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 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.
Interpretation
The experience of art is largely influenced by Western European perspectives, often overlooking diverse representation.
Kerry James Marshall highlights the dominance of Western European art traditions and how this affects our overall experience and understanding of art. He points out that the historical representation in prominent galleries often lacks diversity, particularly the absence of black figures, which reflects broader issues of representation and inclusivity in the art world.
In practice
Discussing the need for more diverse artworks in an academic lecture.
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.
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.
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.
My dad would go to work every day and write in a room full of funny people. He enjoyed it. I know great writers who find the process agonising but to me, writing has always been sheer joy.
But in Hiroshima, some people were wiped clean away, leaving only a wristwatch or a diary page. So no matter that I have inhibitions to fill all my pockets, I keep trying, hoping that one day I'll write a poem I can be proud to let sit in a museum exhibit as the only proof I existed.
Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
It's impossible for me to say one word about all that music has meant to me in my life. How, then, can I hope to be understood?
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