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Kerry James Marshall review – astonishing visions of black America, from bar

Royal Academy, London Kidnappings, enslavement, cops and squad cars, golfers, picnics, croquet-players, interstellar travellers the US artist’s largest ever European show takes in an extraordinary range of experience in a breathtaking showBiting, funny, astonishing, difficult, surprising, erudite and hugely ambitious, Kerry James Marshall’s The Histories is the largest show of the black American’s work ever held in Europe. Its effects are cumulative. The Histories charts the 69-year-old painter’s intellectual as well as practical development, his themes, his switches of media and of focus and attention. Everything is here for a reason.How engaging Marshall’s art is, from the first. He takes us from the bar to the bedroom, to the Middle Passage, from the studio to the academy, from the beauty parlour to the dancehall. He paints scenes of kidnappings and of enslavement in Africa and of a black cop sitting on the hood of his squad car – I love the jagged stylised flare of the streetlig...


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