Kerry James Marshall has made African American life the predominant subject of his art. Born in Birmingham, Alabama, Marshall moved with his family in 1963 to Los Angeles, where he attended the Otis Art Institute. After a two-year stay in New York, the artist settled in Chicago in 1987; he continues to live and work in the city. In 1994 Marshall, who prefers to delve into a topic in a series of paintings, became intrigued by the frequent use of the word “garden” in the names of Chicago and Los Angeles housing projects. He set out to explore the successes and failures of these much-maligned developments in a group of paintings entitled Garden Project. With these works, the artist––who had himself lived in projects in Birmingham and Los Angeles––hoped to challenge stereotypes of public housing. As Marshall remarked, “We think of projects as places of utter despair. All we hear of is the incredible poverty, abuse, violence and misery that exists there but there is also a great deal of hopefulness, joy, pleasure and fun.” 29

In the background of Many Mansions loom the angular, modernist towers of Chicago’s Stateway Gardens, an immense complex comprising eight high-rises. Its bureaucratic identification––“IL 2–22”––is emblazoned in red at upper right. In the foreground, three men tend an elaborate garden, which, with its profuse and curving forms, contrasts strikingly with the austere apartment buildings behind it.

Negating misconceptions of the black male, the dark-skinned trio––attired in white dress shirts and ties––enterprisingly beautify their harsh surroundings. The initials of their community––“SG”––are fashioned from multicolored flowers; and cellophane-wrapped Easter baskets, stocked with plush, stuffed animals, await their recipients. The flattened figures, decorative patterns, and shallow space create a formal, somewhat other-worldly aura, heightened by the marked disparity of scale between the tall men and smaller towers behind––all of which serve to heroicize the figures.

While full of images symbolizing the grim realities of urban existence, Many Mansions also attests to the sense of community and humanity that Marshall believes can define life even in difficult circumstances. It is spring, the season of joy, hope, and resurrection; at left two bluebirds support a banner proclaiming “Bless Our Happy Home”; at top a radiant sun seems on the verge of dispelling an ominous-looking cloud. Floating above the other images is a red ribbon whose message––“In My Mother’s House There Are Many Mansions” (a feminist gloss on a phrase from the Book of John [14:2])––expresses an inclusive understanding of the idea of home and offers a promise of happiness. (DAN)