Marshall, Kerry James Bibliography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Finding Aid to the Historymakers ® Video Oral History with Kerry James Marshall
Finding Aid to The HistoryMakers ® Video Oral History with Kerry James Marshall Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Marshall, Kerry James, 1955- Title: The HistoryMakers® Video Oral History Interview with Kerry James Marshall, Dates: January 4, 2001 Bulk Dates: 2001 Physical 8 Betacame SP videocasettes (3:41:42). Description: Abstract: Painter Kerry James Marshall (1955 - ) is best known for his stylized, large-scale paintings. His celebrated series, "The Garden Project", critiqued low-income housing projects whose names denoted an idyllic Eden-like world, camouflaging the poverty and violence within. Marshall was named the recipient of the prestigious MacArthur "Genius" grant and is currently an art professor at the University of Illinois, Chicago. Marshall was interviewed by The HistoryMakers® on January 4, 2001, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2001_046 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Born October 17, 1955, in Birmingham, Alabama, Kerry James Marshall realized that he wanted to be an artist at a very early age. Inspired by pictures in a book, Marshall decided he wanted to be a visual artist. Themes and ideas present in Marshall's work reflect the complex web of personal Themes and ideas present in Marshall's work reflect the complex web of personal and social issues that have been instrumental in molding his life. When Marshall was eight, his family moved to the Watts community in Los Angeles, California. As the epicenter of intense struggle for civil rights, including a riot in 1965 and a confrontation between city police officers and the Black Panthers, Watts and its imagery have dramatically influenced the form and content of Marshall's work. -
Kerry James Marshall Has Been Producing Large-Format Portrait Paintings of Mostly Black Subjects for Over Thirty Years
PORTRAIT 73 KERRY JAMES MARSHALL Kerry James Marshall has been producing large-format portrait paintings of mostly black subjects for over thirty years. Recently his work has found acclaim among collectors and institutions world- wide, finally getting the recognition it deserves. But is Marshall’s visibility a singular case, or has his success had 72 a larger impact on the history and current trajectory of art by black artists? And PAINTING what does his work tell us about the turbulent and violent 2010s? HISTORY By Arnold J. Kemp There is a permanent cultural anxiety in the art interiors, landscape, grand history painting, nude world. It is an anxiety about definitions: how does figure, and abstraction, often at scales that empha- art – its producers, consumers, and critics – define size his obsession with seeing black figures painted itself within and outside the bounds of identity by black artists on par with the grandeur found in categories? Layered into this anxiety are histories these Euro-American genres. of colonialism, white supremacy, and global capi- Marshall has been exceedingly successful at talism that have in related ways grouped individ- answering this charge. He has received solo exhi- uals into categories that fail to account for the bitions throughout Europe and North America, complexities of people in their historic moment. and his work was included in such prestigious Conversations defining black art, for instance, exhibitions as the Whitney Biennial, the Venice have morphed as discourses and practices have Biennale, two Documentas (1997 and 2007), as been altered, ever so slightly, to account for these well as the Carnegie International. -
The Guennol Lioness
New York | +1 212 606 7176 | Lauren Gioia | [email protected] | Midori Tanaka | [email protected] Sotheby’s to Offer PAST TIMES BY KERRY JAMES MARSHALL — Estimate $8/12 Million — A Major Highlight of His Mid-Career Survey ‘Mastry’, Exhibited in Chicago, New York & Los Angeles — The Culmination of His Celebrated Garden Project Paintings — Property from the Metropolitan Pier and Exposition Authority Kerry James Marshall Past Times Acrylic and collage on unstretched canvas 108 by 157 inches Contemporary Art Evening Auction | 16 May 2018 New York Exhibition | 4-16 May 2018 NEW YORK, 25 April 2018 – Sotheby’s is honored to announce Kerry James Marshall’s Past Times as a highlight of our auction of Contemporary Art this May. The most significant work by the renowned artist to ever come to market, the painting is a tour de force that captures Marshall’s extraordinary vision and technical command while serving as a harbinger of his impact on the arc of art history. A centerpiece of the highly acclaimed 2016/7 mid-career survey ‘Kerry James Marshall: Mastry’ at the Museum of Contemporary Art, Chicago, The Metropolitan Museum of Art, New York and the Museum of Contemporary Art, Los Angeles, as well as a highlight of the 1997 Whitney Biennial where it first debuted, this spectacular painting will be a cornerstone of our Contemporary Art Evening Auction on 16 May. Past Times carries a pre-sale estimate of $8/12 million and is poised to set a new world auction record for the artist. Past Times is being offered for sale by the Metropolitan Pier and Exposition Authority in Chicago, Illinois – a municipal corporation created by the Illinois General Assembly, and owner of McCormick Place, the largest convention center in North America. -
Bill Traylor David Zwirner
David Zwirner New York London Paris Hong Kong Bill Traylor October 29, 2019–February 15, 2020 34 East 69th Street, New York Press preview: Tuesday, October 29, 5 PM Opening reception: Tuesday, October 29, 6-8 PM Bill Traylor, Brown House with Multiple Figures and Birds, 1939–1942. © Bill Traylor artwork is used by permission of Bill Traylor Family, Inc., and The Artistry of Bill Traylor, LLC David Zwirner is pleased to present works by Bill Traylor (c. 1853–1949) from the William Louis-Dreyfus Foundation and Family Collections. Organized in collaboration with the Foundation, the exhibition offers a comprehensive look at the self-taught artist’s distinctive imagery, which mixes subjects and iconography from the American South with a strong formalistic treatment of color, shape, and surface. As part of the Foundation’s broader philanthropic mission, proceeds from the sales of its artworks will benefit the Harlem Children’s Zone as well as the Foundation itself. Born into slavery, Traylor spent much of his life after the 1863 Emancipation Proclamation working as a farm laborer in rural Alabama, and, later, as a shoemaker and factory worker in Montgomery. In 1939, at approximately the age of 85, having never previously trained or studied art in any formal way, Traylor began making drawings and works on paper using gouache and other media. Though he continued to make art for the remainder of his life, Traylor was most prolific between 1939 and 1942, creating a body of work that offers a unique and rich registry of his life, experience, and insights. As Kerry James Marshall writes, “By any measure the twelve hundred or so drawings that are the total known output of Bill Traylor’s brilliant but meteoric artistic moment is unprecedented.” Elaborating further, he notes, “I happen to agree with the late philosopher art historian Ernst Gombrich, that ‘great art is rare … but that where we find it we confront a wealth and mastery of resources’ that are transcendent. -
Kerry James Marshall (American, B
Kerry James Marshall (American, b. 1955) – Artist Resources BOMB Magazine interviews Marshall in 1998 about his mentor Charles White, art history, and ambition. “It takes half a lifetime, really, to develop to a point where you can start to speak effectively with whatever the tools are you’re trying to master….[until you have] sufficiently mastered the forms and the materials of art-making, and the ideas that govern it, to be able to say something with it that was worthwhile.” Art21 followed Marshall through the galleries of the Art Institute in Chicago, his studio, and at home with his family in 2001. “The principles that govern the way visual representation works are still the same principles that governed the way it worked 500 years ago…2000 years ago. Makes perfect sense to me to go back to the origins of these things and pick up from there. To take up the challenge, really. To think of another way to make these things seem fresh.” Listen to Marshall’s 2012 lecture at the National Gallery of Art on “The Importance of Being Figurative.” “You’re not just making artworks for yourself,” Marshall told Art21 in a 2014 interview about history, racial segregation, politics, and being a black artist in an historically white system. “You’re making artworks because they fit into a narrative structure that purports to define what kinds of things have value.” Marshall speaks at the University of Chicago in 2016 after being awarded with the Marhsall, 2017 Jessie L. Rosenberger Medal. Photograph: Annette Hornischer In 2016, Marshall was honored with Kerry James Marshall: Mastry, a mid-career touring retrospective bringing together 80 works and spanning 35 years. -
The New York Times the Outsider Fair Made Art 'Big' Again
The Outsider Fair Made Art ‘Big’ Again By ROBERTA SMITH JAN. 19, 2017 One of Morton Bartlett’s half-size anatomically correct prepubescent girls from 1950. Morton Bartlett, Marion Harris New York’s Outsider Art Fair, which opened Thursday, is celebrating its 25th anniversary. It made its debut in 1993 in the 19th-century Puck Building in SoHo’s northeast corner. I saw the first iteration, reviewed the second and wrote about it many times after that. I enjoy most art fairs for their marathon-like density of visual experience and information, but the Outsider fair quickly became my favorite. It helped make art big again. An untitled painting by Henry Darger of his intrepid Vivian Girls. 2017 Henry Darger/Artists Rights Society (ARS), New York; Andrew Edlin Gallery The focus of the fair, according to its founder, Sanford L. Smith, known as Sandy, was the work of outsider artists, a catchall phrase for many kinds of self-taught creators. (Mr. Smith credited the phrase to Roger Cardinal, the art historian and author of “Outsider Art,” published in 1972.) Outsider work connoted a certain purity — an unstoppable need to make art that was unsullied by the “insider” art world, with its fine-art degrees and commercial machinations that always struck me as rather hoity-toity. Distinct from folk artists who usually evolved within familiar conventions, outsider artists often worked without precedent in relative isolation. They could be developmentally disabled, visionary, institutionalized, reclusive or simply retirees whose hobbies developed an unexpected intensity and originality. The term has long been the subject of debate, and its meaning has become elastic and inclusive. -
The South Side & Beyond
THE INDEPENDENT VOICE OF THE VISUAL ARTS Chicago, Detroit, Los Angeles, New York Volume 32 No. 6 July/August 2018 Established 1973 The South Side & Beyond: A Chicago Art Legacy INSIDE Patric McCoy, Pioneering South Side Art Collector Seven Reviews Cover Shows of African-American Artists Cleveland Prepares to Host International Art Triennial $8 U.S. Bulletin of the Atomic Scientists-Sponsored Show Features Martyl and (art)n SUBSCRIPTIONS NEW ART EXAMINER IS AVAILABLE FROM THE FOLLOWING CHICAGO OUTLETS: The New Art Examiner has a long history of pro- ducing quality and independent art criticism. 57th Street Books Subscription rates include six issues, print and digi- 1301 E 57th St, Chicago, IL 60637 tal version sent by email. (773) 684-1300 USA/Canada $55 postage incl. ARC Gallery Rest of World $80 postage incl. 2156 N Damen Ave, Chicago, IL 60647 (773) 252-2232 Please send checks, along with your name and Corbett vs Dempsey Gallery address, made payable to: 1120 N Ashland Ave, Chicago, IL 60622 New Art Examiner (773) 278-1664 5542 N. Paulina St. Chicago, IL 60640. USA. Fahlstrtom’s Fresh Fish Market 1258 W Belmont Ave, Chicago, IL 60657 (773) 281-6000 ADVERTISING RATES 2018 Firecat Projects 2124 N Damen Ave, Chicago, IL 60647 FULL PAGE Inside front cover $500 (773) 342-5381 Inside back cover $400 Hilton | Asmus Contemporary FULL PAGE $300 716 N Wells St, Chicago, IL 60654 HALF PAGE – portrait/landscape $200 (312) 475-1788 QUARTER PAGE – (editorial page) $125 Jackson and Junge Gallery (add $25 for inclusion on web site) 1339 N. -
African American Art Since 1950: Perspectives from the David C
African American Art Since 1950: Perspectives from the David C. Driskell Center Resource made possible through our partnerships with: Welcome to the Figge Art Museum’s Teacher Resource Guide These cards describe selected works from the exhibition. Use them to engage with the artwork, find facts about the artists, and facilitate learning. Resources are provided on each card for additional research. About the Exhibition In 1976, David C. Driskell curated the groundbreaking exhibition, Two Centuries of Black American Art: 1750-1950. The exhibition explored the depth and breadth of African American art, often marginalized by historical texts. It had massive influence on both the artists and the general public. The David C. Driskell Center has organized the exhibition, African American Art Since 1950, Perspectives from the David C. Driskell Center, as a response to Two Centuries. The exhibition explores the rising prominence and the complexity of African American art from the last 60 years. Many leading African American artists are featured in this exhibition including: Romare Bearden, Faith Ringgold, Jacob Lawrence, Betye Saar, Radcliffe Bailey, Kara Walker and Carrie Mae Weems. This exhibition gives a picture of the diversity of recent African American art, with its many approaches and media represented. The works explore various themes including: political activism, race, stereotypes, cultural and social identity, music, abstraction, among others. Featured Artists Radcliffe Bailey Romare Bearden Sheila Pree Bright Kevin Cole David C. Driskell Vanessa German Robin Holder Margo Humphrey Jacob Lawrence Kerry James Marshall Faith Ringgold Lorna Simpson Hank Willis Thomas Carrie Mae Weems Radcliffe Bailey Until I Die/Georgia Trees and the Upper Room, 1997 Color aquatint with photogravure and chin collé © 2011 Radcliffe Bailey Gift from the Jean and Robert E. -
Inner Visions Selections from the Collection
Selections from the Collection Inner Visions of Beverly Stearns Bernson '55 Selections from the Collection Inner Visions of Beverly Stearns Bernson '55 OCTOBER 12 - DECEMBER 10, 2017 The Bill and Sonja Carlson Davidow '56 Gallery Center for Art + Design Colby-Sawyer College New London, New Hampshire Introduction Joy can be hard to find. As I write this, in a precarious Most artists I know are studio nest builders. The environment colleagues in the Department of Fine and Performing Arts I would also like to thank Professor Craig Greenman, former time for the arts in America, I feel this more acutely. Yet it they create in their work spaces reflect and enhance for their support, and especially to Chairman and Professor chair of the Cultural Events Committee, and the committee is joy that most often compelled the creation of the works their efforts. The work embraces its surroundings and fits Jon Keenan, who has been instrumental in the realization members, for their support of the catalog’s production. Their in this exhibition, and joy that I felt when I first saw Beverly into an interior whole cloth. My only regret in mounting of our new facility. This catalog would not exist without ongoing engagement in the college’s cultural and artistic life Bernson’s amazing collection, which fills every wall, nook this exhibition is that we were unable to include the complete the stewardship of Professor Hilary Walrod, head of our is deeply appreciated. and cranny of her home. The expressive power of making has Bernson collection, which would have allowed viewers to Graphic Design Program. -
Kerry James Marshall B
FLOOR 3 GRIEF AND GRIEVANCE Floor 3 Jean-Michel Basquiat b. 1960, Brooklyn, NY; d. 1988, New York, NY Procession, 1986 Acrylic on wood Private Collection Jean-Michel Basquiat was a self-taught artist who rose to rapid fame in the 1970s and ’80s. Known both for his graffiti work (signed as his alter ego, SAMO) as well as his immersion in hip-hop and new wave music scenes, Basquiat created vivid line drawings and paintings incorporating words, numbers, diagrams, logos, and accidental marks. In Basquiat’s work, both abstraction and figuration function as overt and coded social commentary, making use of bold formal gestures to address concepts of colonialism, class struggle, state authority, and police violence. Basquiat created several works reliant on the invocation of the grief caused by the historically disproportionate use of police force against Black communities, including the painting Untitled (1983), also widely known as The Death of Michael Stewart or Defacement. Stewart, a young Black artist, was attacked and murdered by police that year for allegedly tagging a wall of a downtown New York subway station. Distraught over Stewart’s death, Basquiat reflected: “It could have been me. It could have been me.” Basquiat’s reflection on mourning also extends to histories of the Black Atlantic. Procession (1986) depicts four Black silhouetted figures facing a figure painted in red, white, and blue and carrying a skull—a symbol repeated in many of his other works. Part of a body of work relating to the American South and the artist’s Haitian-Puerto Rican heritage, Procession calls to mind both the deep psychological pain of slavery in the region and the spiritual terrain of traditional jazz funerals, during which processions of mourners follow the remains of the deceased. -
Exhibition Advisory
^ Exhibition Advisory Exhibition: Charles White: A Retrospective Date: February 17–June 9, 2019 Location: Resnick Pavilion Image captions on page 5 (Los Angeles—January 16, 2019) The Los Angeles County Museum of Art (LACMA) presents the West Coast premiere of Charles White: A Retrospective, the first major exhibition of the artist Charles White (1918–1979) in over 30 years. Charles White created powerful interpretations from African American history and culture throughout his 40-year career. A gifted draftsman and printmaker as well as a talented mural and easel painter, White almost exclusively portrayed black subjects. A lifelong social activist, he championed racial pride and condemned the institutionalized racism faced by African Americans in all areas of life by using his art as a form of protest, affirmation, and celebration. Co-organized by the Art Institute of Chicago (AIC) and the Museum of Modern Art New York (MoMA), the exhibition showcases approximately 100 paintings, drawings, prints, and photographs that reflect White’s life as he moved from Chicago to New York to Los Angeles. White’s time in Los Angeles was an important phase of his career; he created some of his most famous works in the city. The exhibition was previously presented at the Art Institute of Chicago (June 10– September 31, 2018) and the Museum of Modern Art, New York (October 7, 2018–January 13, 2019). Charles White: A Retrospective is organized by Sarah Kelly Oehler, Field-McCormick Chair and Curator of American Art, The Art Institute of Chicago, and Esther Adler, Associate Curator, Department of Drawings and Prints, The Museum of Modern Art. -
In the Tower: Kerry James Marshall
In the Tower: National Gallery of Art Kerry James Marshall June 28 – December 7, 2013 Kerry James Marshall was born in James Meyer (JM): Let’s begin with Great Birmingham, Alabama, in 1955. He America [cover], the work that precipitated our show. How did it come about? moved with his family to Los Ange- Kerry James Marshall (KJM): Among a lot les in 1963, where he was educated of friends and acquaintances of mine there at the Otis Art Institute; he cur- has been this idea of a transitional moment rently lives in Chicago. One of the in the experience of Africans being brought to the New World. The moment of the Middle most accomplished painters of his Passage [the transportation of enslaved generation, Marshall has exhibited people between Africa and the New World] widely in both the United States was traumatic. There’s this idea that many of and abroad and is the recipient of the attitudes and personality developments in black folks in the diaspora are a consequence a MacArthur Fellowship, among of this unresolved trauma. There have been other honors. His work explores the attempts by black artists to try and figure out experiences of African Americans how to represent that in some kind of way. and the narratives of American his- None of those images were ever really satis- factory. I’d always wanted to do a work that tory that have often excluded black addressed the Middle Passage, but because people. Drawing upon the artist’s I don’t have any way of comprehending what prodigious knowledge of art his- that experience must have been like, I can tory and African diasporic culture, only look at some of the aftereffects — how that might have filtered down to generations his paintings combine figurative who still have knowledge, but no direct experi- and abstract styles and multiple ence, of it.