Kerry James Marshall
Né à Birmingham, Alabama (), vit à 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.
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Black Artist (Studio View)
Kerry James Marshall, Black Artist (Studio View), 2002. Photography, inkjet print, paper, 114 x 127 cm.
Kerry James Marshall, Stigma Stigmata, 1992. Painting, acrylic, collage, luan panel, 50.8 x 48.3 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.
Kerry James Marshall, Dailies, 1999-2000. Mixed Media, 12 lightboxes - 22 framed silkscreen prints, variable dimensions.
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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
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Since the end of May 2002, the M HKA has strayed from the beaten track of museum catalogues. The M HKA does not consider a systematic thereof
The M HKA’s contemporary art collection has grown thanks to a combination of acquisitions, donations and long-term loans from various public
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 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