[{"id":3422,"title":"Souvenir I","dimensions":"274 x 396 cm     ","date_begin":"1997-01-01","material":"acrylic, glitter, unstretched canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Museum of Contemporary Art Chicago, Bernice and Kenneth Newberger Fund","cached_tag_list":"Kerry James Marshall, Souvenir series, Vancouver Art Gallery","publishing_process_id":1,"annotation":"Collection Museum of Contemporary Art, Chicago, Bernice and Kenneth Newberger Fund.","date_end":null,"reference":"","stream_count_app":31,"permalink":"souvenir-i","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/544/large/Souvenir%20I.jpg?1328523900","poster_credits":"(c)image: Museum of Contemporary Art, Chicago","translations":[{"locale":"en","description":"*Souvenir I* (1997) portrays the domestic interior of the home of Ruth and Albert Glover, Marshall's wife's great-aunt and uncle, a room of a typical African-American household in the 1960s and ‘70s. In the centre stands a woman with golden wings, like an angel, inviting us to come in and pay respects to those pictured within. Everyone portrayed or mentioned in this series died between 1959 and 1970. In the upper border he has placed photographs of faces with wings, just like the cherubs seen in a baroque or renaissance painting. They are portraits of political figures who fought in the movement for civil rights and stood up for their beliefs, but who never attained the wide recognition of Martin Luther King for example, as their activities were often more problematic for the majority, even though their contributions were significant. "},{"locale":"nl","description":"*Souvenir I* (1997) toont het interieur van de oudtante en -oom van Marshalls vrouw, Ruth en Albert Glover, een kamer in een typisch Afro-Amerikaans huis in de jaren 1960 en 1970. In het midden staat een dame met gouden vleugels, als een engel, die ons uitnodigt binnen te komen en alle mensen die daar vertegenwoordigd zijn te eren. Iedereen die afgebeeld of vermeld wordt in deze reeks is overleden tussen 1959 en 1970. Bovenaan in de rand plaatst Marshall afbeeldingen met vleugels, verwijzend naar de engeltjes in een barok- of renaissanceschilderij. Het zijn portretten van politieke figuren die opkwamen voor hun geloof, gelinkt aan de zwarte bevrijdingsstrijd. Zij bereikten niet de grote herdenkingsstatus zoals bijvoorbeeld Martin Luther King, omdat hun activiteiten vaak problematisch waren voor de grotere meerderheid, maar hun bijdragen waren significant."},{"locale":"fr","description":""}]},{"id":3547,"title":"Lost Boys AKA Black Johnny","dimensions":"61 x 61 cm","date_begin":"1995-01-01","material":"acrylic, collage, canvas ","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"http://archive.balticmill.com/index.php?access=\u0026itemid=34567\u0026fromtermid=38090\u0026position=3\u0026numresults=4\u0026start=\u0026tab=","date_end":null,"reference":"","stream_count_app":23,"permalink":"lost-boys-aka-black-johnny","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/636/large/Black%20Johnny.jpg?1328701518","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*Lost Boy: AKA Black Johnny* (1995) is from Marshall’s *Lost Boys* series of portraits, each constructed like religious icons. Each painting presents the head and shoulders of an adolescent figure in ordinary dress, ringed by a halo or aura as a sign of their innocence. The title refers to the children's tale *Peter Pan* by J.M. Barrie, in which the *Lost Boys* are a group of children lost in “Never-Never Land” where they don't grow up. \r\n\r\nFor a lot of children who grow up in the inner-city, the question is not whether they want to grow up, but if they are given the chance to do so. In the late 1980s and early '90s, many inner-city children in America died in gang wars or indiscriminately got picked up by the police just for the colour of their skin. Marshall brings this tragedy to the fore in these works. These very stylised images refer to individuals as to young men and women usually classed by the police as \"symbolic aggressors\" on the basis of racial profiling techniques. The paintings commemorate the loss of innocence and lives lost through incarceration."},{"locale":"nl","description":"*Lost Boy: AKA Black Johnny* (1995) maakt deel uit van Marshalls reeks *The Lost Boys*, een serie van negen individuele portretten geconstrueerd als religieuze iconen. Elk schilderij presenteert het hoofd en de schouders van een adolescente figuur in onopvallende kleding omringd door een halo of aura, als symbool van hun onschuld. De titel verwijst naar het kindersprookje *Peter Pan* van J.M. Barrie waarin de Lost Boys een groep kinderen zijn, verloren in een 'Never Never Land' waar ze niet opgroeien. \r\n\r\nVoor veel kinderen die opgroeien in de binnensteden is de vraag echter niet of ze willen opgroeien, maar wel of ze de kans krijgen. In de late jaren 1980 en vroege jaren 1990 werden in Amerikaanse steden veel kinderen gedood tijdens bendeoorlogen en werden onschuldige kinderen opgepakt door de politie vanwege hun huidskleur. Marshall brengt deze tragedie hier op de voorgrond. Deze zeer gestileerde beelden verwijzen naar jonge mannen en vrouwen die door de politie gewoonlijk geclassificeerd worden als ‘symbolische agressors’ op basis van raciale profileringstechnieken. De schilderijen herdenken het verlies van onschuld, en levens verloren door opsluiting. "},{"locale":"fr","description":""}]},{"id":3545,"title":"Lost Boys AKA 8 Ball","dimensions":"61 x 61 cm","date_begin":"1992-01-01","material":"Acrylic and paper collage on canvas, mounted on canvas with metal grommets ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Jill and Paul Koplin, Los Angeles","cached_tag_list":"","publishing_process_id":1,"annotation":"\"'8 Ball' is onderdeel van de 'Lost Boys' serie van Marshall, bestaande uit negen portretten en een grotere collage. Het hoofdonderwerp is het verlies van onschuld en jeugd. Het is een monumentale serie, opgedragen aan het verlies van onschuld.\"\r\n\"The '8 Ball' is part of the series 'Lost Boys' containing nine portraits and one bigger collage. The main subject of the series is the loss of innocence and youth. It is a memorial series to lost innocence.\" ","date_end":null,"reference":"","stream_count_app":27,"permalink":"lost-boys-aka-8-ball","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/634/large/Lost%20Boys;%208%20Ball.jpg?1328700683","poster_credits":"(c) Kerry James Marshall and photo (c) Smart Museum of Art","translations":[{"locale":"en","description":"**Commemoration**\r\n\r\nDifferent forms of commemoration have recurred throughout Marshall’s career – personal commemoration, and collective commemoration. His series of paintings *Lost Boys* (1993-95) is a collection of portraits of young men who have, for various reasons, been imprisoned. The pictures are in a sense, memorials to the men’s non-existent futures, and their lost freedom.\r\n"},{"locale":"nl","description":"**Commemoration** \r\n\r\nVerschillende vormen van ‘herdenking’ lopen als een rode draad door het oeuvre van Kerry James Marshall, zowel persoonlijke als collectieve herdenking.  *Lost Boys (1993-1995)*is een reeks portretten van jonge mannen die – om verschillende redenen – gevangen werden genomen. De schilderijen zijn een gedenkteken voor de verloren vrijheid van de mannen, en hun onbestaande toekomst.\r\n"},{"locale":"fr","description":""}]},{"id":3551,"title":"Scout Master","dimensions":"104.1 x 101.6 cm ","date_begin":"1996-01-01","material":"acrylic, paper, wood ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Jack Shainman, NY\t","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"scout-master--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/136/large/Kerry_James_Marshall_%2814%29.jpg?1372838894","poster_credits":null,"translations":[{"locale":"en","description":"The portraits *Scout Boy* (1995), *Scout Girl* (1996) and *Scout Master* (1996) present an uneasy link between innocence and experience. On the one hand they display confidence in the success of the black middle-class possessing a certain degree of affluence before having occasion for leisure pursuits like the Scouts that had been traditionally seen as activities for youth of the white middle-class. The works offer commentary on how some black people only consider having “made it” by participating in pastimes savored by white people. Moreover, the comic-strip-esque stars of light-burst behind their heads are reminiscent of those seen in portrayals of superheroes – a wry comment on the level of aspiration perhaps. \r\n\r\n\r\n"},{"locale":"nl","description":"De portretten *Scout Boy* (1995), *Scout Girl* (1996) en *Scout Master* (1996) bieden een ongemakkelijke verbinding. Enerzijds tonen ze vertrouwen in het succes van de zwarte middenklasse. Voor je aan vrijetijdsbesteding kan doen moet je immers al een zekere rijkdom bezitten. Scouting wordt traditioneel gezien als een vrijetijdsactiviteit voor blanke jongeren uit de middenklasse. Marshall toont ons hier hoe de zwarte middenklasse deze traditionele activiteiten van de blanke middenklasse kopieert en zich zo succesvol voelt. De cartooneske lichtsterren achter de portretten suggereren bovendien dat de figuren superhelden zijn. Anderzijds lijken ze niet te genieten van dit licht. Ze lachen niet, hun ogen zijn waakzaam. De zwarte scouts lijken deel uit te maken van een vreemde herdenking."},{"locale":"fr","description":""}]},{"id":3560,"title":"7 am Sunday Morning","dimensions":"304.8 x 548.64 cm","date_begin":"2003-01-01","material":"acrylic, canvas banner","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Museum of Contemporary Art, Chicago, Joseph and Jory Shapiro Fund by exchange","cached_tag_list":"MCA, Kerry James Marshall, One True Thing","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"7-am-sunday-morning","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/661/large/7am-sunday-morning.jpg?1328780040","poster_credits":"(c) Museum of Contemporary Art, Chicago, Joseph and Jory Shapiro Fund by exchange  ","translations":[{"locale":"en","description":"*7am Sunday Morning* (2003) references Edward Hopper’s painting [Early Sunday Morning](http://www.edwardhopper.net/early-sunday-morning.jsp) (1930). \r\n\r\nLike Hopper, Marshall presents a scene from everyday life in the early morning. 7am Sunday Morning is a large painting on unstretched canvas which contains the large distortion of a lens-flare. Various visual planes overlap each other. On the one side there is the neighborhood of Marshall’s studio as calm and serene, while on the other there is a visual effect of refracted light that is descriptive of a photographic image. The relative lack of activity and the soft tints of colour give this painting a tranquility, something that rather contrasts with the neighbourhood's more animated daily reality. "},{"locale":"nl","description":"*7am Sunday Morning* (2003) refereert naar Edward Hoppers schilderij [*Early Sunday Morning*](http://www.edwardhopper.net/early-sunday-morning.jsp) (1930). \r\n\r\nNet zoals Hopper toont Marshall een scène uit het alledaagse leven in de vroege ochtend. *7am Sunday Morning* is een groot schilderij op ongespannen canvas met grote visuele vervormingen. In eerste instantie lijkt het werk stilistisch eenvoudig opgebouwd, hoewel het verschillende vormen van representatie en abstractie combineert. Verschillende vlakken overlappen elkaar. Aan de ene kant heb je de wijk als een rustige en serene plek, aan de andere het prisma-effect van het licht waardoor het geheel uit elkaar valt. Het relatieve gebrek aan activiteit en de zachte kleurtinten geven dit werk een ontspannen en kalm uiterlijk, dat in contrast staat met de levendige wijk die ze in het dagelijkse leven is.\r\n"},{"locale":"fr","description":""}]},{"id":3585,"title":"Nude (Spotlight)","dimensions":"155.2 x 184.9 x 7.1 cm","date_begin":"2009-01-01","material":"acrylic, pvc  ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Defares Collection, The Netherlands","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"nude-spotlight","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/716/large/IV.jpg?1328794558","poster_credits":"(c) Kerry James Marshall","translations":[{"locale":"en","description":"With *Nude (Spotlight)* (2009), he makes reference to Manet’s renowned painting [*Olympia*](http://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/018/137/original/Olympia_Manet.jpg?1372839307) (1863), which presents a reclining female nude looking straight at the viewer, and a black servant by her side clutching flowers. *Nude (Spotlight)* evokes this image, but here, the light falls hard and direct, literally like a spotlight, upon the nude woman.  She retains the direct eye contact with the viewer, but the servant is noticeably absent.\r\n\r\n"},{"locale":"nl","description":"Met *Nude (Spotlight)* (2009) maakt hij subtiele verwijzingen naar het schilderij [*Olympia*](http://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/018/137/original/Olympia_Manet.jpg?1372839307) van Eduard Manet (1832 – 1883). Marshall brengt hier een zwarte toets aan in de ‘witte’ kunstgeschiedenis. Manet schilderde zijn Olympia in 1863 en toonde het publiek een naakte vrouw die hen rechtstreeks aankijkt. Achter haar staat een zwarte bediende met een bos bloemen in de hand. Marshalls schilderij *Nude (spotlight)* roept dit beeld op, maar het licht valt hier hard en rechtstreeks, letterlijk als een spot, op de naakte vrouw. Hij behoudt het directe oogcontact met de kijker, maar de bediende is afwezig."},{"locale":"fr","description":""}]},{"id":3650,"title":"Black Artist (Studio View)","dimensions":"114 x 127 cm","date_begin":"2002-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy the artist, Jack Shainman Gallery, NY and Koplin De Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"black-artist-studio-view","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/918/large/06.jpg?1329140816","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*Black Artist (Studio View)* (2002)  is from a broader series of photographs entitled *Black Light* all photographed under the conditions of ultra-violet light. In this image Marshall portrays himself in his studio, leaning back in a chair whilst observing a painting he is working on. The painting is [*7am Sunday Morning*](http://ensembles.mhka.be/items/3560), a street scene in the Bronzeville neighborhood of Chicago's South Side, close to Marshall’s studio. This series of photographs – *Black Light* - has an inbuilt contradiction in its title as a way of considering ideas of visibility and invisibility in society, as well as raising an awareness of the conditions that frame our perception of others."},{"locale":"nl","description":"*Black Artist (Studio View)* (2002) maakt deel uit van de reeks foto’s *Black Light*, die allemaal gefotografeerd zijn met ultraviolet licht. Marshall portretteert zichzelf achterover leunend in zijn stoel, zijn schilderij *7am Sunday Morning* observerend, waaraan hij op dat moment werkt. [*7am Sunday Morning*](http://ensembles.mhka.be/items/3560) toont een straatbeeld uit de Bronzeville-wijk in South Side in Chicago, dichtbij Marshalls atelier. In deze black light-reeks draait alles rond het idee van zichtbaarheid en onzichtbaarheid in de duisternis, terwijl we ons ook meer bewust worden van de voorwaarden die onze perceptie van anderen kaderen. "},{"locale":"fr","description":""}]},{"id":3667,"title":"Believed to be a Portrait of David Walker (ca. 1830)","dimensions":"97.47 x 78.42 x 5.39 cm","date_begin":"2009-01-01","material":"acrylic, pvc  ","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Deighton Collection, London","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"KM09.006","stream_count_app":16,"permalink":"believed-to-be-a-portrait-of-david-walker-ca-1830","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/953/large/Kerry_James_Marshall_Believed_to_be_a_Portrait_of_David_Walker_Circa_18_1613_73.jpg?1329235786","poster_credits":"(c)image: Courtesy of the artist and the Jack Shainman Gallery, New York","translations":[{"locale":"en","description":"*Believed to be a Portrait of David Walker (ca. 1830)* (2009) references the style of 19th century stately portraiture. In place of the image of an aristocrat or king, Marshall portrays a black person as his protagonist, in three-quarter profile, wearing a military-like costume. \r\n\r\nAccording to the title, the subject might be David Walker, a key figure in the struggle to abolish slavery in America. His mother was born free, but his father - who died prior to Walker's birth - was a slave. Though Walker had free status by grace of his mother, he was witness to slavery's cruelties. In 1829, Walker published his famous pamphlet *Walker's Appeal in Four Articles; Together with a Preamble, to the Coloured Citizens of the World, but in Particular and Very Expressly to Those of the United States of America*. In this emotional text, with well-chosen expletives, he urged slaves to rise up against their masters, regardless of the great risk involved. "},{"locale":"nl","description":"*Believed to be a Portrait of David Walker (ca. 1830)* (2009) doet denken aan 19e-eeuwse statieportretten. In plaats van ode te brengen aan een blanke koning of keizer, beeldt Marshall een zwart persoon af in driekwart en gekleed in iets wat lijkt op een militair kostuum. \r\n\r\nVolgens de titel zou het kunnen gaan om David Walker (1785 – 1830), een spilfiguur in de strijd voor afschaffing van de slavernij in de Verenigde Staten. Zijn moeder was vrij, maar zijn vader, die stierf voor zijn geboorte, was een slaaf. Alhoewel Walker zijn vrijheid verkreeg via zijn moeder, was hij getuige van de wreedheid van de slavernij. In 1829 publiceerde hij zijn beroemde pamflet *Walker's Appeal in Four Articles; Together with a Preamble, to the Coloured Citizens of the World, but in Particular and Very Expressly to Those of the United States of America*. In deze emotionele tekst, met zorgvuldig gekozen scheldwoorden, drong hij er bij slaven op aan om op te staan tegen hun meesters, ongeacht het grote risico. \r\n"},{"locale":"fr","description":""}]},{"id":3672,"title":"Heirlooms and accessories","dimensions":"3 x (144.7 x 137.7 cm)","date_begin":"2002-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":23,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"ink-jet print","publishing_process_id":1,"annotation":"This piece is the whole (made out of I, II \u0026 III)","date_end":null,"reference":"","stream_count_app":25,"permalink":"heirlooms-and-accessories","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/958/large/Marshall.HeirloomsAnd%20Accessories.2002.jpg?1329297634","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"Marshall based his *Heirlooms and Accessories* (2002) on a widely circulated [photo](http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/997/large/day2ex1_marion_lynching.jpg?1380443264) from 1930.  It shows a white crowd at the lynching of two black men in Marion, Indiana.  Marshall digitally re-works the photograph, rendering it fuzzy (in a process called ‘ghosting’).  He sets the photos of three women from the crowd in lockets with chains, giving a double meaning to the word ‘accessories’.  These women looked to the camera.  By focusing on the three women instead of the black victims of the lynching, Marshall transforms the commemorative function of the original documentary photograph.  Here he gives this violent act form in a wry sort of heirloom or memento, passing down both the history of the event as well as three ‘accessories’ to it. \r\n"},{"locale":"nl","description":"Marshall baseerde zich voor *Heirlooms and accesoires* (2002) op een beroemde [foto](http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/997/large/day2ex1_marion_lynching.jpg?1380443264) uit 1930. Deze foto toont een witte menigte die het lynchen van twee zwarte mannen in Marion (Indiana) aanschouwen. Marshall bewerkte de foto digitaal door hem heel wazig te maken; een proces genaamd \"ghosting\". De kettingen die hij er aan toe voegde, verwijzen naar de accessoires van drie vrouwen die de misdaad bijwoonden. Deze vrouwen hebben zich afgekeerd van de lynchpartij om te kijken naar de fotograaf. Door te focussen op de vrouwelijke toeschouwers in plaats van op de zwarte slachtoffers van deze geweldpleging transformeert Marshall de herdenkingsfunctie van de originele foto. Marshall geeft hier een gewelddadige gebeurtenis vorm in een verwrongen soort erfstuk of memento, versterkt door foto's en steentjes. "},{"locale":"fr","description":""}]},{"id":3601,"title":"Vignette #2.25","dimensions":"186 x 155 cm","date_begin":"2008-01-01","material":"acrylic, PVC","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Art Institute of Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"vignette-2-25","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/754/large/1.jpg?1328799118","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3602,"title":"Vignette #3","dimensions":"186 x 155 cm","date_begin":"2005-01-01","material":"acrylic, PVC","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Art Institute of Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"vignette-3","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/755/large/3.jpg?1328799382","poster_credits":"(c) kerry James Marshall    ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3646,"title":"Super Model (Female)","dimensions":"83 x 76.9 cm","date_begin":"1994-01-01","material":"acrylic, pastel, lacquer, paper collage, canvas board ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Rennie Collection, Vancouver","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"super-model-female","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/908/large/d4669669r.jpg?1329136714","poster_credits":null,"translations":[{"locale":"en","description":"*Super Model (Female)* (1994), a portrait of a nude woman in three-quarter profile from the waist, harks back to early-Renaissance style portraits. The golden aureola above and around her head are influenced by Byzantine iconography. Above, to the right, are three names in pencil under each other – “Linda, Cindy and Naomi” - referring to the eponymous supermodels. Here, Marshall calls into question our society's obsession with fame and beauty. He trades the Madonna figure for Linda, Cindy and Naomi, who have become contemporary icons. With this painting, Marshall aims to subtly undermine our culture of idolatry and idealism. "},{"locale":"nl","description":"*Super Model (Female)* (1994), een naakte vrouw in driekwart profiel vanaf de taille, doet denken aan de stijl van vroege renaissanceportretten. Het gouden aureool achter haar hoofd toont de invloed van de Byzantijnse iconografie. Rechtsboven staan in potlood de drie namen Linda, Cindy en Naomi onder elkaar geschreven, verwijzend naar de gelijknamige supermodellen. Marshall hekelt hier onze maatschappelijke obsessie met beroemdheden en schoonheid. Hij ruilt de Madonnafiguur in voor Linda, Cindy en Naomi, die hedendaagse iconen geworden zijn. Marshall streeft ernaar om met dit schilderij subtiel onze cultuur van afgoderij en idealisme te ondermijnen."},{"locale":"fr","description":""}]},{"id":4666,"title":"Laid to Rest","dimensions":"00:05:00","date_begin":"1998-01-01","material":"3-channel video installation in loop","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"video, installation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"laid-to-rest","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/936/large/lay_to_rest2.jpg?1378719566","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"In a mausoleum-like construction, we see the video installation *Laid to Rest* (1998). The work presents animated montages, mainly of stereotypical images of ‘black’ behaviour, including figures involved in fragmentary, random acts of violence like robberies and drive-by shootings. At the bottem is a doll laid out in a coffin surrounded by funeral wreaths. The cubicle is closed-off, and thus the projected images may only be seen by peeking through small holes in the wall. The crypt-like space and darkness give the feeling of a memorial."},{"locale":"nl","description":"In een mausoleumachtige ruimte is de video-installatie *Laid to Rest* (1998) te zien. De video toont geanimeerde stereotiepe beelden van zwart gedrag. Personages houden zich bezig met fragmentarische, willekeurige daden van geweld, zoals overvallen en ‘drive-by-shootings’. Eronder ligt een pop opgebaard in een kist omgeven door rouwkransen. Het hokje is afgesloten. De geprojecteerde beelden kan je alleen bekijken door het onhandig gluren door kleine kijkgaten in de muren. De crypteachtige ruimte geeft ons een ongemakkelijk gevoel bij dit herdenkingsmonument. "},{"locale":"fr","description":""}]},{"id":4675,"title":"At the End of the Wee Hours","dimensions":"25.4 x 20.3 cm","date_begin":"1985-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"at-the-end-of-the-wee-hours","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/324/large/DSC00027_1.JPG?1380795497","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4756,"title":"Super Model (Male)","dimensions":"63,5 x 63,5 cm","date_begin":"1994-01-01","material":"Acrylic and collage on canvas      ","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of John P. Axelrod, Boston","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"super-model-male","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/452/large/12.jpg?1334063497","poster_credits":"(c)image: Courtesy of Shelly Sonenberg","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4667,"title":"Untitled ","dimensions":"76.2 x 60.9 cm","date_begin":"1971-01-01","material":"oil, window shade","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"untitled--25","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/316/large/1.jpg?1333464488","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"Marshall was barely 16 years-old when he made *Untitled* (1971). His desire to master a variety of materials and techniques is already apparent here through painting things like still-lifes, dolls and skulls using oil pastels and watercolours. Those were the kinds of works he put in his portfolio when he applied to Otis College of Art \u0026 Design in Los Angeles. \r\n\r\nThe two men depicted behind bars in *Untitled* (1971) are early comment by Marshall on injustice. From the age of 14, Marshall followed various summer classes at Otis and after high school he obtained, in 1978, his Master's degree in Visual Arts. During these years he also studied art history and met other artists who would come to greatly influence him. Significantly, this included the African-American artist Charles White, who was also one of his teachers. For Marshall, it was the first time he encountered art in which black people were not stereotyped as either exotic or as slaves, and it had a profound effect on him and his work. This portrait of two inmates was made in the painterly style of Charles White, and is painted directly onto a window shade."},{"locale":"nl","description":"Marshall was amper 16 jaar toen hij *Untitled* (1971) maakte. Zijn zoektocht naar het gebruik van verschillende materialen en technieken is hier voor het eerst zichtbaar in zijn schilderijen van stillevens, poppen en doodskoppen. Dit waren het soort tekeningen die hij in zijn portfolio opnam wanneer hij ingangsexamen deed bij het Otis College of Art \u0026 Design in Los Angeles. \r\n\r\nTwee mannen achter tralies verschijnen in *Untitled* (1971) en zijn een vroege commentaar van Marshall op onrechtvaardigheid. Vanaf zijn 14e volgt Marshall verschillende zomerklassen aan het Otis Art Institute (Chicago) en na zijn middelbaar studeert hij er in 1978 af als Meester in de Beeldende kunsten. Tijdens zijn studietijd bestudeerde hij  de kunstgeschiedenis  en ontmoette hij verschillende kunstenaars die een grote invloed op hem uitoefenden, in het bijzonder de Afro-Amerikaanse kunstenaar Charles White, waar hij ook les van kreeg. Voor Marshall was het de eerste keer dat hij werk van een kunstenaar leerde kennen waarin zwarte personen niet afgebeeld werden als exotisch of als slaaf, en dit had een diepgaande invloed op hem en zijn werk. Dit portret van twee gevangenen is gemaakt in de stijl van Charles White en geschilderd op een rolgordijn."},{"locale":"fr","description":""}]},{"id":4717,"title":"Dark and Lovely","dimensions":"35.5 x 35.5 cm","date_begin":"1991-01-01","material":"acrylic, collage, linen ","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Cherryl Lynn Bruce, Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":436,"permalink":"dark-and-lovely","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/431/large/10.jpg?1333548294","poster_credits":"(c)image: Courtesy of Cheryl Lynn Bruce","translations":[{"locale":"en","description":"Illuminated female faces surround the face of the woman in *Dark and Lovely*, which is also the name of a hair care product. These points of lustre and sparkle reference a kind of glossy beauty. Marshall himself says, these paintings are not about \"blackness\" per se, but these people are emphatically what they are: black figures. "},{"locale":"nl","description":"Het gezicht van de vrouw in *Dark and Lovely* wordt omringd door andere verlichte vrouwengezichten.  *Dark and Lovely* is ook de naam van een haarverzorgingsproduct. Zoals Marshall zelf zegt gaan deze schilderijen niet over “zwart zijn”, maar zijn de personen nadrukkelijk wat ze zijn: zwarte figuren. "},{"locale":"fr","description":""}]},{"id":4748,"title":"Stigma Stigmata","dimensions":"50.8 x 48.3 cm","date_begin":"1992-01-01","material":"acrylic, collage, luan panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Eric and Cheryl McKissack, Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"stigma-stigmata","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/445/large/5.jpg?1334061538","poster_credits":null,"translations":[{"locale":"en","description":"The paintings *So this what you want?* (1992)  and *Stigma Stigmata* (1992) are full of religious references, for example to early Renaissance and Byzantine Christian images of saints, emphasized by the golden aureoles around the women's heads, the red crosses and the stigmata.  Other references can be made to (white) beauty ideals and the role of (black) women in our society.  The collage technique allows that all elements can stand beside each other in a balanced composition.  Despite the placing of these symbols in proximity to one another and the constant re-working of his canvases, Marshall succeeds in making a non-hierarchical and surprising synthesis between form and content. "},{"locale":"nl","description":"De schilderijen *So this wat you want?* (1992) en *Stigma Stigmata* (1992) zitten vol met religieuze symbolen die doen denken aan vroeg renaissancistische en Byzantijns christelijke heiligenbeelden. De gouden aureolen achter de hoofden van de vrouwen, de rode kruisen en de stigmata benadrukken dit.   Andere referenties kunnen gemaakt worden naar de schoonheidscultuur en de rol van de vrouw in onze maatschappij. De collagetechniek zorgt ervoor dat alle elementen op een evenwichtige manier naast elkaar staan. Ondanks het naast elkaar plaatsen van deze symbolen en het voortdurend herwerken van zijn doeken, slaagt Marshall erin een non hiërarchisch en verrassende synthese te maken tussen vorm en inhoud. "},{"locale":"fr","description":""}]},{"id":4747,"title":"So This is What You Want?","dimensions":"83.8 x 81.3 cm  cm","date_begin":"1992-01-01","material":"acrylic, collage, canvas    ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Daryl Gerber Stokols, Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"afm.? 83,8 x 81,3 cm","date_end":null,"reference":"","stream_count_app":13,"permalink":"so-this-is-what-you-want","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/444/large/4.jpg?1334061270","poster_credits":null,"translations":[{"locale":"en","description":"The paintings *So this what you want?* (1992)  and *Stigma Stigmata* (1992) are full of religious references, for example to early Renaissance and Byzantine Christian images of saints, emphasized by the golden aureoles around the women's heads, the red crosses and the stigmata.  Other references can be made to (white) beauty ideals and the role of (black) women in our society.  The collage technique allows that all elements can stand beside each other in a balanced composition.  Despite the placing of these symbols in proximity to one another and the constant re-working of his canvases, Marshall succeeds in making a non-hierarchical and surprising synthesis between form and content. "},{"locale":"nl","description":"De schilderijen *So this wat you want?* en *Stigma Stigmata* (1992) zitten vol religieuze verwijzingen, bijvoorbeeld naar vroeg Renaissance en Byzantijnse christelijke beelden van heiligen, benadrukt door de gouden aureolen rond het hoofd van de vrouwen, de rode kruisen en de stigmata op het hoofd van één van de vrouwen.  Andere referenties kunnen gemaakt worden naar de (blanke) schoonheidscultuur en de rol van de (zwarte) vrouw in onze maatschappij. \r\n\r\nDe collagetechniek zorgt ervoor dat alle elementen op een evenwichtige manier naast elkaar kunnen staan. Ondanks het naast elkaar plaatsen van deze symbolen en het voortdurend herwerken van zijn doeken, slaagt hij erin een non hiërarchisch en verrassende synthese te maken tussen vorm en inhoud. \r\n"},{"locale":"fr","description":""}]},{"id":4673,"title":"La Venus Negra","dimensions":"152.4 x 101.6 cm","date_begin":"1984-01-01","material":"acrylic, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Rennie Collection, Vancouver ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"la-venus-negra","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/322/large/7.jpg?1333465467","poster_credits":"(c)Kerry James Marshall  ","translations":[{"locale":"en","description":"*La Venus Negra* (1984) portrays a female figure against a background of black and gold. The woman's gestures towards her heart, in reference to ancient religious symbols and paintings. From the middle of the 1980s, aside from the creation of an archetype for the black figure, Marshall also explores other aspects of African-American representation. "},{"locale":"nl","description":"*La Venus Negra* (1984) toont een vrouwelijke figuur tegen een zwarte en gouden achtergrond. Het handgebaar van de vrouw naar haar rode hart doet denken aan oude religieuze symbolen en schilderijen. Vanaf midden jaren 1980 onderzoekt Marshall, naast het creëren van een archetype voor de zwarte figuur, ook andere aspecten van zwarte representatie. "},{"locale":"fr","description":""}]},{"id":4710,"title":"At the End of the Wee Hours","dimensions":"25.4 x 20.3 cm","date_begin":"1986-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"at-the-end-of-the-wee-hours--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/424/large/DSC00015.JPG?1380795730","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4716,"title":"Dark Angel","dimensions":"50.8 x 50.8 cm","date_begin":"1989-01-01","material":"acrylic, collage, linen","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"dark-angel","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/430/large/9.jpg?1333548167","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"In the collage *Dark Angel* (1989) Marshall presents a black figure with striking white eyes and teeth.  The collage technique brings color to the piece, and makes the face of a Black figure appear.  The contours of the completely black surface of a figure come to the fore against a graffiti background.  The face of the *Dark Angel* is a comic-like representation including. This work was shown at Documenta 12, in 2007, in Kassel.\r\n \r\n"},{"locale":"nl","description":"In de collage *Dark Angel* (1989) toont Marshall een zwarte figuur met opvallend witte ogen en tanden. Marshall laat de figuur hier niet verschijnen als een zwarte schaduw uit een zwarte achtergrond. De collagetechniek brengt kleur in het werk. De contouren van het volledig zwarte gezicht komen naar voor uit de graffiti-achtergrond. Het gezicht van de *Dark Angel* is een cartoonachtige afbeelding. Het werk was te zien op Documenta 12, in 2007 in Kassel."},{"locale":"fr","description":""}]},{"id":4808,"title":"Theoretical Video","dimensions":"86 x (10.1 x 15.2 cm), 18 x (50.8 x 60.9 cm)","date_begin":"1998-01-01","material":"102 c-prints","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"Installation view.","date_end":"1999-01-01","reference":"","stream_count_app":18,"permalink":"theoretical-video","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/929/large/Kerry_James_Marshall_Theoretical_Video__1998-1999_Courtesy_of_the_artist__Jack_Shainman_Gallery__NY__and_Koplin_Del_Rio__CA_2.jpg?1378718688","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*Theoretical Video* (1998 – 1999) is an installation comprising a long sequence of photographs mounted in a horizontal band along the wall, presented as if they are the individual frames of a video film. The images are selected from video footage Marshall shot in Chicago's South Side from the window of his home. \r\n\r\nThey create a fragmented, experimental narrative focusing predominantly on Chicago's annual *Bud Billiken Parade*, including, in large part, the scene of beauty queens in parade, along with marching bands and clowns, bringing a surreal, carnivalesque, feeling to an otherwise underprivileged neighbourhood.\r\n"},{"locale":"nl","description":"*Theoretical Video* (1998 – 1999) is een uitgestrekte installatie die bestaat uit foto's die zij aan zij gemonteerd zijn in een horizontale band aan de muur. Ze zijn gepresenteerd alsof ze individuele beelden zijn van een videofilm. De beelden zijn geselecteerd uit video-opnames die Marshall vanuit zijn huis maakte van het dagelijkse leven in de wijk South Side Chicago. \r\n\r\nMarshall creëert een gefragmenteerd experimenteel verhaal dat vooral focust op Chicago's jaarlijkse *Bud Billiken Parade*, de oudste en grootste Afro-Amerikaanse parade in de Verenigde Staten. Schoonheidskoninginnen, fanfares en clowns brengen tijdens de parade een surrealistisch, carnavalesk gevoel in deze arme wijk. \r\n"},{"locale":"fr","description":""}]},{"id":4678,"title":"Two Invisible Men Naked","dimensions":"152.4 x 203.2 cm","date_begin":"1985-01-01","material":"two panels, acrylic, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"two-invisible-men-naked","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/327/large/13.jpg?1333466267","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"In the diptych *Two Invisible Men Naked* (1985) Marshall was inspired by the characters played by Claude Rains in the film [*The Invisible Man*](https://www.youtube.com/watch?v=Y0WqgKOZi6M) (1933), placing them alongside one another. On the right-hand panel the white representation is almost invisible, reduced to near complete monochrome. On the left-hand panel we see his invisible black double painted in a reductive style, come emphatically to the fore from the dark background, mainly because of the white of the eyes and teeth. In this work, Marshall looks to discuss the social invisibility of the black subject within the binary relation of opposing colours – black and white."},{"locale":"nl","description":"IIn de dipitiek *Two Invisible Men Naked* (1985) inspireerde Marshall zich op de karakters gespeeld door Claude Rains in de film [*The Invisible Man*](https://www.youtube.com/watch?v=Y0WqgKOZi6M)  (1933). Hij eigent ze zich toe en plaats ze naast elkaar. Op het linker-paneel is de witte afbeelding bijna onzichtbaar, gereduceerd tot een bijna volledig monochroom vlak. Op het rechterpaneel zien we zijn zwarte dubbelganger, geschilderd in een gereduceerde stijl, nadrukkelijk naar voor komen uit de donkere achtergrond, voornamelijk door zijn witte ogen en tanden. Marshall definieert op deze manier de sociale onzichtbaarheid van de zwarte bevolking in termen van twee uiterste kleuren – puur wit en puur zwart. "},{"locale":"fr","description":""}]},{"id":4709,"title":"At the End of the Wee Hours","dimensions":"25.4 x 20.3 cm","date_begin":"1986-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"KM86.001","stream_count_app":18,"permalink":"at-the-end-of-the-wee-hours--3","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/423/large/DSC00031_1.JPG?1380795349","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*\"... I asked myself, What would happen to Analytical Cubism if you kept that fragmented structure but put back in all the stuff they took out? Cubism foregrounded a fragmented view of things, representing all sides at once. To make that clear, they eliminated all the things that could confuse the picture... So I set out to make collages that had a similar kind of fragmented structure, but that contained more details, more realistic representations. And a narrative content. I wanted to see if I could contstruct a unified picture field with so much tension among its parts that it seemed likely to explode. This was a project to solve a problem proposed by Picasso and Braque.\"* \r\n(Kerry James Marshall in conversation with Arthur Jafa, 2000) "},{"locale":"nl","description":"*\"... I asked myself, What would happen to Analytical Cubism if you kept that fragmented structure but put back in all the stuff they took out? Cubism foregrounded a fragmented view of things, representing all sides at once. To make that clear, they eliminated all the things that could confuse the picture... So I set out to make collages that had a similar kind of fragmented structure, but that contained more details, more realistic representations. And a narrative content. I wanted to see if I could contstruct a unified picture field with so much tension among its parts that it seemed likely to explode. This was a project to solve a problem proposed by Picasso and Braque.\"* \r\n(Kerry James Marshall in conversation with Arthur Jafa, 2000) "},{"locale":"fr","description":""}]},{"id":8097,"title":"Yellow Quarters","dimensions":"51.4  x 46.4 cm","date_begin":"1979-01-01","material":"collage, board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Joel Wachs","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"yellow-quarters","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/125/large/DSC_7746.jpg?1380810242","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"In 1978 Marshall graduates from the Otis Art Institute in Chicago.  That also marks the year he starts making collages.  He puts drawing aside to work on a series of semi-abstract collages where he discovers and explores the possibilities of planes, composition and color.  Some of these early collages contain references to Black cultural history, while others register a sort of naive dissatisfaction with the way of the world.  In *Yellow Quarters* (1979) these elements are interwoven with his own personal history.  For this, Marshall undertook genealogical research that he reworks into an eponymous collage: *“I went back to Birmingham to interview my grandmother and compile all these stories I heard my mother and my aunt tell me, and this eventually resulted in a collage titled Yellow Quarters, the subject of which was my maternal grandfather’s murder in a place in Birmingham called Yellow Quarters.”*"},{"locale":"nl","description":"In 1978 studeert Marshall af aan het Otis Art Instute in Chicago. Dat jaar start hij ook met het maken van collages. Hij verlaat het tekenen om te werken aan een serie semi-abstracte collages waarin hij de mogelijkheden van oppervlaktes, compositie en kleur ontdekt en onderzoekt. De werken zijn spontaner en losser dan zijn eerdere tekeningen. Op dat moment, rond 1978, begint alles op zijn plaats te vallen voor de kunstenaar. Het voordeel van werken met collages, zegt Marshall zelf,  is dat hij niet te veel tijd hoeft te spenderen aan het uittekenen van een compositie en op die manier makkelijker inhoud produceert. Van in het begin van zijn carrière al wilt Marshall, mede onder de invloed van [Charles White](http://www.heritagegallery.com/charles-white.html), werk maken dat over ‘iets’ ging: geschiedenis, cultuur, politiek of sociale kwesties. Sommige van deze vroege collages bevatten referenties naar de zwarte culturele geschiedenis, terwijl andere een soort naïeve ontevredenheid registreren over de manier waarop de wereld in elkaar zit. In *Yellow Quarters* zitten deze elementen verweven met zijn eigen persoonlijke geschiedenis. Hij deed hiervoor genealogisch onderzoek hetgeen hij verwerkt in een gelijknamige collage. *“I went back to Birmingham to interview my grandmother and compile all these stories I heard my mother and my aunt tell me, and this eventually resulted in a collage titled Yellow Quarters, the subject of which was my maternal grandfather’s murder in a place in Birmingham called Yellow Quarters.”*"},{"locale":"fr","description":""}]},{"id":8098,"title":"Black Star","dimensions":"182.9 x 152.4 cm","date_begin":"2011-01-01","material":"acrylic, PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Marilyn and Larry Fields, Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"black-star","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/135/large/Kerry_James_Marshall_%2811%29.jpg?1372838751","poster_credits":null,"translations":[{"locale":"en","description":"In *Black Star* (2011) a naked Black woman bursts through a geometric-abstract background, inspired by the style of Frank Stella’s *Black Paintings*, that he began in the late 1950s. The title refers to the *Black Star Line* shipping company, established in the early 20th Century by Marcus Garvey, founder of the *Universal Negro Improvement Association* (UNIA) and a leading campaigner of the Pan-African movement. \r\n\r\n*The Black Star Line* was originally conceived as a means for giving African-Americans the opportunity to return to Africa if they so wished, and was also important in trans-Atlantic commerce. The company possessed three steamships that sailed between the USA, the Caribbean, Central America and Africa, providing for this travel and trade. As an economically independent corporation, it stood as a symbol for black emancipation.  "},{"locale":"nl","description":"In *Black Star* (2011) breekt een naakte, zwarte vrouw door een geometrisch-abstracte achtergrond, geïnspireerd op de stijl van Frank Stella. Stella is één van de belangrijkste schilders uit de minimal art, bekend om zijn monumentale doeken met eenvoudige vormen en vlakken.\r\nDe titel van het werk verwijst naar de rederij *Black Star Line*, opgericht door Marcus Garvey (1887 – 1940), stichter van de *Universal Negro Improvement Association* (UNIA) en een voorvechter van de pan-Afrikaanse beweging. \r\n\r\n*The Black Star Line* werd oorspronkelijk opgericht om Afro-Amerikanen die terug wilden keren naar Afrika een kans te geven. Daarnaast was de lijn belangrijk om handel te voeren in het Atlantische gebied. De rederij bezat drie stoomschepen die reizen en handel mogelijk maakten tussen de Verenigde Staten, de Caraïben, Centraal-Amerika en Afrika. De economisch onafhankelijke corporatie stond symbool voor de emancipatie van de zwarte bevolking. \r\n"},{"locale":"fr","description":""}]},{"id":8100,"title":"Vignette #2.50","dimensions":"186 x 155 cm","date_begin":"2008-01-01","material":"acrylic, PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Art Institute of Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"vignette-2-50","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/949/large/KM07.032_Vignette__2.5_HR.jpg?1378720533","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8101,"title":"Vignette #2.75","dimensions":"186 x 155 cm","date_begin":"2008-01-01","material":"acrylic, PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Art Institute of Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"vignette-2-75","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/950/large/KM07.033_Vignette___2.75.jpg?1378720576","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8103,"title":"Dark and Handsome","dimensions":"55.9 x 53.3 cm","date_begin":"1994-01-01","material":"oil, paper, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Jack Shainman, NY","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"dark-and-handsome","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/118/large/Kerry_James_Marshall_photo_M_HKA_5.jpg?1380801849","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"The man in *Dark and Handsome* is partially enclosed by a circle of points of light that reflect upon his face.  \r\n\r\n*Dark and Lovely* and *Dark and Handsome* comprise a couple.  *Dark and Lovely* is also the name of a haircare product.  For long in Western history, the notion 'Black and beautiful' was taken as a contradiction in terms.  Just think of the 'darker' photo models who emerged at a particular moment in the fashion world.  In the Black community there was, and still is in some respects, a sort of reaction against the idea that someone very dark can also be very beautiful and attractive.  One of the reasons why he made *Dark and Handsome* as accompaniment to *Dark and Lovely* was to put forward the idea that *\"just as Blackness is apparent, their beauty can also be apparent in their Blackness.”*\r\n\r\nThe little stars, the little lights - which move in a particular way around the man's face - are sorts of points of luster where you see the glaze and the sparkle, a reference to a kind of glossy beauty.  That is also what these paintings represent: a twinkling, glittering beauty.\r\n"},{"locale":"nl","description":"De man in *Dark and Handsome* (1994) is deels ingesloten door een cirkel van lichtpunten die reflecteren in zijn gezicht. \r\n\r\n*Dark and Lovely* en *Dark and Handsome* vormen een paar. De notie  ‘schoonheid en zwart zijn’ werd op een bepaald punt in de geschiedenis een contradictus in terminus. Denk maar aan de donkere fotomodellen die op een bepaald moment in de modewereld verschenen. In de zwarte gemeenschap, was er, en is er nog steeds in sommige opzichten, een soort van reactie tegen het idee dat iemand die erg donker is ook erg mooi en aantrekkelijk kan zijn. Een van de redenen waarom hij *Dark and Handsome* als een bijhorend werk maakte bij *Dark and Lovely* was om het idee voor te stellen dat *\"just as blackness is apparent, their beauty can also be apparent in their blackness.”*\r\n\r\nDe kleine sterretjes die op een bepaalde manier rond de man zijn gezicht bewegen, zijn een soort van punten van schittering waarin je glans en sprankeling ziet, een verwijzing naar een soort van glanzende schoonheid. Dat is ook wat deze schilderijen vertegenwoordigen: een twinkelende, sprankelende schoonheid.  \r\n\r\n"},{"locale":"fr","description":""}]},{"id":8104,"title":"At the End of the Wee Hours","dimensions":"25.4 x 17.8 cm","date_begin":"1984-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"KM84.001","stream_count_app":18,"permalink":"at-the-end-of-the-wee-hours--4","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/116/large/DSC00032.JPG?1380795270","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The title of the series of collages *At the End of the Wee Hours* (1984-86) refers to the refrain of the poem [*Notebook of a Return to my Native Land*](http://kboo.fm/sites/default/files/AIME%20CESAIRE--NOTEBOOK%20OF%20A%20RETURN%20TO%20A%20NATIVE%20LAND.pdf) (1939) by Aimé Césaire. \r\n\r\nIn reading the poem, Marshall discovered how politics and poetry could be woven into a magical prose. A Martinique native, Césaire (1913 – 2008) was one of the most important spokesmen for anti-colonialism for nearly 75 years, in French-speaking lands and beyond. While his poetry searched for a fitting voice for an indigenous Martiniquan identity, his political pamphlets and activism helped give real voice and traction to the anticolonial movement. Also referencing the pictorial logic of Cubism in these collages, Marshall tries to evoke the feeling of the poem's tropes in a semi-abstract form. Snippets of different landscapes are brought together into a single image, which in turn seems to form a new landscape."},{"locale":"nl","description":"De titel van de reeks *At the end of the Wee Hours* (1984 – 86) refereert naar het refrein van het gedicht [*A Notebook of a Return to my Native Land*](http://kboo.fm/sites/default/files/AIME%20CESAIRE--NOTEBOOK%20OF%20A%20RETURN%20TO%20A%20NATIVE%20LAND.pdf) (1939) van Aimé Césaire (1913-2008). \r\n\r\nIn dit gedicht ontdekt Marshall hoe politiek en poëzie samengeweven kunnen worden tot een magisch verhaal. De Martinikaan Aimé Césaire was gedurende bijna 75 jaar één van de belangrijkste woordvoerders van het antikolonialisme, zowel in de Franstalige wereld, als daarbuiten. In zijn poëzie zoekt hij naar een passende stem voor de inheemse identiteit van Martinique. Met behulp van het analytische kubistische model probeert Marshall het gevoel van de tropen, weergegeven in het gedicht, op te roepen zonder daarbij de realistische details te reduceren tot vorm en textuur. Knipsels van verschillende landschappen zijn samengebracht in één beeld, die op hun beurt een nieuw landschap lijken te vormen. "},{"locale":"fr","description":""}]},{"id":8105,"title":"Skull Drawing","dimensions":"43.2 x 48.3 cm","date_begin":"1970-01-01","material":"graphite, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1971-01-01","reference":"","stream_count_app":12,"permalink":"skull-drawing","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":"Kerry James Marshall","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/120/large/Kerry_James_Marshall_photo_M_HKA_19.jpg?1380804932","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Marshall was barely 16 years-old when he made *Skull Drawing* (ca. 1970-71). His quest for making use of a variety of materials and techniques is apparent for the first time here. While he read books about these artists, he also learned that they too had trained their talent by, for example, making sketches of plaster sculptures, copying work of other artists, studying anatomy and making anatomical drawings. This inspired Marshall to start sketching plastic skulls that he found in local stores. \r\n\r\n** *“The Skull Drawing (1970-71) is my attempt to replicate the educational process of artists I admired, like Leonardo da Vinci and Michelangelo: to gain not just a superficial understanding of how bodies are constructed, but an internal understanding of how they are made.  I would sit at home most evenings, doing studies from my plastic skull and from a set of plastic skeletons, trying different lighting sources and things like that.  I was too young to have well-developed conceptual aims.  The first priority was to develop skills.”* **"},{"locale":"nl","description":"Marshall was amper 16 jaar toen hij *Skull Drawing* (ca. 1970-71) maakte. Zijn zoektocht naar het gebruik van verschillende materialen en technieken is hier voor het eerst zichtbaar. Terwijl Marshall boeken las over kunst, ontdekte hij dat kunstenaars hun talent onder andere trainden door anatomische tekeningen te maken en schetsen van plaasteren beelden. Dit inspireerde Marshall om zelf schetsen te maken van plastic schedels die hij in de lokale winkels vond: \r\n\r\n** *“De Skull Drawing is mijn poging om het educatieve proces van kunstenaars die ik bewonderde, zoals Leonardo da Vinci en Michelangelo, te kopiëren: om niet enkel een oppervlakkig begrip te krijgen van hoe lichamen opgebouwd zijn, maar een intern begrip van hoe ze gemaakt zijn. Ik zat de meeste avonden thuis mijn plastic schedel te bestuderen en vanuit een set van plastic skeletten experimenteerde ik met verschillende lichtbronnen en andere dingen. Ik was te jong om goed ontwikkelde conceptuele doelen te hebben. De eerste prioriteit toen was om mijn vaardigheden te ontwikkelen.”* **\r\n"},{"locale":"fr","description":""}]},{"id":8106,"title":"Baobab Ensemble","dimensions":"variable dimensions","date_begin":"2003-01-01","material":"milk crates, cinder blocks, found objects, ink-jet prints on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"baobab-ensemble","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/952/large/baobab_install241.jpg?1378720801","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The *Baobab Ensemble* (2003) is an impromptu seating area made from found objects, including crates, logs, discarded objects and plastic-covered mats. The installation also includes photographs of makeshift seating areas located under trees, referring to the traditional places of congregation under Baobab trees in Africa. \r\n\r\nThe *Baobab Ensemble* incorporates  selected video works by Marshall as well as his personal archive of image clippings that are the fundamental reference material for his artworks, all presented in binders free for viewing. The installation offers a tranquil spot where members of the public can relax, talk, flick through the images, and get an insight into Marshall’s means of practicing as an artist."},{"locale":"nl","description":"*Baobab Ensemble* is een zithoek gemaakt van gevonden objecten zoals kratten, houten blokken, afgedankte objecten en met plastic bedekte matten. De installatie bevat foto’s van geïmproviseerde zitplaatsen onder bomen, refererend naar de traditionele gemeenschapsplaatsen onder de baobabbomen in Afrika. Naast een selectie videowerken van Marshall, bevat dit ensemble zijn persoonlijk archief van afbeeldingen, gepresenteerd in plastic mappen en vrij om in te kijken. Het is fundamenteel referentiemateriaal voor Marshalls schilderijen.  \r\nDe installatie is een plek waar bezoekers kunnen rusten, praten, bladeren door de afbeeldingen en een blik kunnen werpen op Marshalls praktijk als kunstenaar. \r\n"},{"locale":"fr","description":""}]},{"id":8107,"title":"Garden Party","dimensions":"304.8 X 304.8 cm","date_begin":"2003-01-01","material":"acrylic, paper, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"garden-party","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/114/large/Garden_Party_painting.jpg?1380791783","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"Marshall's painting *Garden Party* portrays a group of people at a party in an American suburb garden. The monumental painting follows on from the Garden series of paintings that Marshall began in the 1990s. These works address various “urban renewal” public housing projects in cities such as Chicago and Los Angeles that were developed at the government's behest, originally as part of utopian aspirations to create affordable housing for a growing population. The projects had names like Altgeld Gardens, Wentworth Gardens and Many Mansions. Originally they were successful neighborhoods, but economic crisis and civil unrest turned them into desolate ones, in stark contrast to their given names. In this series Marshall represents inhabitants of these housing schemes that cultivated false hopes for a better life. "},{"locale":"nl","description":"*The Garden Party* (2003) toont een groep mensen op een feest in een Amerikaanse voortuin. Dit monumentale schilderij volgt op de reeks *The Garden Project* die Marshall vanaf 1990 schildert. Onderwerp van deze reeks zijn openbare woningbouwprojecten in Chicago en Los Angeles die ontwikkeld werden op vraag van de Amerikaanse regering, als onderdeel van een utopisch idee om betaalbare huizen te bouwen voor een groeiende populatie. De projecten hadden namen zoals Altgeld Gardens, Wenthworth Gardens en Many Mansions. Aanvankelijk waren het succesvolle wijken, maar door de economische crisis en civiele onrust veranderden ze in arme buurten. Op deze manier werden ze het tegengestelde van wat hun naam beloofde. Marshall verbeeldt in deze reeks bewoners van de woningprojecten die de valse beloftes van een beter leven cultiveren. \r\n"},{"locale":"fr","description":""}]},{"id":8108,"title":"Untitled (Club Scene)","dimensions":"304.8 x 548.64 cm","date_begin":"2013-01-01","material":"acrylic, glitter, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"untitled-club-scene","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/113/large/Club_Scene.jpg?1380791574","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"In *Untitled (Club Scene)* (2013) Marshall presents us with an empty nightclub.  It his reaction against the usual way that black musicians are portrayed.\r\n\r\nIn contrast to the visual arts, music counts many leading black figures.  The most innovative actors in blues, gospel, jazz, ragtime, soul, reggae and rap are all black.  \r\n\r\nThe black music scene is nearly always presented as a single black musician at the center, like as a jazz performer or blues singer.  In his work, however, Marshall shifts the focus to the broader idea of \"black music as an institution\".  He shows the club as a stage offering the possibility of performances, but without showing the performances themselves.  Important here is the privilege of the idea of the stage, where innovation and creation are possible.  In this way, Marshall negates the stereotypical representation of Black culture in general, and of Black music styles in particular.    \r\n"},{"locale":"nl","description":"In *Untitled (Club Scene)* (2013) zet Marshall zich af tegen de wijze waarop zwarte muzikanten en de zwarte muziekscène meestal in beeld wordt gebracht. \r\n\r\nIn tegenstelling tot de beeldende kunst telt muziek veel zwarte leiders. De innovatieve figuren in blues, gospel, jazz, ragtime, soul, reggae, rap zijn allemaal zwarten. \r\n\r\nDe zwarte muziekscène wordt bijna altijd voorgesteld door één zwarte muzikant centraal te zetten, bijvoorbeeld als jazz performer of blues zanger. Marshall verschuift in zijn werk echter de focus naar het bredere idee van “zwarte muziek als een instelling”. Hij toont de club als een platform dat mogelijkheden biedt voor optredens, zonder de performances zelf te tonen. Belangrijk hierbij is het privilege van het idee van het platform, waarin innovatie en creatie mogelijk zijn. Marshall ontkracht op deze manier het stereotype van de afbeelding van de zwarte cultuur in het algemeen en van de zwarte muziekstijlen in het bijzonder.\r\n"},{"locale":"fr","description":""}]},{"id":8109,"title":"Small Pin-up (Finger Wag) ","dimensions":"76.2 X 60.96 cm","date_begin":"2013-01-01","material":"acrylic, pvc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"small-pin-up-finger-wag","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/928/large/pinupfingerwag.jpg?1378718383","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"In the *Pin-up* series Marshall remodels the classic idea of the pin-up girl as an object of desire, representing them as self-confident women who refuse to be seen only as sex objects. \r\n\r\nThe lady in *Small Pin-up (Finger Wag)* (2013), who is aware of being the subject of the viewer’s gaze, makes a gesture of denial towards the viewer."},{"locale":"nl","description":"In de *Pin-Up* reeks haalt Marshall het klassieke idee van de pin-up girl als object van verlangen onderuit. Hij beeldt hen af als zelfbewuste vrouwen die weigeren enkel gezien te worden als lustobject.\r\n\r\nDe vrouw in *Small Pin-Up (Finger Wag)* (2013) is zich bewust van de blik van de kijker en maakt een gebaar van ontkenning naar de toeschouwer. "},{"locale":"fr","description":""}]},{"id":8110,"title":"Small Pin-Up (Lens Flare)   ","dimensions":"76.2 x 60.9 cm","date_begin":"2013-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"small-pin-up-lens-flare","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/112/large/pin-up_flare_2a_copy2.jpg?1380790999","poster_credits":null,"translations":[{"locale":"en","description":"The woman in *Small Pin-up (Lens-Fare)* (2013) turns away from us, but again uses her arm gesturally, to deny the typical view of women in eroticised imagery. The lens-flare in the images also blocks our ability to see everything clearly, whilst refering to the camera lens. Here Marshall plays afresh with visibility and invisibility, of seeing and not wanting to be seen."},{"locale":"nl","description":"De vrouw in *Small Pin-Up (Lens Flare)* (2013) draait zich weg van ons, maar ook zij maakt een gebaar waarmee ze het stereotiepe beeld van vrouwen in erotische afbeeldingen ondermijnt. De reflectie in de beelden blokkeert onze toegang om alles duidelijk te zien, terwijl deze ook verwijst naar de cameralens. Marshall speelt hier een spel van zichtbaarheid en onzichtbaarheid, van wel en niet gezien willen worden."},{"locale":"fr","description":""}]},{"id":8111,"title":"Garden of Delights","dimensions":"variable dimensions","date_begin":"2013-01-01","material":"20 plexi flowers","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"Sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"garden-of-delights","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/123/large/DSC_7757.jpg?1380809517","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Marshalls *Garden of Delights* (2013) can be arranged in various ways.  Originally the installation consisted of a 'footbridge' leading to a large, theatrical garden surrounded by flowers and grass, all from artificial materials.  Plastic sunflowers, bound with metal thread to plastic trellises, swatches of plastic grass adorn the wall.  In the middle of the plastic flowers sits an old family photograph.  \r\n\r\nShiny red, green, brown and black plastic 'stones' - the colors of the Pan-African flag - lead to the center of the garden, where there is a framed photograph of a house and yard.  The photo is staged as the important epicenter around which all the flowers grow. The [\"garden of delight\"](http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/998/large/Garden_delights.jpg?1380445292) (a title with echoes of Hieronymus Bosch) at first sight seems idyllic, but a darker humor seeps in: next to the garden path are crumpled empty bags of *Flamin 'Hot Cheetos*, while a framed photo of the Chicago *Malcolm X College* gets the title *Welcome to the Jungle*. The piece also refers back to Marshall's earlier series *The Garden Projects*, where he treats urban public housing projects with the euphemistic term \"garden\" in their names.\r\n\r\nFor this exhibition a new arrangement was opted for, with the flowers and photographs hanging on the railing of the first mezzanine.  Here Marshall casts critical comment on the artificiality of presentation.  Photographs represent people and plastic replaces nature.  "},{"locale":"nl","description":"Marhsalls *Garden of Delights* (2013) kan op verschillende manieren opgesteld worden. Origineel bestaat de installatie uit een loopbrug die leidt naar een grote, theatrale tuin omringt door bloemen en gras, allemaal in kunststof. Plastic zonnebloemen, vastgebonden met metalen draadjes aan plastic hekjes en stukjes plastic gras bloeien op de muur. In het midden van de plastic bloemen zit een oude familiefoto. \r\n\r\nGlanzende rode, groene, bruine en zwarte plastic \"tegels\" - de kleuren van de pan-Afrikaanse vlag - leiden naar het centrum van deze tuin, waar een foto van een huis met erf is ingelijst. De foto wordt opgevoerd als een belangrijke gebeurtenis waarrond alle bloemen groeien.  De [“tuin der lusten”](http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/998/large/Garden_delights.jpg?1380445292) (een titel die verwijst naar Hieronymus Bosh) lijkt op het eerste zicht idyllisch, maar donkere humor sluipt het werk binnen: naast het tuinpad liggen verfrommelde zakjes van  *Flamin 'Hot Cheetos*, terwijl een ingelijste foto van het Chicago Malcom X College de titel krijgt *Welcome to the Jungle*. Het werk refereert naar Marshalls vroegere reeks *The Garden Projects*, waarin hij stedelijke openbare woonprojecten portretteert met de eufemistische term “tuin” in hun titel. \r\n\r\nIn deze tentoonstelling is gekozen voor een nieuwe opstelling, de bloemen met foto’s hangen aan de reling van de eerste mezzanine. Marshall geeft hier kritiek op het artificiële van representatie. Foto's representeren mensen en plastic vervangt de natuur. "},{"locale":"fr","description":""}]},{"id":8115,"title":"The Art of Hanging Pictures","dimensions":"101.6 x 121.92 cm, 91.44 x 137.16 cm, 182.88 x 121.92 cm, 96.52 x 111.76 cm, 60.96 x 81.28 cm, 45.72 x 60.96 cm, 40.64 x 40.64 cm, 76.2 x 101.6 cm","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"the-art-of-hanging-pictures","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/033/large/art_hang_pics_4.jpg?1380449552","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*The Art of Hanging Pictures* (2002) is an interactive work that consists of a series of framed photographs in a variety of sizes, large and small, which are hung at various heights and angles across a wall. The images depict such things as empty streets and sports fields, emergency vehicles, a brick wall and a kitsch swan ornament, which are all perhaps images related to the life and environment of the woman and child portrayed in the largest photograph. The work deliberately possesses a fragmentary character, and visitors are free to rearrange the photographs to make their own compositions and narratives."},{"locale":"nl","description":"*The Art of Hanging Pictures* (2002) is een interactief werk dat bestaat uit een reeks ingelijste foto's. De foto's, groot en klein, bevinden zich op variabele hoogtes en in verschillende hoeken. Ze tonen lege straten en sportvelden, voertuigen van hulpdiensten, een bakstenen muur en een kitscherige roze zwaan; vermoedelijk beelden gerelateerd aan de omgeving van de moeder en kind die op de grote foto te zien zijn. \r\nDe onconventionele weergave benadrukt het fragmentarische karakter van het werk. Het publiek mag de foto's verhangen, zelf een compositie maken en verhalen creëren. "},{"locale":"fr","description":""}]},{"id":8122,"title":"Wake","dimensions":"","date_begin":"2003-01-01","material":"20 plexiglas portrait medallions - 2 black light photographs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"photography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"wake","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/003/large/BALLET_3.jpg?1380448125","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*Wake* (2003) consists of a cluster of images that deals with the transportation and transformation of Africans as a consequence of the trans-Atlantic slave trade. Two *Black Light* photographs present two cargo vessels that took slaves from Africa to America. 20 round photographs pay homage to the first 20 Africans who came to be sold in the slave auctions at the Jamestown Settlement in 1619. One of them, a self-portrait of Marshall in his youth, is also included as a symbolic marker of the first African-American. \r\n\r\nThe work includes portraits of three black ballerinas. Ballet was long seen as not \"fitting\" for people of an African-American background. Indeed, it used to be commonly taken that the Black body was not suited for this dance form. Even today, a black presence in leading national ballet companies remains rather paltry. This said, ballet has indeed made inroads within the black community. As well as being the name for the religious commemorative ceremony for someone that has died, the title *Wake* also refers to this social transformation.\r\n"},{"locale":"nl","description":"*Wake* (2003) bestaat uit een cluster van beelden met als onderwerp de transportatie en de transformatie van zwarte mensen als gevolg van de trans-Atlantische slavenhandel. De black light-foto’s tonen twee schepen die slaven transporteerden van Afrika naar Amerika. Ronde foto’s brengen hulde aan de twintig eerst Afrikanen die als slaven verkocht werden in James Town-kolonie in 1619. Eén van hen toont een zelfportret van Marshall uit zijn jeugd, bijgevoegd als een symbolische ‘marker’ voor de eerste Afro-Amerikaan. \r\n\r\nDe reeks bevat ook portretten van drie zwarte ballerina’s. Het is een ongerijmd beeld, omdat dit niet meteen een dans is die past bij de Afrikaanse cultuur, maar een kunstvorm die later wel werd overgenomen in de Afro-Amerikaanse cultuur. In eerste instantie echter werd “het zwarte lichaam niet geschikt geacht voor deze dansvorm”. In de gerenommeerde nationale balletgezelschappen komen zelfs nu nog niet veel zwarte ballerina’s voor. Toch vond ook ballet zijn intrede in de zwarte gemeenschap. De titel *Wake* verwijst enerzijds naar een religieuze herdenkingsplechtigheid voor iemand die gestorven is, en anderzijds naar deze sociale transformatie. \r\n"},{"locale":"fr","description":""}]},{"id":8126,"title":"Doll Head","dimensions":"48 x 55 cm ","date_begin":"1978-01-01","material":"egg tempera, masonite","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Luis \u0026 Ana Serrano, Los Angeles","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"doll-head","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/927/large/dollhead.jpg?1378718242","poster_credits":null,"translations":[{"locale":"en","description":"*Doll Head* (1978) dates from Marshall's student days at Otis Art Institute in Los Angeles. In those days, Marshall still entertained romantic notions about being an artist. Like he said so himself he was seduced by his fantasy of being like Leonardo da Vinci, and so he wanted to have a studio – one with skylight with classic north light.  He cut a hole in the roof of the garage and put on old window in, so that it would look the way it was supposed to.  At the same time he had read in books that one of the best ways to learn how to paint was to work from still lifes, because you could take your time and learn how to handle the representation of many different surfaces. And since he wanted to develop figure-drawing skills, almost all of them were still lifes with dolls, in watercolor, in oil pastel, in chalk pastel.  "},{"locale":"nl","description":"*Doll Head* (1978) maakte Marshall tijdens zijn studietijd aan Otis Art Institute in Los Angeles. In die periode had hij nog een romantisch idee over het kunstenaarschap. Verleid door zijn fantasie wilde hij een studio hebben zoals Leonardo Da Vinci - één met een dakraam met klassieke noorderlicht. Hij vertelt zelf dat hij een gat maakte in het dak van de garage en er een oud raam in plaatste om te kunnen schilderen met hetzelfde licht. In één van zijn boeken ontdekte hij dat één van de beste manieren om te leren schilderen was om te starten met het stillevens, omdat je leert hoe je verschillende oppervlaktes kan weergeven.. Omdat  hij  ook zijn techniek van het tekenen van figuren wilde ontwikkelen, schilderde hij stillevens met poppen in aquarel, in olieverf, in krijtpastel."},{"locale":"fr","description":""}]},{"id":8127,"title":"Red (If They Come in the Morning)","dimensions":"244 x 544 cm","date_begin":"2011-01-01","material":"acrylic, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Rennie Collection, Vancouver","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"red-if-they-come-in-the-morning--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/001/large/Kerry_James_Marshall__s_Afraid_of_Red__Black_and_Green_series___2012__foto_Wolfgang_Thaler_Courtesy_Rennie___Collection__3.jpg?1380447346","poster_credits":"(c)image: Wolfgang Thaler, 2012","translations":[{"locale":"en","description":"With respect to form, content and meaning, Marshall's *Who 's Afraid of Red, Black and Green* series harks back to Barnett Newman's (1905-1970) [*Who 's Afraid of Red, Yellow and Blue*](http://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/019/066/original/barnett_newman_who's_afraid_of_red__yellow_and_blue.jpg?1380619769) (1966 /67).  Marshall trades the three primary colors for the political tricolor red, black and green - the colors of the Pan-African flag.  This tricolor, still today used as an emblem for \"Black Power\", was designed in 1920 by Marcus Garvey's Universal Negro Improvement Association. \r\nIn the exhibition, the three monumental paintings *Red*, *Black* and *Green* hang next to each other, according to the flag's design.\r\n \r\nIn this series Marshall refers to the aesthetic characteristics of Color Field painting, like flatness, nuanced planes of color and the perceptual directness of experiencing large formats.  But he questions this current's handling of the absolute and the infinite, and contrasts this with different forms of representation and figuration.  On the one hand, he examines the materiality of paint in all its subtlety, while on the other hand colors - both in concrete and symbolic terms - refer to political and cultural experiences of being Black.   \r\n\r\nWe see another example of the way that Marshall plays with clashing levels of meaning in *Red (If They Come in the Morning)*.  The direct experiencing of the color red is marked by the gradual appearance of the words 'If They Come in the Morning'.  Their origin is from an open letter by author and civil rights activist James Baldwin (1924-1987) to jailed activist Angela Davis.  In the 1960s, Davis was a leading Communist Party member and in 1970 was accused of murder, a charge she was able to disprove only after spending 16 months in prison. *“For, if they take you in the morning, they will be coming for us that night,\"* was Baldwin's closing sentence.  \r\n\r\nBy bringing together strong ideas and concepts from different sources, Marshall changes the power of color into a power of social significance. "},{"locale":"nl","description":"Qua vorm, inhoud en betekenis verwijst Marshalls *Who 's Afraid of Red , Black en Green* serie naar Barnett Newmans (1905-1970) [*Who 's Afraid of Red , Yellow and Blue*](http://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/019/066/original/barnett_newman_who's_afraid_of_red__yellow_and_blue.jpg?1380619769) (1966 /67). Marshall ruilt de drie primaire kleuren in voor de politieke driekleuren rood, zwart en groen - de kleuren van de Pan-Afrikaanse vlag. Deze driekleur, nog steeds gebruikt als een embleem van “Black Power”, werd ontworpen in 1920 door Marcus Garvey's Universal Negro Improvement Association. \r\nIn de tentoonstelling hangen de drie monumentale schilderijen *Red*, *Black* and *Green* naast elkaar, naar het ontwerp van de vlag.   \r\n\r\nMarshall verwijst in deze reeks naar de esthetische kenmerken van de Color Field schilderkunst, zoals vlakheid , genuanceerde vlakken van kleur en de directheid van het ervaren van grote formaten. Hij heeft vragen bij het absolute en het oneindige van deze stroming en het oneindige en laat dit contrasteren met verschillende vormen van representatie en figuratie. Aan de ene kant verkent hij de materialiteit van verf in al zijn subtiliteit, terwijl anderzijds de kleuren, zowel in concrete als symbolische termen, verwijzen naar politieke en culturele ervaringen van het zwart zijn. \r\n\r\nEen ander voorbeeld van de manier waarop Marshall speelt met botsende niveaus van betekenis zien we in *Red (If They Come in the Morning)*. De directe ervaring van de rode kleur wordt gekenmerkt door de geleidelijke verschijning van de opvallende woorden 'If They come in the Morning'. Ze zijn afkomstig uit een open brief van de schrijver en burgerrechten activist James Baldwin (1924-1987) waarin hij ijvert voor de  burgerrechten van  activiste Angela Davis. In de jaren 1960 was Davis een vooraanstaand lid van de Communistische Partij. In 1970 werd ze beschuldigd van moord en was alleen in staat om haar onschuld te bewijzen na een verblijf van 16 maanden gevangenis . *“For, if they take you in the morning, they will be coming for us that night,\"* was de slotzin van Baldwins brief. \r\n\r\nDoor sterke ideeën en opvattingen uit verschillende bronnen samen te brengen,  verandert Marshall de kracht van kleur in een kracht van maatschappelijke betekenis."},{"locale":"fr","description":""}]},{"id":8123,"title":"Untitled (Cheryl)","dimensions":"91.44 x 137.16 cm","date_begin":"2012-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"black light portrait","date_end":null,"reference":"","stream_count_app":8,"permalink":"untitled-cheryl","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/941/large/Cheryl_1B_copy_1.jpg?1378720034","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8125,"title":"Shooting Stars","dimensions":"38.1 x 27.9 cm; 50.8 x 27.9 cm; 43.2 x 38.1 cm; 38.1 x 132.1 cm ","date_begin":"1994-01-01","material":"12 colour Polaroids","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Smart Museum of Art - University of Chicago, Chicago","cached_tag_list":"polaroid","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"shooting-stars","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/931/large/shoot_star_1_copy_copy.jpg?1378718877","poster_credits":null,"translations":[{"locale":"en","description":"In *Shooting Stars* (1994) every photograph makes a reference to the six-pointed Star of David. *Shooting Stars* is about the interpretation and shifts in meaning of a symbol, and how its content can change according to time, place and user. On a black-and-white polaroid from 1930 we see a Jewish girl with a yellow star, as a symbol of identification. The other polaroids present “tags” posted by gangs from various American neighborhoods, as an emblem to mark their territory. The uppermost photograph is a portrait or Baruch Goldstein, an Israeli terrorist of American origin. On February 25th, 1994, he opened fire on a group of praying Palestinians in the *Cave of the Patriarchs* in Hebron. Goldstein was member of a group of radical Jews who took up the Jewish star to wear as a power symbols. It also became their emblem to mark their territory. The last series of photographs show the American six-pointed star that police officers wear. As a form, it has similarities to the Jewish star, but in this case it is an emblem of law enforcement. *Shooting* Stars reflects on the different ways this symbol is seen and used, and the complexity of meaning this brings. "},{"locale":"nl","description":"In elke foto uit het werk *Shooting Stars* (1994) zit een referentie naar de zespuntige Jodenster. *Shooting Stars* gaat over de interpretatie en de betekenisverschuiving van een symbool en hoe de inhoud ervan kan veranderen afhankelijk van tijd, plaats en gebruiker. Op een zwart-witpolaroid uit 1930 zien we een Joods meisje met een gele ster, als herkenningstekening. De andere foto’s tonen ‘tags’ van bendes uit verschillende Amerikaanse wijken. Ze gebruiken de ster als een embleem om hun territorium af te bakenen. De bovenste foto toont het portret van Baruch Goldstein (1956 – 1994), een Israëlische terrorist van Amerikaanse afkomst. Op 25 februari 1994 opende hij het vuur op een groep biddende Palestijnen in de *Grot der Patriarchen* in Hebron. Goldstein maakte deel uit van een groep radicale Joden die opnieuw de Joodse ster introduceerden en dragen als machtssymbool. De laatste reeks foto’s toont figuren die de Amerikaanse zespuntige politiester dragen. Qua vorm komt deze overeen met de Joodse ster, maar hier is het een embleem van machtshandhaving van de wet.\r\n*Shooting Stars* gaat over de verschillende manier van kijken naar dit symbool en de complexiteit ervan. "},{"locale":"fr","description":""}]},{"id":3536,"title":"Slow Dance","dimensions":"191.1 x 188.6 cm","date_begin":"1992-01-01","material":"mixed media, acrylic, canvas","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Smart Museum of Art, Chicago","cached_tag_list":"Kerry James Marshall, Smart Museum of Art, University of Chicago","publishing_process_id":1,"annotation":"","date_end":"1993-01-01","reference":"","stream_count_app":22,"permalink":"slow-dance","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/614/large/Go_Figure_1.jpg?1328689925","poster_credits":"(c)image: Smart Museum of Art","translations":[{"locale":"en","description":"In *Slow Dance* (1992-93) Marshall combines colour planes with different elements and symbols and deviates from classical perspective.  A dancing couple stands in the middle of an image filled with colors, patterns, light and music.  The interior is replete with a couch, a stereo and flowers, all elements that refer to the middle-class, as well as objects that nod to Black African culture, like a mask, the vase and the carpet.  The dancing pair refers to the film [*Killer of Sheep*](http://youtu.be/RsVKkTQSdxE) by Charles Burnett, where there is a moving scene of a dancing couple that made a strong impression upon the artist.\r\nHere Marshall creates a space full of layered visual styles and cultural references that circle round the slow dance at the center, though not per se harmonizing with the surroundings.\r\n\r\n[More](http://www.youtube.com/watch?v=etbSOgFMokA)"},{"locale":"nl","description":"In *Slow Dance* combineert Marshall kleurvlakken met verschillende elementen en symbolen en wijkt hij af van het klassieke perspectief. Een dansend koppel staat in het midden van een beeld gevuld met kleuren, patronen, licht en muziek. Het interieur is gevuld met een bank, een stereo en bloemen, allemaal elementen die verwijzen naar de middenklasse, evenals met voorwerpen die refereren aan de zwarte Afrikaanse cultuur, zoals een masker, de vaas en het tapijt. Het werk verwijst naar de film [*Killer of Sheep*](http://youtu.be/RsVKkTQSdxE) (1977) van Charles Burnett, waarin een ontroerende scene van een dansend koppel veel indruk maakte op Marshall. Hij creëert hier een ruimte vol gelaagde visuele stijlen en culturele referenties die cirkelen rond de trage dans in het centrum, die niet perse harmonieert met de omgeving. \r\n\r\n[Meer](http://www.youtube.com/watch?v=etbSOgFMokA)"},{"locale":"fr","description":""}]},{"id":8128,"title":"Green (Untitled)","dimensions":"244 x 544 cm","date_begin":"2012-01-01","material":"acrylic, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Rennie Collection, Vancouver","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"green-untitled","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/999/large/Kerry_James_Marshall__s_Afraid_of_Red__Black_and_Green_series___2012__foto_Wolfgang_Thaler_Courtesy_Rennie___Collection_2.jpg?1380447102","poster_credits":"(c)image: Wolfgang Thaler, 2012","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8130,"title":"Gleaning: An Image Reclamation Project","dimensions":"00:40:00","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":19,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"film","publishing_process_id":1,"annotation":"","date_end":"2013-01-01","reference":"","stream_count_app":42,"permalink":"gleaning-an-image-reclamation-project","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/008/large/glean_1.jpg?1380448403","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The video *Gleaning: An Image Reclamation Project* focuses on the examination of visual culture from a black perspective. Combining sequences of the many found print images, as well as footage the artist took himself, that form his personal image bank, the video is a kind of essay into representations of the black subject in society. Marshall adds images to the work regularly, and thus it continues to grow in length. \r\n"},{"locale":"nl","description":"De video *Gleaning: An Image Reclamation Project* richt zich ook op het onderzoek van de zwarte beeldcultuur. Door sequenties van gevonden afbeeldingen te combineren met beeldmateriaal uit zijn persoonlijke beeldbank, toont Marshall een soort essay over de voorstelling van het zwarte subject in de samenleving. Marshall voegt regelmatig beelden toe aan het werk, waardoor het blijft groeien in lengte.\r\n"},{"locale":"fr","description":""}]},{"id":8371,"title":"Atlanta #1","dimensions":"17.8 x 12.7 cm","date_begin":"1982-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"collage","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"atlanta-1","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/043/large/DSC00011_1.JPG?1380450152","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"Between 1978 and 1985 Marshall produces a variety of collages.  Here the emphasis is mainly on form, surface and structure.  But in this abstract working-method, he also treats images with a specific significance, mainly derived from fragments of words on labels.\r\n\r\nHe finds inspiration for collages in various magazines, including *Ebony*: *“In Ebony magazine there was a feature on the collage artist Roman Bearden.  That’s where I first understood the value of the medium for studying composition.  Cutting shapes and moving things around to analyze picture structure was much more efficient than drawing and redrawing, so I think my ideas about design developed faster.  It also clarified my understanding of classical Renaissance pictorial devices.”* \r\n"},{"locale":"nl","description":"Tussen 1978 en 1985 maakt Marshall verschillende collages. De nadruk ligt daarbij vooral op vorm, oppervlakte en structuur. Maar in deze abstracte werkmethode verwerkt hij ook beelden met een specifieke betekenis, meestal afgeleid van fragmenten van woorden op etiketten.\r\n\r\nInspiratie voor de collages vindt hij in verschillende tijdschriften, onder andere in *Ebony* magazine. *“In Ebony magazine there was a feature on the collage artist Roman Bearden. That’s where I first understood the value of the medium for studying composition. Cutting shapes and moving things around to analyze picture structure was much more efficient than drawing and redrawing, so I think my ideas about design developed faster. It also clarified my understanding of classical Renaissance pictorial devices.”* \r\n"},{"locale":"fr","description":""}]},{"id":8372,"title":"Atlanta #2","dimensions":"17.8 x 12.7 cm","date_begin":"1982-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"collage","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"atlanta-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/115/large/DSC00013_1.JPG?1380792274","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8374,"title":"Brother","dimensions":"","date_begin":"1974-01-01","material":"woodcut; ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"woodcut","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"brother","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/932/large/Brother.jpg?1378719151","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*\"My brother and I are about the same age; he was just a year older than me. So we played with each other a lot; we kept each other company. We used to draw wars with each other. That was a game we played. Then we would get into drawing ray guns, when we found out about rockets and aliens and stuff like that\"*\r\n(Kerry James Marshall in conversation with Arthur Jafa, 2000)"},{"locale":"nl","description":"*\"My brother and I are about the same age; he was just a year older than me. So we played with each other a lot; we kept each other company. We used to draw wars with each other. That was a game we played. Then we would get into drawing ray guns, when we found out about rockets and aliens and stuff like that\"*\r\n(Kerry James Marshall in gepsrek met Arthur Jafa, 2000)"},{"locale":"fr","description":""}]},{"id":8376,"title":"Dailies","dimensions":"variable dimensions","date_begin":"1999-01-01","material":"12 lightboxes - 22 framed silkscreen prints","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2000-01-01","reference":"","stream_count_app":17,"permalink":"dailies","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/121/large/Adrift_2B.jpg?1380805251","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*Dailies* is a serial comic-strip that Marshall has produced over numerous years, that are presented in their entirety here for the first time. The series exists as a series of prints on newsprint paper and a new set of light-boxes. \r\n\r\nThe strip tells interwoven stories of a group of teenagers in an African-American inner-city neighborhood where lawlessness has reached extreme levels. When superhuman intervention is called for, a protagonist named *Rythm Mastr* steps up to teach the young heroes how to unlock the secret powers of a series of traditional African sculptures. \r\n\r\nThe *Dailies* can be seen as the synthesis of many of the ideas, artefacts, realities and concepts that constantly recur in Marshall's work: the everyday, black pride, beauty, economic disadvantage, societal invisibility, as well as African and African-American folk art traditions positioned in direct relation to the hierarchies of Western art history and contemporary mass media. The prints and light-boxes are proportionate in scale to newspaper spreads."},{"locale":"nl","description":"*Dailies* (1999-2000) bestaat uit een reeks stripverhalen die Marshall gedurende de voorbije jaren maakte. Ze worden hier voor de eerste keer als geheel getoond. Het zijn prints op krantenpapier, getoond in lichtboxen, speciaal ontworpen voor deze presentatie.\r\n\r\nDe strip vertelt het verhaal van een groep tieners in een Afro-Amerikaanse stedelijke buurt waarin wetteloosheid een extreem niveau bereikt. Bovenmenselijke interventie is nodig. Een karakter genaamd Rythm Mastr leert de jonge helden hoe de geheime kracht van traditionele Afrikaanse sculpturen te gebruiken met behulp van ritmische drumpatronen. Marshall construeert een verhaal over vicieuze straatcriminaliteit waarin hij de mogelijkheid open laat iets goeds te laten voortkomen uit de tragedie. \r\n\r\n*Dailies* vormt op een genuanceerde manier een synthese van veel van de ideeën, artefacten, realiteiten en begrippen die steeds terugkeren in Marshalls werk: het alledaagse leven, zwarte trots, schoonheid, economisch nadeel, maatschappelijke onzichtbaarheid en Afro-Amerikaanse folk art- tradities gepositioneerd tegenover de hiërarchieën van de westerse kunstgeschiedenis en de hedendaagse massamedia."},{"locale":"fr","description":""}]},{"id":8379,"title":"Alana","dimensions":"62 x 44.5 cm","date_begin":"2012-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"alana","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/923/large/Alana.jpg?1378717660","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8380,"title":"Black (Untitled)","dimensions":"244 x 544 cm","date_begin":"2012-01-01","material":"acrylic, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Rennie Collection, Vancouver","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"black-untitled","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/042/large/Kerry_James_Marshall_Black_Secession__2012_foto_Wolfgang_Thaler.jpg?1380450026","poster_credits":"(c)image: Wolfgang Thaler, 2012","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8381,"title":"Black Christmas","dimensions":"147.3 x 116.8 cm","date_begin":"2012-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"black-christmas","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/938/large/BLACK_XMAS.jpg?1378719716","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The pictures of models, landscapes and interiors are illuminated with black light. The images are on the border of seeing and not seeing, and are full of references to elements and use of African-American culture. In *Black Christmas*, for example, we see under the Christmas tree toys designed in the 1950s for black children."},{"locale":"nl","description":"De foto's van modellen, landschappen en interieurs zijn verlicht met black light. De beelden bevinden zich op de grens van zien en niet zien en zitten vol verwijzingen naar elementen en gebruiken uit de Afro-Amerikaanse cultuur. In *Black Christmas* bijvoorbeeld zien we onder de kerstboom speelgoed speciaal ontwikkeld in de jaren 1950 voor zwarte kinderen. "},{"locale":"fr","description":""}]},{"id":3618,"title":"Bottle Tree","dimensions":"114.3 x 139.7 cm","date_begin":"2012-01-01","material":"Inktjet print on paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"Edition of 3","date_end":null,"reference":"","stream_count_app":10,"permalink":"bottle-tree","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/866/large/kjm_bottle_tree__best__hi__res-1.jpg?1329124864","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8382,"title":"Naomi","dimensions":"80 x 57.8 cm","date_begin":"2012-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"naomi","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/939/large/Naomi_5.jpg?1378719806","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8383,"title":"Tyla","dimensions":"80 x 57.8 cm","date_begin":"2012-01-01","material":"inkjet print, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"tyla","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/940/large/Tyla_1A_copy.jpg?1378719903","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The *Black Light* images show photographs of models, landscapes and interiors.  All illuminated with black light. They are presented at exhibitions, and seen in magazines as well.  Tyla, for example, appeared as cover-photo for *Art.ltd.* in 2012. "},{"locale":"nl","description":"De *Black Light* foto’s worden getoond in tentoonstellingen, maar evengoed in magazines. Tyla, bijvoorbeeld, verscheen in 2012 als coverbeeld van het magazine *Art.ltd*. "},{"locale":"fr","description":""}]},{"id":8385,"title":"Nat","dimensions":"17.8 x 12.7 cm","date_begin":"1982-01-01","material":"woodcut; ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"woodcut","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"nat","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/933/large/Nat_woodcut_1982.jpg?1378719229","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":8386,"title":"Untitled (Nude)","dimensions":"12.7 x 10.2 cm","date_begin":"1982-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"cut-paper, collage","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"untitled-nude","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/935/large/collage_nude_2collector.jpg?1378719427","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"*\"After Abstract Expressionism, a lot of artists haven't been trained to manipulate material. Instead they've been taught that what they're supposed to manipulate is concepts or ideas. To me, this is absolutely responsible for a lot of weaknesses in artists' production at this point. I'm an advocate of a return to very fundamental, very basic studio practices, which mean that you first spend a lot of your time simply trying to figure out what materials will do, and in the progress of figuring that out, you figure out what to do with them\"* (Kerry James Marshall in conversation with Arthur Jafa, 2000)"},{"locale":"nl","description":"*\"After Abstract Expressionism, a lot of artists haven't been trained to manipulate material. Instead they've been taught that what they're supposed to manipulate is concepts or ideas. To me, this is absolutely responsible for a lot of weaknesses in artists' production at this point. I'm an advocate of a return to very fundamental, very basic studio practices, which mean that you first spend a lot of your time simply trying to figure out what materials will do, and in the progress of figuring that out, you figure out what to do with them\"* (Kerry James Marshall in conversation with Arthur Jafa, 2000)\r\n\r\n"},{"locale":"fr","description":""}]},{"id":8387,"title":"Untitled (Nude)","dimensions":"12.7 x 10.2 cm","date_begin":"1982-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"cut-paper, collage","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"untitled-nude--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/934/large/collage_nude_1_copy.jpg?1378719345","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"Between 1978 and 1985 Marshall produces a variety of collages.  Here the emphasis is mainly on form, surface and structure.  But in this abstract working-method, he also treats images with a specific significance, mainly derived from fragments of words on labels.\r\n\r\nThese early collages have not often been seen.  Indeed, this is the first time that the Nude collages have been presented in a public exhibition. "},{"locale":"nl","description":"Tussen 1978 en 1985 maakt Marshall verschillende collages. De nadruk ligt daarbij vooral op vorm, oppervlakte en structuur. Maar in deze abstracte werkmethode verwerkt hij ook beelden met een specifieke betekenis, meestal afgeleid van fragmenten van woorden op etiketten.\r\n\r\nDeze vroege collages zijn nog niet vaak getoond , het is zelf de eerste keer dat de *Nude collages* in een tentoonstelling en aan het publiek gepresenteerd worden."},{"locale":"fr","description":""}]},{"id":8396,"title":"We Mourn our Loss #4","dimensions":"121.9 x 91.4 cm","date_begin":"1998-01-01","material":"acrylic, glitter, MDF panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"we-mourn-our-loss-4","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/063/large/Mourn_our_loss.jpg?1380534564","poster_credits":null,"translations":[{"locale":"en","description":"*\"Commercial commemorative souvenirs often provide a space for the purchaser of the object to insert himself into the process of commemoration. In the We Mourn our Loss paintings I left a blank oval in which viewers can write something that inspires a sense of loss in them. The commemorative banners suggest how the process can be opened up, so that other people can participate in it. The images of King and the Kennedy's are blocked out in various ways to allow people who want to insert something of their own to do so whithout feeling that they're desecrating a memory.\"* - Kerry James Marshall, 2000"},{"locale":"nl","description":"*\"Commercial commemorative souvenirs often provide a space for the purchaser of the object to insert himself into the process of commemoration. In the We Mourn our Loss paintings I left a blank oval in which viewers can write something that inspires a sense of loss in them. The commemorative banners suggest how the process can be opened up, so that other people can participate in it. The images of King and the Kennedy's are blocked out in various ways to allow people who want to insert something of their own to do so whithout feeling that they're desecrating a memory.\"* - Kerry James Marshall, 2000"},{"locale":"fr","description":""}]},{"id":8460,"title":"At the End of the Wee Hours","dimensions":"25.4 x 17.8 cm","date_begin":"1985-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy the artist, Jack Shainman Gallery, NY and Koplin De Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":5,"permalink":"at-the-end-of-the-wee-hours--5","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/019/117/large/DSC00035.JPG?1380795931","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3637,"title":"La Venus Negra","dimensions":"95.5 x 93 cm","date_begin":"1992-01-01","material":"oil, paper, canvas, panel","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"la-venus-negra--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/887/large/picture.aspx.jpg?1329135397","poster_credits":"(c)Courtesy of the artist and Koplin del Rio Gallery, L.A.","translations":[{"locale":"en","description":"The notion of beauty is a theme that has recurred in his work of Kerry James Marshall. He has made an entire series based on the figure of the Black Venus, that he derived from the popular Mexican cartoon series *La Venus Negra*: *“Up until then, I had not considered that a black woman could be considered as a goddess of love and beauty. Even, I took the classic European ideal for granted. After reading La Venus Negra I wanted to develop a stylised representation of a beauty that would be unequivocally black.”*"},{"locale":"nl","description":"De notie van schoonheid is een thema dat vaak in het werk van Kerry James Marshall terugkeert. Hij maakt een reeks gebaseerd op de figuur van de zwarte Venus, die hij ontleende aan de Mexicaanse populaire stripreeks *La Venus Negra*, waarover hij zegt: *“Tot dan toe had ik nog niet overwogen dat  een zwarte vrouw beschouwd zou kunnen worden als een godin van liefde en schoonheid. Zelfs ik nam het klassieke Europese ideaal als vanzelfsprekend. Na het lezen van La Venus Negra wilde ik een gestileerde weergave ontwikkelen van een schoonheid die ondubbelzinnig zwart zou zijn.\"*"},{"locale":"fr","description":""}]},{"id":8099,"title":"Vignette #2","dimensions":"186 x 155 cm","date_begin":"2005-01-01","material":"acrylic, plexiglass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Art Institute of Chicago","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"vignette-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/951/large/KM05.013_Vignette_2_HR.jpg?1378720659","poster_credits":null,"translations":[{"locale":"en","description":"During the first decade of this century, Marshall makes a series of paintings under the collective title *Vignette*.  For this he reverts to smaller formats and a new genre.  The paintings are exercises in restraint; there is nothing hard or disturbing to impinge upon the sober character of the surface.\r\n\r\nThe vignettes present Afro-Americans in romantic scenes – they play hide-and-seek, dance in the meadow, walk hand-in-hand, etc.  The figures in this series are both idealized and rather flattened.  They suggest ideals of a better future, even as they remind us of Black stereotypes as constructed by the media.  These Edens evoke nostalgic sentiments, but for times that never existed. \r\n\r\nThe title *“Vignette”* refers to the term that came into use in the 18th century to describe photographs with a decorative border that pictured a certain person or situation.  Marshall studied Fragonard and Boucher, the entire Rococo period, where pleasure and excess reined.  He adopts the themes and concentrates on the romantic in an urban or suburban environment.  But Marshall combines these subjects with the soberness of grisaille, in order *\"not to give in to all the promises of this decadent genre\"*.\r\n\r\nThe series focuses on the historical lack of Afro-American representations in Western art history: *“By adopting characteristics of specific periods and styles, I would like for my paintings to call attention to the absence of works by Black artists in those moments where none is represented.  The new paintings, entitled Vignette, make the absence very clear.”* Marshall makes use of a discrete stylistic parody in order to represent the hypothetical emotional life of the Black population, as if they too could lead a life of romantic, pastoral bliss, just as their slave masters had in the past enjoyed.\r\n"},{"locale":"nl","description":"Tijdens de jaren 2000 maakt Marshall een hele reeks schilderijen onder de noemer *Vignette*. Hij keert hiervoor terug naar kleinere formaten en een nieuw genre. De schilderijen zijn oefeningen in terughoudendheid, er is niets hard of storend aan het sobere karakter van het oppervlak. \r\n\r\nDe vignetten tonen Afro-Amerikanen in romantische scènes – ze spelen verstoppertje, dansen in weilanden, wandelen hand in hand door het gras,... . De figuren in deze reeks zijn zowel geïdealiseerd als afgevlakt. Ze suggereren idealen van een beter toekomst, zelfs al herinneren ze ons aan zwarte stereotypen die de media construeerde. Deze Eden roept een nostalgisch gevoel op, maar heeft nooit bestaan.  \r\n\r\nDe titel *Vignette* verwijst naar de term die in gebruik kwam in de 18de eeuw om foto's met een decoratieve randversiering te omschrijven en die een bepaalde persoon of situatie afbeeldde. Marshall bestudeert Fragonard (1732-1806) en Boucher (1703-1770), de hele Rococo periode, waarin plezier en overdaad overheersen. Hij neemt de thema's over en  concentreert zich op liefde en romantiek in een stedelijke of voorstedelijke omgeving. Maar Marshall combineert deze onderwerpen met de soberheid van grisaille, om niet aan “alle beloften van dit decadente genre toe te geven”.\r\n\r\nDe reeks richt zich op het historische gebrek aan voorstellingen van Afro-Amerikanen in de Europese kunstgeschiedenis. *“By adopting characteristics of specific periods and styles, I would like for my paintings to call attention to the absence of works by black artists in those moments where non is represented. The new paintings, entitled Vignette, make the absence very clear.”* Marshall maakt gebruik van een discrete stilistische parodie om het hypothetische emotionele leven van de zwarte bevolking te verbeelden alsof ook zij in de 18de eeuw konden leven met romantische pastorale condities, net zoals hun slavenmeesters toen.\r\n"},{"locale":"fr","description":""}]},{"id":8375,"title":"Doppler Incident","dimensions":"00:26:30","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"doppler-incident","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/018/942/large/doppler_1a.jpg?1378720214","poster_credits":"(c)image: Courtesy of the artist, Jack Shainman Gallery, NY, and Koplin Del Rio, CA","translations":[{"locale":"en","description":"The *Doppler Incident* (1997) is a provocative montage of film, video, poetry, stories and improvisations of jazz-influenced music.  It is an ambitious combination of live performance, the spoken word, music and video projections.  The piece was first presented in 1997 at *the Kitchen* in  \r\nNew York City, as part of the Brooklyn Academy of Music’s Artists in Action series.  Singers, actors and musicians stood on a stage that provides for parallel and interwoven story lines, while the video montage played on a screen behind them.  \r\n\r\nThe *Doppler Incident* is also filmed, recorded in Marshall's own neighbourhood.  It constructs the fragmented story of a knife fight as seen from his window.  The fight scene appears twice: once in real time and once in slow motion.  The images are constantly interrupted by flashes of composite images and intervals of color fields that shift from blue to white. \r\n"},{"locale":"nl","description":"The *Doppler Incident* (1997) is een montage van film, video, poëzie, verhalen en improvisaties van jazz muziek. Het is een ambitieuze combinatie van live-performances, voordrachten, muziek en videoprojecties. Het werk werd voor het eerst gepresenteerd in 1997 in *the Kitchen* in New York City, als een deel van de Brooklyn Academy of Music’s Artists in Action series.  Zangers, acteurs en muzikanten stonden op een podium en zorgden voor parallelle verhaallijnen terwijl de videomontage achter hen speelden op een scherm. \r\n\r\nDe beelden voor het *Doppler Incident* werden gefilmd en opgenomen in Marshalls buurt. Het construeert het gefragmenteerde verhaal van een messengevecht. De gevechtsscène verschijnt twee keer: één keer in real time en één keer in slow motion. De beelden worden voortdurend onderbroken door flitsen van samengestelde beelden en intervallen van kleurvelden die verschuiven van blauw naar wit. \r\n"},{"locale":"fr","description":""}]},{"id":13804,"title":"Kerry James Marshall - Painting and Other Stuff","dimensions":"26 x 20.7 cm, 190 p., language : English, publisher : co-published by Ludion, M HKA Museum van Hedendaagse Kunst Antwerpen \u0026 other museums, ISBN : 9789461301260/9788480264822","date_begin":"2013-01-01","material":"Ink, paper","short_description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cpre\u003e\r\n\r\n\u0026nbsp;\u003c/pre\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2025/984","stream_count_app":11,"permalink":"kerry-james-marshall-painting-and-other-stuff","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/272/large/__Photo_M_HKA__7.jpg?1458550737","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eCo-published by Ludion, M HKA Antwerp, Kunsthal Charlottenborg Copenhagen, Fundaci\u0026oacute; Antoni T\u0026agrave;pies Barcelona \u0026amp; Museo Nacional Centro de Arte Reina Sof\u0026iacute;a Madrid.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Nav Haq (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eForeword by directors : Bart De Baere (M HKA, Antwerpen), Manuel Borja-Villel (Museo Nacional Centro de Arte Reina Sofia, Madrid), Jacob Fabricius (Kunsthal Charlottenborg, Copenhagen) \u0026amp; Laurence Rassel (Fundaci\u0026oacute; Antoni T\u0026agrave;pies, Barcelona).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Okwui Enwezor, Nav Haq, Kerry James Marshall, Dieter Roelstraete \u0026amp; Sofie Vermeiren (M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eA booklet with Dutch translations of the texts was published.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eCo-published by Ludion, M HKA Antwerp, Kunsthal Charlottenborg Copenhagen, Fundaci\u0026oacute; Antoni T\u0026agrave;pies Barcelona \u0026amp; Museo Nacional Centro de Arte Reina Sof\u0026iacute;a Madrid.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Nav Haq (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eForeword by directors : Bart De Baere (M HKA, Antwerpen), Manuel Borja-Villel (Museo Nacional Centro de Arte Reina Sofia, Madrid), Jacob Fabricius (Kunsthal Charlottenborg, Copenhagen) \u0026amp; Laurence Rassel (Fundaci\u0026oacute; Antoni T\u0026agrave;pies, Barcelona).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Okwui Enwezor, Nav Haq, Kerry James Marshall, Dieter Roelstraete \u0026amp; Sofie Vermeiren (M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eA booklet with Dutch translations of the texts was published.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCo-published by Ludion, M HKA Antwerp, Kunsthal Charlottenborg Copenhagen, Fundaci\u0026oacute; Antoni T\u0026agrave;pies Barcelona \u0026amp; Museo Nacional Centro de Arte Reina Sof\u0026iacute;a Madrid.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Nav Haq (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eForeword by directors : Bart De Baere (M HKA, Antwerpen), Manuel Borja-Villel (Museo Nacional Centro de Arte Reina Sofia, Madrid), Jacob Fabricius (Kunsthal Charlottenborg, Copenhagen) \u0026amp; Laurence Rassel (Fundaci\u0026oacute; Antoni T\u0026agrave;pies, Barcelona).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Okwui Enwezor, Nav Haq, Kerry James Marshall, Dieter Roelstraete \u0026amp; Sofie Vermeiren (M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eA booklet with Dutch translations of the texts was published.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":3599,"title":"Untitled","dimensions":"12 x (250 x 122 cm)","date_begin":"1998-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy the artist. Collection M HKA","cached_tag_list":"woodcut","publishing_process_id":1,"annotation":"","date_end":"1999-01-01","reference":"","stream_count_app":35,"permalink":"untitled--129","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Kerry James Marshall","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/748/large/Kerry_James_Marshall_photo_M_HKA_3.jpg?1380810370","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn many of Marshall\u0026rsquo;s paintings, the space is construed as a stage. In his twelve-part woodcut, *Untitled*, it becomes cinematic. The work is 50-feet long, too large to take-in at a single glance. Here Marshall introduces a cinematic approach to a static medium. The work reads from left to right, as a story and a filmed image. Our eyes glide over its length like a camera on a dolly. We are the camera. The scene is set in the first panel: the architecture of a high-rising urban landscape, the corner of a building, a window with flowers. We enter from over an outside wall, where six men are deep in conversation in a tidy living room. He uses this filmic intermezzo as proof of the objectivity of his panorama. He deliberately draws our attention from the action in the living room to the intermediary space and the open door of the bedroom. It is a simple pictorial work, in contrast to some of the artist\u0026#39;s large history paintings. The apartment and the men are intentionally anonymous and generic. *Untitled* is a powerful image, owing not only to its scale but to its subdued naturalism as well.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn veel van Marshalls grote schilderijen is de ruimte geconstrueerd als een podium. In zijn grote twaalfdelige houtsnede, *Untitled*, wordt ze cinematografisch. Het werk is 15 meter lang, te groot om in \u0026eacute;\u0026eacute;n oogopslag te kunnen vatten. Marshall introduceert hier een cinematografische aanpak in een statisch medium. Het werk leest van links naar rechts, als een verhaal en een gefilmd beeld. Onze ogen glijden over de lengte zoals een camera op een dolly. We zijn de camera. De scene is ingesteld in het eerste paneel: waar de architectuur van een hoog rijzende stedelijke omgeving, de hoek van een gebouw en een raam met bloemen opvallen. Over de buitenmuur komen we binnen, waar zes mannen diep in gesprek zijn in een nette woonkamer. Als we verder kijken, zien we door een deels geopende deur een Spartaanse slaapkamer. Hij gebruikt dit intermezzo filmisch. Hij trekt bewust onze aandacht van de actie in de living naar de tussenliggende ruimte en de open deur van de slaapkamer. Het is een eenvoudig picturaal werk, in tegenstelling tot sommige van zijn grote historieschilderijen. Het appartement en de mannen zijn opzettelijk anoniem en generiek. *Untitled* is een krachtig beeld, niet enkel door zijn omvang, maar ook omwille van zijn ingetogen naturalisme.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12045,"title":"Untitled","dimensions":"220 x 1545,6 cm (12 parts, each 250 x 128,3 cm)","date_begin":"1999-01-01","material":"colored woodcut on paper, A.P. - out of 4 editions","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"woodcut","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e is a large-scale twelve-panel woodcut print in which a domestic interior is construed like it was a stage set. The work is 50-feet long, too large to take-in at a single glance. Here Marshall introduces a cinematic approach to the static medium of print. \u0026nbsp;The work reads from left to right, as a story and a filmed image. Our eyes glide over its length like a camera on a dolly. We are the camera. The apartment and the people are intentionally anonymous, along with black monochrome paintings seen on many of the walls. The scene challenges stereotypes of the black male through their participation in a mundane, uneventful, \u0026ldquo;normal\u0026rdquo; activity.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e is een grote twaalfdelige houtsnede van een huiselijk interieur zoals dat zou kunnen opgebouwd zijn voor een opnameset. Het werk is 15 meter lang, te groot om in een oogopslag te kunnen vatten. Marshall introduceert hier een cinematografische aanpak in een statisch medium. Het werk leest van links naar rechts, als een verhaal en een gefilmd beeld. Onze ogen glijden over de lengte zoals een camera op een dolly. We zijn de camera. Het appartement en de mannen zijn opzettelijk anoniem. Opvallend zijn ook de zwarte monochrome schilderijen op veel van de muren. Marshall ondermijnt hier het stereotype van de zwarte man door hem te tonen in een alledaagse, onbewogen, \u0026lsquo;normale\u0026rsquo; omgeving.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":39,"permalink":"untitled--189","description_ru":"","description_de":"\u003cp\u003e\u003cbr /\u003e\r\nKerry James Marshall reagiert radikal auf die Quasi-Absenz von Schwarzen Kunstschaffenden, indem er eine Darstellung von ihnen entwickelt. Sein monumentaler Druck Untitled (1998-1999) zeigt eine friedliche Alltagsszene. Im Zentrum der Komposition steht eine Gruppe von sechs Personen, die sich in einem Wohnzimmer unterhalten. Die Personengruppe ist unbestimmt, es ist unklar, wer sie sind und warum sie zusammen sind, und es scheint auch egal zu sein: Das Bild erstreckt sich weit hinter dieser Szene und zeigt einen Wandausschnitt des Blockhauses, in dem sie sich befinden.\u0026nbsp;\u003cbr /\u003e\r\nDas Werk selbst ist in zw\u0026ouml;lf Holztafeln unterteilt, und jeder Teil des Drucks k\u0026ouml;nnte als ein separates Kunstwerk wahrgenommen werden. Der Betrachter hat die Illusion, dass er die Kontrolle \u0026uuml;ber das Bild hat, indem er von links nach rechts, von einem Teil des Gem\u0026auml;ldes zum n\u0026auml;chsten gleitet und sich aussucht, was er betrachten m\u0026ouml;chte. Das Gem\u0026auml;lde hat seinen eigenen Rhythmus, der durch die Darstellung von r\u0026auml;umlichen Pausen entsteht und eine filmische Dramaturgie des One-Shot-Films erzeugt. Indem der K\u0026uuml;nstler auf den ersten Blick unn\u0026ouml;tigen Details wie den abgeschnittenen W\u0026auml;nden so viel Aufmerksamkeit schenkt, macht er dieses Kunstwerk zur Routine \u0026nbsp;und noch mehr zum allt\u0026auml;glichen h\u0026auml;uslichen Komfort.\u0026nbsp;\u003cbr /\u003e\r\nEine friedliche Szene aus dem allt\u0026auml;glichen Leben, die Marshall darstellt, ist sowohl beruhigend als auch beunruhigend, wenn man ihre Unerreichbarkeit versteht. Da man nicht in der Lage ist, die verlorene Stabilit\u0026auml;t der Friedenszeit zu erreichen, bleibt einem nichts anderes \u0026uuml;brig, als die Manifestationen der Sch\u0026ouml;nheit in der allt\u0026auml;glichen Existenz zu bemerken \u0026nbsp;und als Mensch in der Lage zu bleiben, den Schimmer der Hoffnung zu sehen.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/025/493/medium_500/Kerry_James_Marshall__exhibition_view_photo_M_HKAclinckx24.jpg?1668701731","cached_actor_names":"Kerry James Marshall","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003eРадикальна відповідь Керрі Джеймса Маршалла на брак присутності чорношкірих у мистецтві полягає в тому, щоб створювати їхні зображення. У цій монументальній роботі 1998-1999 років він показує сцену з повсякденного життя. В центрі композиції \u0026ndash; компанія з шести людей, що розмовляють між собою у вітальні міської квартири. Ця група досить умовна, ми не знаємо, хто ці люди й чому вони зібралися разом, та це ніби й не важливо, бо візуальний простір роботи розширюється в обидва боки, демонструючи глядачеві ще й будинок, в якому відбувається дія.\u003c/p\u003e\r\n\r\n\u003cp\u003eСам твір складається з дванадцяти дерев\u0026rsquo;яних панелей, кожну з яких можна сприймати як окрему роботу. Глядач може роздивлятись їх підряд, зліва направо, одну за одною, вибираючи, на чому зупинитись, і це створює ілюзію контролю над зображенням. При цьому робота має власний ритм, заданий просторовими паузами, які вносять у твір кінематографічну драматургію, імітуючи ефект зйомки одним планом. Приділяючи багато уваги незначним, здавалося б, деталям на зразок фактури стін, автор додає роботі ще більшої буденності та домашньої атмосфери.\u003c/p\u003e\r\n\r\n\u003cp\u003eПоказана Маршаллом тиха сцена з повсякденного життя одночасно і створює відчуття затишку, і провокує дискомфорт, оскільки глядач ніяк не може її прочитати. Не маючи змоги віднайти втрачену стабільність мирного часу, єдине, що ми можемо протиставити війні \u0026ndash; це помічати прояви краси в буденності, залишатися людьми та ловити промінь надії.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/025/493/large/Kerry_James_Marshall__exhibition_view_photo_M_HKAclinckx24.jpg?1668701731","poster_credits":"(c)photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ca href=\"http://ensembles.mhka.be/actors/kerry-james-marshall\"\u003eKerry James Marshall\u003c/a\u003e responds radically to the quasi-absence of black people in art by developing a depiction of them. His monumental print Untitled, 1998-1999 offers a peaceful everyday life scene. In the center of the composition, there is a company of six people conversing in the living room. The group of people is conditional, it\u0026#39;s unclear who they are and why they are together, and it seems like it doesn\u0026#39;t matter: the image stretches far behind this scene showing walls cutaway of the block house they\u0026rsquo;re in.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe piece itself is fragmented into twelve wooden panels and each part of the print could be perceived as a separate artwork. The viewer has an illusion of control over the print, sliding from left to right, from one part of the painting to another, and choosing what to look at. The painting has its own rhythm built by depicting spacial pauses which brings a cinematic dramaturgy of the one-shot filming. By giving so much attention to, from first sight, unnecessary details such as walls cutaway, the artist makes this artwork routine and even more about everyday domestic comfort.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eA peaceful scene from the everyday life depicted by Marshall is both calming and disquieting in understanding of its inaccessibility. Being incapable to reach lost stability of the peacetime, the only thing one can do is notice the manifestations of beauty in everyday existence, to stay human being able to see the glimmer of hope.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e is een grote twaalfdelige houtsnede van een huiselijk interieur zoals dat zou kunnen opgebouwd zijn voor een opnameset. Het werk is 15 meter lang, te groot om in een oogopslag te kunnen vatten. Marshall introduceert hier een cinematografische aanpak in een statisch medium. Het werk leest van links naar rechts, als een verhaal en een gefilmd beeld. Onze ogen glijden over de lengte zoals een camera op een dolly. We zijn de camera. Het appartement en de mannen zijn opzettelijk anoniem. Opvallend zijn ook de zwarte monochrome schilderijen op veel van de muren. Marshall ondermijnt hier het stereotype van de zwarte man door hem te tonen in een alledaagse, onbewogen, \u0026lsquo;normale\u0026rsquo; omgeving.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e est une gravure sur bois de grande envergure, compos\u0026eacute;e de douze panneaux, qui reproduit un int\u0026eacute;rieur, \u0026agrave; l\u0026rsquo;instar d\u0026rsquo;un d\u0026eacute;cor sc\u0026eacute;nique. Marshall introduit ici une approche cin\u0026eacute;matographique de la gravure, un m\u0026eacute;dia statique. L\u0026rsquo;appartement et les personnes repr\u0026eacute;sent\u0026eacute;s sont intentionnellement anonymes, ainsi que les toiles noires monochromes qui ornent plusieurs murs du lieu. La sc\u0026egrave;ne remet en question les st\u0026eacute;r\u0026eacute;otypes de l\u0026rsquo;homme noir, pr\u0026eacute;sent\u0026eacute; ici dans un d\u0026eacute;cor et une situation d\u0026rsquo;une banalit\u0026eacute;, d\u0026rsquo;une normalit\u0026eacute;, d\u0026rsquo;une quotidiennet\u0026eacute; absolue.\u003c/p\u003e\r\n"}]}]