In his latest series of paintings and drawings, renowned artist Kerry James Marshall takes up as his subject the presence of the Black artist in his or her studio. Marshall discusses these visually stunning works and invites us to reflect on this question: how do portrayals of famous artists in their studios influence our perceptions of who is an artist? Recorded Saturday, May 22, 2010, 3 pm.
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- Kerry James Marshall: Mastry–
- Short In this painting, a woman painter holds a paint palette in front of a paint-by-numbers portrait. Her skin is as black as the as the solid black background; she stares confidently into our eyes.
- Long This painted portrait depicts a young woman with jet-black skin holding a long, thin paintbrush up to a colorful, messy painter’s palette. She is shown in a three-quarter pose, gazing directly at the viewer. Her face, which is central to the square composition, stands out against a large, white, canvas, almost blending into the pitch-black background to her right. Closer inspection reveals, however, that her skin is subtly rendered, with various shades of contours and highlights. She wears two large hoop earrings, three small hoop earrings, and an oversized, boxy, high-collared jacket made of stiff fabric. Her voluminous hair—black with an ochre sheen—rises in thick coils on top of her head. The canvas to her left shows a partly finished paint-by-number self-portrait; in it, her likeness is broken up into smaller segments with pale-blue outlines and numbers. She has outlined many of the segments and filled them in with colors from her palette: orange, blue, yellow, pink, brown, and a few shades of green. The paint-by-number canvas does not accurately represent the color and pattern of the jacket she wears, which features mustard yellow sleeves and collar and deep blue and maroon and light yellow stripes.