Kerry James Marshall: The Histories
Royal Academy of Arts, Burlington House, Piccadilly, London W1J OBD
20 September 2025 – 18 January 2026
Kerry James Marshall was born in Birmingham, Alabama in 1955. This is his first major European exhibition. It’s a vast body of work, it’s strongly figurative, addressing numerous subjects and histories encompassing Civil Rights, Black History, Middle Passage and Black slavers. The series of paintings are under various headings in each gallery. His figures are emphatically black, very black, he rarely attempts to portray the browns of real skin tones.
Portrait of the Artist and a Vacuum, 1981, Acrylic on paper. An early painting, including a self-portrait, confronting black stereotypes.
The Wonderful One, 1986, Charcoal on paper. An early drawing, addressing the invisibility of black people in America.
Untitled, (Underpainting), 2018, Acrylic and collage on PVC panel in artist’s frame. A large, grey umber painting of a gallery, packed with viewers, divided in two-by-two parallel lines.
Untitled, (Studio), 2014, Acrylic on PVC panel. An allegorical representation of his discovery on seeing an artist’s workspace, that it was something he could do.
The Club, 2011-12, Acrylic on PVC panel.
White Queen of Africa: Ruth, 2024. An imagining, eighteen years after the marriage took place in 1948, of Ruth Williams and Seretse Khama. Khama led Botswana to independence in 1966.
Knowledge and Wonder, 1995, Mixed media on canvas. A large mural celebrating the library, the universe, art history; themes and motifs abound.
School of Beauty, School of Culture, 2012, Acrylic and glitter on unstretched canvas.
School of Beauty, School of Culture, 2012, Acrylic and glitter on unstretched canvas. Another vast, crowded piece, packed with cultural signifiers. Including referencing Han’s Holbein’s ‘The Ambassadors’ anamorphic skull, as the ideal of beauty; a fair haired white girl.
Outbound, 2023, Acrylic on PVC panel in artist’s frame. Specifically painted for this exhibition, Haul, Outbound and Cove, depict Black people selling Black captives to white slavers.
Many Mansions, 1994, Acrylic on paper mounted on canvas. One of five large scale paintings depicting low-income public housing projects, each using Gardens in their name. Marshall pointing out the ironic contradictions of the failed reality.
The Academy, 2012, Acrylic on PVC panel. A life model, with a huge afro, raises his fist in a Black Power salute.
Untitled, (Blanket Couple), 2014, Acrylic on PVC panel, in artist’s frame.
Souvenir 111, 1998, acrylic, collage and glitter on unstretched canvas. Honours artists and visionaries who left their mark during the 1960s, their names floating in clouds.
This is a large show, there is so much to see, each piece deserves not only viewing, but close scrutiny, make sure you give yourself plenty of time.
