National Gallery Assignment: Kerry James Marshall

While walking around the Contemporary wing at the National Gallery, I came across the Kerry James Marshall exhibit in the Tower. I was struck by the scale and vividness of Marshall’s paintings, as well as the subject matter, which dealt with issues of slavery and racism in America. Aesthetically, Marshall really appealed to my love of collage. The way that he layers paint, adds in different and I found his use of historical facts to create a narrative arc within his paintings. In fact, I tend to struggle with artworks that do not have a sense of narrative within them. I think it’s the English major in me.

Marshall has been dubbed one of the most important painters of his generation. His paintings in this showing depict African Americans in different stages of struggle: from slaves crossing the Middle Passage to modern-day children still struggling to assimilate into white-washed housing developments.

            I chose Marshall’s painting “Our Town” (1995). I was taken in by the dichotomy of order and chaos in the composition, which depicts two black children and a dog leaving a clean, attractive development. The work, with the cheery red and white letters spelling out “Our Town” at the top, looks like a mural one might see on the side of a building or school to boost morale, were it not for the streaks of paint obscuring several sections of it. There is a vandalized quality to the painting – some of the paint in the letters looks worn away, a splotch of black paint covers the bright green grass, pieces of white paper add to a collaged, haphazard feeling.

            Marshall draws upon sociology, history, and literature in this work. Themes of race and class are inherent- all of the figures are black - even the dog has black spots. The young girl is wearing what appears to be a school uniform, perhaps signifying her enrollment in a private or parochial school. A boy rides a glossy new bike with streamers and a woman stands outside the biggest of the houses, waving at the children. Is she waving them back to the house or waving goodbye? The woman wears an apron, but it’s unclear if she’s the homeowner or the housekeeper. These questions emphasize the sociological underpinnings seen in all of Marshall’s work. The title comes from the 1938 play by Thornton Wilder, which chronicles the lives of a group of townspeople in the fictional town of Grover’s Corners between the years of 1901-1913. The play ends on a decidedly dour note, questioning the point of existence and the idea of eternity. With this knowledge in mind, Marshall’s work seems to lean toward satire, the children running out of the bright neighborhood to an unknown place, mirroring the play’s moving away from convention, towards existentialism and a sense of uncertainty.

            In my own work, I’m constantly trying to balance a cheery, brightly colored aesthetic with deeper, metaphorical, at times uncomfortable subject matter beneath it. Looking at other contemporary artists is always helpful because it gives me perspective on my own work and allows me to see how far I could stretch myself. Marshall’s work is inspiring to me because he’s successfully worked with difficult subject matter (racism, slavery, corruption) in a compelling way that informs the viewer without alienating him or her. My work most often deals with gender issues and the different patriarchal constraints put on women and girls in literature. Marshall’s work will be good to keep in mind as I continue to explore topics of oppression, freedom, femininity and alienation while trying to balance the dark with the light. 

"Our Town," 1995
Acrylic and collage on unstretched canvas, 100 x 124 inches