and naturalism come from cities, where they see things on their doorstep every day. But growing up as a kid in a very pretty but ever-so-slightly boring town, where not a great deal happened, encouraged me to be more escapist, more imaginative, and more of a daydreamer.
We're human beings, and we want stories. We're always going to be entertained and have our emotions touched by humanity and by things that we recognize in our own lives. So whilst every now and again we'll be happy to watch a bubblegum film, it's never gonna be the only things that get made.
Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?
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