![]() ![]() ![]() Where the 1934 drawing displaced the girl’s hair onto her hand-held mirror, Marshall puts a fist inside an afro wig adorned with a fist-handled afro pick. Marshall, however, is less concerned with psychoanalytic tropes than social ones. “With the Exquisite Corpse,” Breton wrote, “we found a way-finally-to escape our self-criticism and fully release the mind’s metaphorical activity.” It was a way to poke the subconscious into new discoveries-a kind of serial Rorschach test. The point was to create unexpected mash-ups, as demonstrated in a 1934 drawing by André Breton, Jacques Hérold, Yves Tanguy, and Victor Brauner: a preening girl becomes a pair of goose necks, then a fist, and finally a naked bottom on a picnic blanket. Small marks made at the fold show the next player where to connect, but not what they’re connecting to. In normal play, a folded paper is passed around and each person adds a drawing without being able to see what has come before. Kerry James Marshall: Untitled (Exquisite Corpse Afro Wig), 2022 Kerry James Marshall/Jack Shainman Gallery, New York ![]()
0 Comments
Leave a Reply. |