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Located at the Museum of Contemporary Art in Chicago is One True Thing, Meditations on Black Aesthetics by Kerry James Marshall. Contained within this exhibit is a piece entitled 7 AM Sunday Morning. This particular painting showcases Chicago’s Bronzeville neighborhood, where Marshall is from. 7 AM is a composite of the buildings on Chicago’s south side in Bronzeville. This particular area, where Marshall is from, is known as a black metropolis with a strong community of black owned businesses. It was considered rich in culture until well after World War . According to Annie Ranttila, “The piece, 7am Sunday Morning, shows the neighborhood, created by the CHA, in despair; but somehow, beyond all expectations still thriving. The painting is huge. Somehow Marshall has captured the depraved squalor, but simultaneously the absolute beauty.”
The gently sunlit streets are empty except for a small group of people waiting for a bus. A liquor store, beauty shops and churches are within view. Birds flutter overhead. Trees. Street signs, pavement and trash. Vacant lots. Car engines ricochet off the rows of one-story buildings down the block, sound peaking for an instant before disappearing back into stillness. Music plays just beyond earshot. Notions of lyrics of song that are heard from the Bronzeville neighborhood are disrupted by the glare of sun off the buildings. The prismatic light represents one end where “black painting” represents the other. These are the life-like scenes of Chicago’s Bronzville neighborhood in the landscape of Marshalls 7AM Sunday Morning. “His painting 7 am Sunday Morning offers a nearly life-sized perspective of this street scene. A perfect surface uninterrupted by evidence of a brushstroke spreads out across the reality, almost rising up from within the buildings, the grass, the ironworks.”
In the most basic sense 7 AM is an acrylic painting on a canvas banner. However, when more closely examining the painting one can see that the intensities of the colors in this piece are very dull. The only brightness that can be seen is the sun shining through the clouds, which is intensely bright. The colors are more subdued and grayed. There is really a lighter value to the painting; it’s easy to see that all the colors are similarly light there isn’t a dark shape or object that sticks out from the rest of the painting. The dark shapes that are present aren’t visibly out of place. There is defiantly a split screen effect. It is possible that Marshall is trying to generate a before and after effect. On one end you have the neighborhood as a calm and serene place, and the other is the interruption of light, maybe symbolizing the mixing of cultures and disruption of a place that was rich and culture. On one end you have and identifiable place, the other is a place searching for an identity. Everything, with the exception of the distorted side, is very squared off and box-like. This however doesn’t really take away from the lifelike feel of the piece. It appears to be a realistic view an area of the Bronzeville neighborhood. Although, one is not sure if the area depicted is real or not, one gets the feeling that this area really looked like this at one time. The right side of the painting is comprised of geometric shapes, mostly hexagons and rhombuses. The texture of the painting itself is very smooth, there’s nothing elevated or nothing that rises above the landscape. The foreground is relatively empty; most of the content is really what would be considered toward the back of the piece. The relative lack of activity and soft hues of color give this piece a more laid back and calm appearance, which is quite a contrast to what the neighborhood is today. Marshall also has a great sense of space. The painting itself has a great sense of depth. When looking at it one gets the sense that the buildings in the background and the birds up in the sky are a great distance way. Everything is spread out and not bunched together and this contributes to the feeling of this being a very tranquil piece, its like everything is in perfect harmony.
In conclusion, this artwork by Kerry James Marshall can be best describes as realistic, but also has an objective quality, because of the prismatic affect. It is obvious that the subject matter on the “black painting” side is very realistic and subjective, with a clear subject matter. The prisms, however, make it really difficult to find the meaning of the painting and also make it difficult to describe all the elements presented.
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