In celebration of Black History Month, we are delighted to spotlight Kerry James Marshall, an artist celebrated for his figurative paintings that unapologetically centre Black lives. Kerry James Marshall: The Histories showcases eleven cycles of his work, spanning early pieces from 45 years ago to his most recent creations. The exhibition is organised by the Royal Academy of Arts, London in collaboration with the Kunsthaus Zürich and the Musée d’Art Moderne, Paris.

Born in 1955 in Birmingham, Alabama, Marshall has a profound connection to the histories of art. His works are often inspired by biblical and mythological narratives, as well as the political events interwoven throughout history. From portraiture and landscapes to historical paintings, each piece carries deep personal significance. For Marshall, understanding the histories of art is essential – it is the only way to contribute to them in ways that are powerful, meaningful and original.

“I’ve always wanted to be a history painter, on a grand scale like Giotto and Gericault”

The Academy

In this first room viewers are taken inside the world of art schools, studios and museums – places where artists learn, create and showcase their work. In Western art, these places have been seen as the birthplace of creativity and keepers of cultural treasures. From this thought, Kerry James Marshall reimagines these traditions by placing Black figures at the centre, not just as viewers but as creators too – reclaiming these spaces and reshaping the story of who makes and experiences art. He challenged stereotypes by saying, “Black kids go on school trips to museums too,” aiming to normalise diversity through shared experiences, as he himself had been amazed by museums growing up.

He uses different black pigments to detail skin colours from ivory black to carbon black, using different techniques to show emphatic blackness in art “If you say black, you should see black”.

“If you say black, you should see black”

Invisible Man

After moving from Birmingham, Alabama, to Los Angeles, Marshall studied at the Otis Art Institute, earning his BFA in 1978. Continuing to expand his knowledge and skills, he encountered Ralph Ellison’s novel The Invisible Man – a pivotal influence on his work. Inspired by the novel’s protagonist, who feels unseen in American society, Marshall began creating a series in which Black individuals are set against dark backgrounds. Through a subtle interplay of black shades, the figures often appear nearly invisible, inviting viewers to confront racial stereotypes and caricatures while exploring the complex dynamics of Black absence and presence in both society and art.

Painting of Modern Life

After relocating to Chicago and settling into a studio, Marshall turned his focus to capturing everyday life in his paintings – children at play, a couple dancing or a family enjoying a day in the park. His 1993 work “De Style”, depicting a group of Black men in a barbershop, became his first painting to be showcased in a museum. He then began his “Gardens” series, portraying families in American public housing, reminiscent of his own family’s experiences of migration. Through these works, Marshall highlights the challenges of limited resources while celebrating the hope and resilience of residents navigating life in the 1990s.

“Water was the locus of the trauma. The ocean is that vast incomprehensible, what appears to be nothingness. If you ever find yourself on a boat in the middle of the ocean you look around in every direction and don’t see anything. That’s a terrifying experience.”

Pantheon

Paying tribute to Black Americans — slave rebels, poets, artists, and others who endured oppression and inequality — Marshall began a series of paintings in which historical figures are reimagined through his own lens. He gives himself the freedom to portray them as he envisions them, whether elongated, anamorphic or distorted.

Vignettes

Exploring themes of love and connection, Marshall began a series of paintings guided by romance. While slave owners encouraged “breeding” solely to expand their labour force, they controlled and manipulated the romantic lives of enslaved people for economic gain. In response, Marshall portrays love as a powerful act of resistance.

Souvenirs

In the 1990s, living room decorations often included tributes to the assassinated Kennedys and Dr. Martin Luther King Jr., reflecting on the tumultuous 1960s. These personal commemorations acknowledged a decade marked by political upheaval and social change, highlighting both the era’s unfulfilled optimism and its dramatic historical events, and connecting private domestic spaces to collective memory and cultural history.

The painting of the modern life 2

In 2010, Marshall continued to create paintings that capture everyday life—parks, nightclubs, homes, art galleries and more. His work explores the breadth of Black experiences and attitudes toward America, from joyful celebrations to moments of quiet ambivalence. He also delves into specific historical moments, such as the crowning of Gloria Smith as the second Miss Black America during the “Black is Beautiful” era, highlighting both cultural pride and social significance.

“The beauty shop is the place where women go to make and re-make themselves into the image they want to project. And yet, even in this place that reinforces aspects of beauty reflecting Black woman’s particularities, they are haunted by the spectre of blond ideal”

Wake

In 2003, Marshall presented Wake at the Venice Biennale, a work centered on a black ship symbolising both the journey of enslaved Africans and the rise of Black cultural power. Over time, he adds medallions to represent the achievements of African Americans. The installation also features commemorative plates, including one for the first Africans brought to America and another honouring William Tucker, the first person of African descent born in the United States, represented by a picture of him as a teenager.

Red Black Green

In this series of paintings, Marshall draws on the colors of the UNIA (Universal Negro Improvement Association), founded by Marcus Garvey in 1920. Rather than celebrating Black Nationalism in a strictly traditional or formal sense, he infuses the works with his own distinctive style, incorporating cheeky elements that challenge conventions and invite viewers to engage with history in an unexpected way.