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.
Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.
I have not lost any of my crazy, fearless, raw, soulful, eclectic side and I plan on continuing to tell universal stories in an unforgettable way.
What am I in the eyes of most people - a nonentity, an eccentric, or an unpleasant person - somebody who has no position in society and will never have; in short, the lowest of the low. All right, then - even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart.
People like to say that my work is about making the invisible visible, but that's a misunderstanding. It's about showing what invisibility looks like.
The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers.
I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
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