Along The Way (2006/2006) by Kerry James MarshallModern Art Oxford
'One of the most closely watched American artists of his generation, Marshall's work is characterised by politically charged references to the Black-American experience. This exhibition presents a focused survey of his paintings from the 1980s to the present and reveals his continuing relevance to a younger generation of artists and audiences.'
At the End of the Wee Hours (1985/1986) by Kerry James MarshallModern Art Oxford
'Marshall's works present narratives and histories of the African diaspora in the visual language of Western history, painting and modernism. Through this subversion of tradition, Marshall attempts to cast light on forgotten histories, reminding audiences that what we encounter in museums is not always the full story.'
Memento #5 (2003) by Kerry James MarshallThe Nelson-Atkins Museum of Art
'Memento #5, the final painting in Chicago-based artist Kerry James Marshall's Souvenir series, is an elegy to the Civil Rights movement.'
Along The Way (2006/2006) by Kerry James MarshallModern Art Oxford
'Kerry James Marshall, installation view from Along the way, Modern Art Oxford, 25 July - 22 October 2006, Photography by Stephen White'
Along The Way (2006/2006) by Kerry James MarshallModern Art Oxford
'One of the most closely watched American artists of his generation, Marshall's work is characterised by politically charged references to the Black-American experience.'
Along The Way (2006/2006) by Kerry James MarshallModern Art Oxford
'This exhibition presents a focused survey of his paintings from the 1980s to the present and reveals his continuing relevance to a younger generation of artists and audiences.'
Untitled (Blot) (2015) by Kerry James Marshallla Biennale di Venezia - Biennale Arte 2015
'By claiming these pictorial sites for those subliminally or overtly cast as the "Other," Marshall achieves a coup of consciousness.'
Untitled (Blot) (2015) by Kerry James Marshallla Biennale di Venezia - Biennale Arte 2015
'By claiming these pictorial sites for those subliminally or overtly cast as the "Other," Marshall achieves a coup of consciousness. The politics of perception also informs his Blot series, which might otherwise appear to be abstractionist gestures of homage to the Rorschach test.'
Untitled (Lovers) (2015) by Kerry James Marshallla Biennale di Venezia - Biennale Arte 2015
'His portraits of black people, which reference the art-historical canon or the archives of cinema and advertising, sharply remind us that white people more typically occupy these niches of the popular imagination. By claiming these pictorial sites for those subliminally or overtly cast as the "Other," Marshall achieves a coup of consciousness.'
Untitled (Blot) (2015) by Kerry James Marshallla Biennale di Venezia - Biennale Arte 2015
'Rivendicando questi luoghi pittorici per chi è subliminalmente o apertamente identificato come "l'Altro", Marshall riesce a farci prendere coscienza del problema.'
Untitled (Playground) (2015) by Kerry James Marshallla Biennale di Venezia - Biennale Arte 2015
'He lives and works in Chicago, USA . Kerry James Marshall was born in Birmingham, Alabama, but grew up in Los Angeles, where he attended the Otis Art Institute, earning his BFA degree there in 1978.'
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