A Quote by Kerry James Marshall
There's a beauty shop companion called School of Beauty, School of Culture at the Birmingham Museum of Art. I got an email that said a couple had a guerrilla wedding in front of that picture. They slipped into the museum with a preacher and had their wedding ceremony in front of it. It turns out that the woman is a beautician and the man is a barber, they had seen that picture, and they said it was the perfect place to get married.
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My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
[Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it...)
To me, there was an interesting movie to be made about two people who had been on that whirlwind romance and what happens after the fairy tale wedding. And this thought coincided or coalesced when I was at a wedding of a friend who got married to somebody that literally everybody in the congregation thought that you definitely should not get married to. This was the worst idea either of you have ever had.
Having been married and having stood up in front of people and had my own wedding, I understand the importance of that ceremony and the choice that you're making to spend your life with somebody and tell everybody in your life why.
I went to a Catholic high school, which, to this day, I could burn down. And I got great revenge because they had their fiftieth anniversary, andThe Baltimore Sun called me and said, ‘What did you think of your high school?’ And I said, ‘They discouraged every interest I ever had.’ And I saw that in print.
I was a wedding planner's assistant for years. And I knew I did not want to have a traditional wedding because I had worked a million of them. So my husband and I got married at a sleepaway camp in the Berkshires.
I learned hard lessons in life; I had to because I had so much happen: My mother died my sophomore year in high school. The next year, same day, my brother dropped dead. Two years after that, I got married because my girlfriend got pregnant. The year after my wedding, my father - who I had only recently met - died.
've had good friends who got married after they've been together for years and they've said that it was the "next step" for them. Or, they've said, "You just can't bail out anymore." And I've wondered, What made you think you could just bail out before [the wedding]? You don't invest that kind of time and energy with somebody and then just go, "All right, see you later."
When I got married in 1991, I had never been to a wedding, so I didn't know that my wedding was tacky. I didn't know that I was getting married in a quinceanera dress, because there was nobody there to cry over me and tell me I look like a fool.
When you go to an art museum, the thing you're least likely to encounter is a picture of a black person. When it comes to ideas about art and about beauty, the black figure is absent.
Martin Scorsese was one of the few who had not been an assistant. Most of the guys had been an assistant and worked their way up. But I had seen an underground picture he had made in New York, a black-and-white film. I had done a picture for American International, about a Southern woman bandit, the Ma Barker story, and it was very successful, and I had left to start my own company, and they wanted me to make another one.
When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.
As we walked through the National Museum of African American History and Culture, I pushed my grandfather in a wheelchair he had reluctantly agreed to sit in. He is a proud man who also knows that his knees aren't what they once were - that years of high school and college football had long accelerated the deterioration of his aging joints.
I was first published in the newspaper put out by School of The Art Institute of Chicago, where I was a student. I wince to read that story nowadays, but I published it with an odd photo I'd found in a junk shop, and at least I still like the picture. I had a few things in the school paper, and then I got published in a small literary magazine. I hoped I would one day get published in The New Yorker, but I never allowed myself to actually believe it. Getting published is one of those things that feels just as good as you'd hoped it would.
When I did get married, and specifically after I got married and the New York Times style section featured my wedding in the vows column, which is really traditionally kind of seen as an elitist column, and it is, but I was happy to be in it. I thought it was good that they were covering a feminist wedding.
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