There's nothing more special than intellect and labour that makes painting work. There's no magic there; it's information, and it's work. — Kerry James Marshall Copy Share Image
If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on… — Kerry James Marshall Copy Share Image
I don't see those paintings as abstractions, especially because they are emblems of the inkblot. They aren't smashed together; they are constructed… — Kerry James Marshall Copy Share Image
Black painters have done all kinds of work. It's the treatment of forms they engage in-that's what determines the value of the… — Kerry James Marshall Copy Share Image
Paintings don't just happen. I am not a proponent of the idea of an artist as someone who kind of magically makes… — Kerry James Marshall Copy Share Image
I gave up on the idea of making art a long time ago, because I wanted to know how to make paintings;… — Kerry James Marshall Copy Share Image
You can describe [Portrait of the Artist as a Shadow of His Former Self] as a manifesto of sorts. I saw it… — Kerry James Marshall Copy Share Image
I still make paintings and use the figure; it's hard to do and hard to succeed. On some levels, because I am… — Kerry James Marshall Copy Share Image
I want people to understand that this is a very calibrated image [Portrait of the Artist as a Shadow of His Former… — Kerry James Marshall Copy Share Image
My first black-on-black picture was 'The Portrait of an Artist as a Shadow of His Former Self.' I started using it as… — Kerry James Marshall Copy Share Image
[My picture A Portrait of the Artist as a Shadow of His Former Self ] was a way of demonstrating that there… — Kerry James Marshall Copy Share Image
There's nothing more special than intellect and labour that makes painting work. There's no magic there; it's information, and it's work. — Kerry James Marshall Copy Share Image
When art works travel from place to place, what you have is the opportunity to engage with the intellect of another person who has… — Kerry James Marshall Copy Share Image
I stumbled upon Charles White purely by chance while looking through a book 'Great Negroes, Past and Present' in the library at Forty-Ninth Street… — Kerry James Marshall Copy Share Image
The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you… — Kerry James Marshall Copy Share Image
Artwork operates on two different levels: On one level there's artwork as a mode of expressivity, and then there's the other side, where the… — Kerry James Marshall Copy Share Image
One of the things I recognized early on, doing whatever studies of black history I have, is that even though black folks were transported… — Kerry James Marshall Copy Share Image
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… — Kerry James Marshall Copy Share Image
For black people who are really dark - and a lot of black people were averse to be dark skinned - it was believed… — Kerry James Marshall Copy Share Image
Before people outside of the Western European tradition started asking to be in there, the people who were accumulating objects for the museum were… — Kerry James Marshall Copy Share Image
What I hope 'Mastry' ends up doing is completely undermining or doing away with the notion that artists are a savant: that they do… — Kerry James Marshall Copy Share Image
My dream was always to be in museums. It's a big and important milestone and a fulfillment of one of my primary ambitions. — Kerry James Marshall Copy Share Image
