The Past is Present: Dismantling Racial Stereotypes Through the Work of Kerry James Marshall

 

This discussion investigates how contemporary visual artist Kerry James Marshall (b. 1955, USA) uses his body of work to combat racial stereotypes and to draw attention to the underrepresentation of the Black community in American contemporary art institutions. Marshall’s work changes the way the Black community is perceived in society, through his signature, stylized Black figures and monumental scale. I argue that through strategies of “counter memory” and multiple histories, Marshall’s work addresses how the past is present, calling attention to the victimization of Black Americans and educating viewers about Black cultural practices and everyday spaces. This analysis focuses on Marshall’s celebrated works School of Beauty, School of Culture (2012), Great America (1994) and Untitled (2008), demonstrating how each amplifies the layered struggles faced by the Black community, such as living in a state of dual consciousness, facing impossible beauty standards, and other ongoing prejudices such as the perpetuation of toxic stereotypes that have the potential to put the lives of innocent Black Americans in danger—prejudices that have reared their ugly heads in the US since times of enslavement. While Marshall’s work uniquely draws attention to these issues through his distinctive style, he is not alone in this contemporary movement. Other contemporary artists such as Kara Walker and Kehinde Wiley are also making significant interventions in the western art world, dismantling racial stereotypes, and shining a light on social inequities. However, Marshall’s unique use of rich, saturated black tones to depict his figures makes him stand out among his peers as an artist dedicated to combating perceptions of these complex societal issues. In sum, Marshall’s body of work demonstrates that the fight for racial equality is an ongoing battle, but his work also provides an optimistic toolkit for those engaged in the struggle.