Reflections of Culture: Kerry James Marshall’s School of Beauty, School of Culture
Kerry James Marshall’s School of Beauty, School of Culture is a vibrant tapestry of art history and contemporary culture, woven together through a rich array of references and striking visual elements. At the heart of this piece lies a fascinating interplay of mirrors, reminiscent of the works of Jan van Eyck and Diego Velázquez. These mirrors not only serve as reflective surfaces but also as portals that invite viewers to engage with the layered narratives within the artwork.
Art Historical Echoes
Marshall’s use of mirrors draws direct inspiration from Van Eyck’s Arnolfini Portrait (1434) and Velázquez’s Las Meninas (1656). In Van Eyck’s iconic work, a curved mirror expands the viewer’s perspective, revealing more than just the central figures. Similarly, Velázquez employs a mirror to reflect the presence of King Philip IV and Queen Mariana, subtly intertwining the act of viewing with the act of creation. In School of Beauty, School of Culture, the mirror behind the central figure captures the flash of a photographer’s camera, cleverly merging the act of posing with the act of capturing a moment. Marshall notes, “Those are all very deliberate and direct references,” emphasizing that while these historical nods enrich the work, the scene remains relatable and familiar to the average viewer.
Celebrating Contemporary Black Culture
Beyond its art historical references, Marshall’s painting is a vibrant homage to contemporary Black culture. The walls of the salon are adorned with a signed poster of Lauryn Hill and another for Chris Ofili’s 2010 Tate Britain show. At the time, Ofili was celebrated as one of the most prominent Black artists in British history. Marshall recalls first encountering Ofili’s work in New York, describing it as “the best paintings I’d ever seen because they were rich, complex, and layered.” This admiration for Ofili’s artistry reflects Marshall’s broader commitment to celebrating Black identity and culture through his work.
A Scholar of Painting and Culture
Art critic Godfrey highlights Marshall’s unique ability to blend references from both high art and popular culture. “He will refer to Raphael and Holbein because he is a scholar of painting and its history, and he’ll refer to Lauryn Hill because he’s a person in the world and he listens to great music.” This duality enriches Marshall’s work, allowing it to resonate with a diverse audience while maintaining a deep intellectual foundation.
The Power of Representation
One of the most striking aspects of School of Beauty, School of Culture is the representation of its figures. Each individual in the salon is painted in a deep shade of black, a deliberate choice that compels viewers to confront the historical absence of Black figures in large-scale paintings. Godfrey explains that during the ’60s and ’70s, the term “Black” began to be capitalized as a means of asserting identity. Marshall’s decision to depict his figures as Black is a powerful statement, affirming their presence and significance in the art world.
Conclusion
Kerry James Marshall’s School of Beauty, School of Culture serves as a multifaceted exploration of identity, culture, and history. Through its intricate references and bold representations, the work invites viewers to reflect on the narratives that shape our understanding of art and culture today.
