Kerry James Marshall discusses racial issues through his art. As we discussed earlier in the semester, does it make a difference who makes the art? Marshall claims that he had a "social obligation" to create the works that he did because of where he grew up, etc. How would his art be different if it were made by, for instance, a white man. Would it change the meaning or power of his artwork at all? Are artsists really obligated to discuss pressing issues that they see around them? Also, stylistically, his works are generally very bright and busy- how does this add to the meaning of his work?
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I originally asked the question of whether the race of the artist matters with concern to Kara Walker. Most likely I asked the question because I feel like artists should be sensitive to everything around them. However, in able to produce a strong, valid work, an artist should have a close experience to the subject.
I feel like artists innately deal with issues of their time and culture. I do not feel like an artist should be obligated to incorporate social/political/etc issues, but the outcome of all art is the result of the artist's thoughts and experiences. These thoughts and experiences are formed from the culture and time of the artist.
Art is more emotionally charged and enticing when the work is based from real life experience. To have an insightful piece, the artist must have a deep understanding of the subject. The background of Marshall definitely plays a role in his work. The bright colors are a contrast to the dark situations in the paintings. When I look at the paintings the brightness is not cheerful, but grabs my attention in a way that saddens and angers me. The 'obligation' of Marshall to produce these types of paintings has been satisfied.
I think that the artist's perspective plays a larger role than the social identity of the artist. Of course, the social identity of the artist is almost more powerful because it seems that our culture is more fixated on what can be seen rather than what can be felt through art.
If Kerry James Marshall was a 'white man' I think that the work would still of course have a social obligation. Marshall gets a little leeway because he is black; people assume that the social obligation he is trying to implement is positive or progressive. If Marshall was white, people may be more curious of what his background was, if not only to make sure he had the credentials to make artwork about projects. By credentials, I mean to say that people often believe people should stick to their own direct experience or to what they know. If they do not stay within those boundaries than there is room for a person to find error in the perspective presented by the creator, but then the question of a wrong perspective comes into play...which in one sense is a general opinion and therefore people believe to be without an absolute rightness or wrongness.
Marshall's social obligation may have little to do with race and furthermore to do with peoples perceptions of the projects. His artwork portrays people doing everyday things in 'the projects' and the projects have people that appear to be motivated and progressive. However, the projects seem to hold some connection to the government/'white' America and their attempts to possibly 'maintain' a race. I say this because in several of the images it seems that Marshall may be making a reference to slavery...except to modern day slavery. For instance in one work the sign says... "Housing Authority City of Los Angeles Nickerson Gardens ..." The children in the back ground are connected to what appears to be attached black holes or distorted shadows, their looks are questioning, lost, disillusioned...not happy to say the least...and the red ribbon in the background says, "...there....more of everything..." Marshall seems to be depicting some sense of irony. His contrast between the figures, the ribbons motto and the awkward welcome of the housing authority sign seems to communicate a disconnect When I see these colliding pieces of the work playing off of one another it makes me wonder about progress and the idea that we are in a day in time where there are more scholarships, opportunities, programs, government awareness etc...but why do they still seem somewhat limited and exclusive. What is a project? Why do they exist and why is it so hard for people to leave? Is it that hard for people to leave? Is there some type of cycle that appears to be beyond the control of the citizen that keeps them in the projects? I do not know exactly what he is saying but I know that when looking at this painting I ask myself what is he saying about the projects, who is the authority in the work, why the name Nickerson...and why is there home referred to as gardens.
The conclusions that I have come to have little to do with the race of Marshall but 100% to do with what he has put in his work. Race, a part of the United States that is infiltrated in every theory, health statistic, marriage rate, SAT score etc... must without a doubt be brought into the painting because black or not, Marshall is from a society deeply rooted in the ideas of race.
I feel that the only reason Marshall's race becomes important is if in his own personal perspective he chooses to make it important...therefore I suppose an interview of some sort...or perhaps titles like " Made by a Black Man"...
In his work title "The End" there is an obvious attention to race for me. I think race plays a crucial role because of the way Marshall has set up the figures. There is a policeman who claims that he has them both...referring to the two men and the two men are fighting with one another. The men are both racially identified by skin tone, and furthermore if a person believes the skin tone to be unauthentic to the race...one man holds an African drum and I really cannot make any more deductions to establish their race but it seems to be an obvious issue of black on black crime and a critique on the outrageous percentage of black men in jail. In thinking of this, my interpretation is due in part to my exposure and to who I am in my society. Other things that seem to spell out this are the words in the background, "Christ"...perhaps suggesting fragmentation in the church and if not that possible fraud or manipulation in what I will say specifically the black church. The feathers in the foreground are an easy reference to Native Americans...and with the words "The Ends" it seems that Marshall is essentially asking is the African American going to become the history of the Native American. Both cultures have been exploited through media and ultimately demeaned. Today Native American reservations struggle (and I now link Native American reservations to the idea of the project). Now that I have looked at this work I would assume that Marshall is black, but if he was white I would not be appalled by his interpretation because either way (whether he supported the police or related/wanted to fight the wrong/simply had sympathy for the cause) he has created a smart piece of artwork which allows the viewer to make the choice...it seems that alls the creator can do is raise immediate awareness.
Now looking at his third work, I seen that he has made a sign that says Wentworth Gardens, and then I see on the ribbon, "Better homes...better gardens..." in seeing this I immediately am coming to think that there is a heavy amount of cynicism linked to the word "gardens." I suppose I may deduce that a pretty garden makes people think that things are getting better; it is a facade to allow people to drive by a project with the belief that there is government or public/social movement for positive change simply by the establishment of better scenery. Colleges are judged quite harshly for the amount of trees and brush and such that is on a campus. Imagine if Denison had no landscaping, the complaints, the possible ratings that would go down...the immaculate scenery on this campus would lead one to believe that it is the most peaceful place for one to lead their ambitious endeavors...it provides the feeling of safety. Organic foods consistently emphasize the hand touch, home grown, CARED for...gardens...these projects peoples homes are consistently referred to as an aesthetically pleasing environmental landscapes...scenery...scenery is just there...not cared for but it exist...as long as it never looks bad enough so that it draws attention...
I could go on about his work because he gives a lot of clues, colors seem to be away that he may implement the idea of a garden. He is presenting rather controversial or socially stimulating perspectives in a way that is manageable to the eye...so much so that some viewers will be able to look over it. The most direct work is the one with the assassinated leaders...do people really want change? It is a question that this painting makes me want to ask. People barely practice what they want to preach...and the bitter continue the cycle of a dog eat dog world, this is my own personal analysis of the irony of the contained, assassinated individuals looked upon happily and contained in the house...contained in a presentation that makes the viewer believe that they respect, remember, know and love these individuals for their efforts...is someone happy that they are only efforts. The angels face is completely indifferent to me, not smiling nor frowning. I think that flower color symbolism could be important here and again applying the same idea of gardens to the house and through flowers...the simple words "We Mourn...Our Loss" appear to be mocking the loss of people that held the hope of many people in the palms of their hands and the inertia of their movement.
I agree with Lindsey that the bright colors due contrast the dark or rather more heavy messages. I am not sure if experience or passion/motivation is more necessary though because Kara Walker never experienced slavery...but at the same time her artwork is a direct expression of herself, her perspective and her personal outlook/output or feelings about the situation.
So does race affect the artists, I think that it does significantly in our modern culture, but in my ideal climate I think that it is most important to draw conclusions from what the artist has put on the canvass...and use the perspective of the artist or the artist life to draw conclusions in cohesion, but not solely with the work.
before this year, I always figured that an artist is free to paint whatever he/she wishes, and that whatever experiences they have had, or events that have influenced them are fair game. I understand that certain subjects are very sensitive and should be approached with caution, but I believe that art is personal, and people should be free to paint what has affected them personally.
However, I do feel that painting an image of sensitive subject matter simply to get a rise out of people or for any other cheap reason is wrong.
I appreciate what Carroll had to say about Marshall's work. I think that a lot of work today including African American figures is associated with being made by African Americans themselves. This makes me think of identity in artwork, and how race plays a big part in identity. I don't know if Marshall's work is about him being an African American, but maybe it's about being African American in general; the stereotypes/images/stigmas that are attached to that identity.
I understand what Carroll was talking about with irony in the piece including the portraits of the Kennedys and Martin Luther King Jr. I like that Marshall's work does have this sense of irony included in the bright colors and "happy" atmosphere of a housing development, but also with this underlying somber sense of no exit, or some type of trapped feeling.
wow, carroll wins the award for longest post ever...
As a fan of bright colors myself, I think I can relate to why an artist might choose to use them. A lot of my paintings have dealt with darker issues or emotions but in a playful, almost satirical, way. In my opinion, it gives the viewer more control on how they wish to view it. I like that aspect of Marshall's work. We are granted access into his psyche but asked to bring our own interpretations/ experiences to the work he produces. Which I suppose is true of any artist... but in terms of color versus content, Marshall really drives that concept home (for me at least.) I also agree with lindsey and carroll when they say that Marshall's use of bright colors is hightening the contrast between the imagery he portrays and the message he is intending to get across.
I also like what david had to say about an artist painting from personal experience. Art IS personal. In some sense I think that an artist who paints with the curator/ buyer/ general public in mind is not being true to him or her-self. Obviously art is always up for interpretation but I don't think we should put a premium on mind-blowing/ message-sending/ life-changing art. Paint is just paint and how you feel when looking at it (or creating it) is what should matter most.
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