A Quote by Kerry James Marshall
My first black-on-black picture was 'The Portrait of an Artist as a Shadow of His Former Self.' I started using it as an emblem of this undercurrent of wickedness, malevolence, and irony - all of that.
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[My picture A Portrait of the Artist as a Shadow of His Former Self ] was a way of demonstrating that there was a broad range of possibilities and fairly unlimited utility for a black figure that didn't have to comprise its blackness in order to preserve a place in the field of representation.
If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.
You can describe [Portrait of the Artist as a Shadow of His Former Self] as a manifesto of sorts. I saw it as a pivotal turn, a work that really led me down the avenues that brought me to where I am. That picture was the vehicle that helped me clarify a lot of things and I began to understand that I wanted to do.
I want people to understand that this is a very calibrated image [Portrait of the Artist as a Shadow of His Former Self ], where point by point, very little is left to chance.
There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.
When I started, I was aware of using the black as a rhetorical device. It's understanding that black people come in a wide range of colors, but you find instances in a lot of black literature in which the blackness is used as a metaphor.
Without black, no color has any depth. But if you mix black with everything, suddenly there's shadow - no, not just shadow, but fullness. You've got to be willing to mix black into your palette if you want to create something that's real.
One thing that the white man can never give the black man is self respect. The black man in the ghettos, have to start self correcting his own material moral, and spiritual defects, and evil. The black man need to start his own program to get rid of drunkenness, drug addiction and prostitution. The black man in America has to lift up his own sense of values.
When I started, I was aware of using the black as a rhetorical device. It's understanding that black people come in a wide range of colors, but you find instances in a lot of black literature in which the blackness is used as a metaphor. In some places, you can find an extreme blackness used as a descriptive.
It’s hard to look at Barron now, but I do. He’s smirking. His black hair and black suit make him into a shadow, as if I conjured some dark mirror of myself.
I read so much stuff that black women say, especially about my relationship. 'Oh, he left his black wife to go be with some exotic chick.' First of all, my girl is black: she's Jamaican.
When my family first moved to Hempstead in the 1960s, they were one of the first black families. It used to be an all-white neighborhood, but there was white flight when the black people with money started moving in. When I was, like, 13 or 14, Hempstead had just become all black, and the poverty became worse and worse.
The reason that I'm an actor, or an artist, is ultimately because I'm trying to paint a self-portrait, and the most complete and beautiful self-portrait that you can.
Such techniques, including meta-discursive stuff, self-reference, irony, black humor, cynicism, grotesquerie and shock, it would be safe to say that television or televisual values rule the culture. Television is successfully using a lot of those same techniques but using them for a very different agenda, which is to sort of create an ethos and please people and to sell products to consumers.
When the charge first came up, I hated black women. Then, going to trial, I started seeing the black women that was helping me. It's mostly black female guards. They treat me with human respect.
I once had an extraordinary experience with former prime minister Ted Heath. Both of his eyes, including the whites, turned jet black and I seemed to be looking into two black holes.
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