Skip to Main Content
Skip Nav Destination

This monographic essay highlights Kerry James Marshall’s signature interest in archival imagery from the 1960s civil rights era, evoking a quest for social justice that haunts contemporary life because it remains unfulfilled. With attention to painterly devices that interrupt the picture plane, and the jet-black coloration of his monumental figurative ensembles, the analysis of Marshall’s self-positioning in relation to Western “history painting” situates him at a critical remove from the absolutes of Greenbergian modernism, since the intermedia nature of his practice cuts across abstraction, figuration, and conceptualism and thus aligns Marshall with collage-based traditions.

This content is only available as PDF.
You do not currently have access to this chapter.
Don't already have an account? Register
Close Modal

or Create an Account

Close Modal
Close Modal