Kerry James Marshall
Born in Birmingham, Alabama (), lives in Chicago, Illinois ().
Kerry James Marshall is widely regarded as one of the greatest painters of his generation. His now-substantial body of work offers his perspective on the complexity of the African-American condition, along with its persistent issues of race politics, cultural representation and social emancipation. Also addressing the history of art, Marshall strives to fill what he describes as the “lack in the image bank” with his work, whilst raising pertinent questions about how the art system sustains itself and the related issues of legitimation, power and marginalisation.
Items View all
Kerry James Marshall, Stigma Stigmata, 1992. Painting, acrylic, collage, luan panel, 50.8 x 48.3 cm.
Lost Boys AKA Black Johnny
Kerry James Marshall, Lost Boys AKA Black Johnny, 1995. Collage, acrylic, collage, canvas , 61 x 61 cm.
At the End of the Wee Hours
Kerry James Marshall, At the End of the Wee Hours, 1986. Collage, paper, 25.4 x 20.3 cm.
Events View all
Kerry James Marshall – Pa...
03 October 2013 - 02 February 2014.
Kerry James Marshall (°1955, Birmingham, Alabama) is widely regarded as one of the greatest painters of his generation. His work reflects his
14 August 2015 - 31 January 2016.
The M HKA collection is always expanding. With Recent acquisitions, M HKA showcased purchases that help shape our excisting collection. When
Ensembles View all
NOTIE VAN SCHOONHEID [THE...
For Marshall, the notion of beauty is closely connected with our experience of images in the world, which is dominated by idealised, unattain
HET ALLEDAAGSE [THE EVERY...
Kerry James Marshall’s practice is heavily influenced by the experiences of everyday life. Often he depicts domestic scenes or communal activ
DE BEELDBANK [THE IMAGE B...
Marshall’s production of images looks to tackle what he refers to as “a lack in the image bank”, looking at images from across the spectrum o
DE AANPAK VAN DE KUNSTGES...
Marshall has had a long-running concern with the Western tradition of producing art history, and its marginalisation of the black subject. Re