Kerry James Marshall: History of Painting

About Hal FosterTeju Cole

Through its formal acuity Kerry James Marshalls (b. 1955) work reveals and questions the social constructs of beauty taste and power. As the artist has written I gave up on the idea of making Art a long time ago because I wanted to know how to make paintings; but once I came to know that reconsidering the question of what Art is returned as a critical issue. Engaged in an ongoing dialogue with six centuries of representational painting Marshall has deftly reinterpreted and updated its tropes compositions and styles even pulling talismans from the canvases of his forbearers and recontextualizing them within a modern setting. At the center of his prodigious oeuvre which also includes drawings and sculpture is the critical recognition of the conditions of invisibility so long ascribed to black bodies in the Western pictorial tradition and the creation of what he calls a counter-archive that reinscribes these figures within its narrative arc.Teju Cole is an essayist photographer curator and the author of Open City (2011) and Blind Spot (2017) among other books. His honors include the PEN/Hemingway Award the Internationaler Literaturpreis the Windham Campbell Prize the Rosenthal Award from the American Academy of Arts and Letters and a Guggenheim Fellowship. His photography has been the subject of solo exhibitions in Milan Berlin Zürich and New York and he has given several distinguished lectureships. Originally trained as an art historian he has written the On Photography column for The New York Times Magazine since 2015. Born in the US and raised in Nigeria Cole is currently the Gore Vidal Professor of the Practice of Creative Writing at Harvard University.Hal Foster (b. 1955) has been a force in American art criticism since the late seventies bringing psychoanalytic and poststructural theory to bear on contemporary art and its historical precedents. In 1983 he edited the anthology The Anti-Aesthetic: Essays on Postmodern Culture which helped frame postmodernism within the arts. Foster began to write for Artforum in 1978 and was a senior editor at Art in America (19811987) before becoming a coeditor of the journal October in 1991 and contributes frequently to Artforum October and the London Review of Books. His books include Recodings (1985); Compulsive Beauty (1993); The Return of the Real (1996); Design and Crime (2002); The Art-Architecture Complex (2011); The First Pop Age (2012); and Bad New Days (2015). He is the Townsend Martin Class of 1917 Professor of Art and Archaeology at Princeton University.