American - Artist | October 17, 1955 -
At a certain point, you have to decide whether you'd be satisfied always acknowledging the beauty and the greatness of what other people create or if you want to be in the same arena.
Kerry James Marshall
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I try to make work about things that matter.
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There's this idea that many of the attitudes and personality developments in black folks in the diaspora are a consequence of this unresolved trauma. There have been attempts by black artists to try and figure out how to represent that in some kind of way.
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The invention of the African American, or the Haitian or Jamaican, is a consequence of the transatlantic slave trade.
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If you ever find yourself on a boat in the middle of the ocean, you look around in every direction and don't see anything. That's a terrifying experience.
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Progress has always been understood to be driven by exceptional white men. Whether it's the military victories we've achieved, the philosophical foundations that are the underpinnings of the nation, or our economic ingenuity, all this has been articulated through narratives of exceptional white men.
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If you walk into any magazine store, I guarantee that nine out of 10 covers will feature white, blonde, blue-eyed, slim women because that's still the ideal of beauty. When a black or Asian figure shows up in a fashion magazine, she's the exception, not the rule.
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The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you can produce beauty in the context of a figure that has that kind of velvety blackness. It can be done.
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If I go to the museum and see white bodies, black bodies, Asian bodies, Latino bodies, then I will expect to see those things every time I go. That matters a lot.
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