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How Kerry James Marshall Rewrites Art History

Installation view of ‘Kerry James Marshall: Mastry’ featuring “De Style” (1993) at the Museum of Contemporary Art Chicago (photo by Nathan Keay, © MCA Chicago) (click to enlarge)

CHICAGO — When he studied art history in the 1970s in Los Angeles, Kerry James Marshall was struck by the absence of black artists in the “canon.” This is no surprise. Even through the ’80s, art history survey textbooks still mostly excluded people of color as well as women. It’s more surprising that several weeks ago, during a minority-student panel at the private Midwestern art college where I teach, students asserted that their art history survey classes, depressingly, still lacked diversity. Imagine what it must be like to sit through several semesters and several thousand years of history and never see a glimmer of yourself in the text or images.

Marshall, who lives in Chicago, has spent his career considering these omissions and doing his best to rectify the absence of black people in the history of art, in museum collections, and as authors of parallel histories. He has…

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