Two significant paintings by renowned artist Kerry James Marshall have appeared on the floor of Frieze London, coinciding with early reports that his Royal Academy exhibition "Kerry James Marshall: The Histories" is drawing exceptional crowds and critical acclaim. The timing of these offerings appears strategic, capitalizing on the heightened interest generated by the major institutional show.
Alexander Gray Associates is presenting Marshall's 1992 painting "A Woman with a Heart of Gold" with a price tag of $2.9 million. The striking work features a dark-skinned central figure set against a deep green background, with the subject's face partially obscured by radiating clock numerals and a distinctive halo-like lattice structure. Surrounding this central figure are four portraits of blonde women, each enclosed within thin white borders and deliberately smeared with paint. The composition is built from collaged Harlequin romance novel covers, transforming mass-market kitsch into a sophisticated critique that exposes the racial fantasies embedded within popular desire and consumption.
The painting exemplifies Marshall's ability to be both tender and unsettling simultaneously, showcasing the artist at his most sharp and incisive. Critics note how the work demonstrates Marshall's characteristic blend of playfulness and precision, using familiar imagery to confront viewers with uncomfortable truths about representation and desire in American culture.
David Zwirner, which has represented Marshall alongside Jack Shainman Gallery since 1994, is displaying a more subdued piece from the artist's catalog. The 1990 painting "A Little Romance" presents a reclining figure in the foreground with hands clasped behind his head, his eyes gazing dreamily toward the sky. Two disembodied heads float above the main figure, possibly representing parental figures or imaginary characters from the subject's dreams or aspirations.
Yellow patches are scattered throughout "A Little Romance" like floating lanterns against a blue-black background topped with white cloud-like formations. However, some observers note that the paint appears muddy in certain areas, and the overall busyness of the composition may distract rather than focus the viewer's attention, making it less immediately impactful than Marshall's other works.
The Royal Academy exhibition has become a major talking point among art world insiders attending Frieze London. Multiple dealers and collectors have reported making repeated visits to the show, with one dealer revealing they had attended four times in four consecutive days. A prominent figure from Sotheby's told ARTnews they had already visited three times and were planning another trip to see the exhibition again.
Alexander Gray, speaking about the exhibition's impact, noted that the show's success "is in the air, in the ether" and reinforces London's position as a premier art destination. The timing of major exhibitions during Frieze week has become increasingly important, with shows now generating as much buzz as the fair itself among international visitors flying in for the week's events.
Marshall's exploration of historical narratives appears to carry particular resonance when displayed in London, the former center of what was once the world's largest empire. This context seems to amplify the power of his work, which often addresses themes of colonialism, representation, and the construction of historical memory. The combination of Marshall's artistic vision with London's imperial history creates a dialogue that keeps drawing visitors back for multiple viewings, suggesting that the location itself becomes part of the artwork's meaning and impact.
