Kerry James Marshall
Texts by Charles Gaines, Laurence Rassel, and Greg Tate
Alabama-born, Chicago-based Kerry James Marshall is one of the most exciting artists working today. Critically and commercially acclaimed, the painter is known for his representation of the history of African-American identity in Western art. Conversant with a wide typology of styles, subjects, and techniques, from abstraction to realism and comics, Marshall synthesizes different traditions and genres in his work while seeking to counter stereotypical depictions of black people in society. This is the most comprehensive overview available of his remarkable career.
Publisher: Phaidon
Artists: Kerry James Marshall
Contributors: Charles Gaines, Laurence Rassel, Greg Tate
Publication Date: 2017
Binding: Softcover
Dimensions: 9 3/4 x 11 1/2 in (24.8 x 29.2 cm)
Pages: 160
Reproductions: 200 color
ISBN: 9780714871554
Retail: $49.95 | £29.95
Status: Available
Kerry James Marshall
With a career spanning almost three decades, Kerry James Marshall is well known for his paintings depicting actual and imagined events from African-American history. His complex and multilayered portrayals of youths, interiors, nudes, housing estate gardens, land- and seascapes synthesize different traditions and genres, while seeking to counter stereotypical representations of black people in society. Marshall also produces drawings in the style of comic books, sculptural installations, photography, and video. As with his paintings, these works accumulate various stylistic influences to address the historiography of black art, while at the same time drawing attention to the fact that they are not inherently partisan because their subjects are black.
Charles Gaines
Charles Gaines is an artist and writer based in Los Angeles.
Laurence Rassel
Laurence Rassel is a Brussels-based curator and writer, previously director of the Fundació Antoni Tàpies in Barcelona.
Greg Tate
Greg Tate is a musician and writer based in New York who regularly contributes to Village Voice and The New York Times.
