Otherwise people forget that it's possible to do so, because if you just watch television, which is so celebrity focused, or if you just read a lot of magazines that are also highly focused on celebrities, you start to get the impression that the only people whose lives really matter are celebrities who we don't know. Really, we don't know these people.
We like some of the things they do. But we also don't like some of the stuff they do. But that's not the world, because what you don't want to do is shut down the belief that the capacity to do those things is in everybody who wants to do it online casinos that accept us players. And so somebody has to say, look, I built my studio in the neighborhood where I live because I didn't want to be associated with the idea that success meant getting away from that neighborhood. [APPLAUSE] JACQUELINE STEWART: I'm going to ask one more question. Then we'll throw it out to the audience. You mentioned the thing about celebrity culture. And I was thinking about that in relationship to your projects in which you picture people for whom we don't have other kinds of images. And I guess I'm wondering if you could talk a bit about your research process, how it is that you collect information, ideas about the things that you treat in your work. I mean, we're thinking a lot at this university right now about the role of the arts in relationship to scholarship. It seems like you manifest that in your work. You're doing a kind of scholarship through the visual. So could you talk a bit about how you do research or how you envision the writing of different histories through your practice? KERRY JAMES MARSHALL: Well, I mean, if you come by our house-- and Cheryl will tell them-- it's like we are wall to wall books, wall to wall. I never saw a book that wasn't worth picking up and looking at. And the thing is, I mean, this really does go back to some sort of foundation experiences. I mean, I have to say my kindergarten teacher made me who I am. Really, she made me a compulsive image collector, because she collected images and kept them in a scrapbook. That made me a compulsive image collector. And I had been doing what they used to call-- for artists, used to collect pictures that they used as source material for artworks, they called it a morgue. It's folders of body parts. You know, you get a hand. You get a leg. So they called it a morgue. So I was doing that, too. But I just took it to another level. And when I came to Chicago, you know oddly enough-- so, well, let me back up just a little bit. So I studied a couple of things. So I studied children's literature when I was in junior college before I went to school at Otis. That is I wanted to be a children's book Illustrator at one time. And part of the reason that I wanted to be a children's book Illustrator is because when I went to elementary school, there were books that I was never introduced to. And I didn't start reading them until I was in high school or later, like Treasure Island, you know, stuff like that. And once I started reading those things, I was thinking there was so much that was being missed. So I wanted to be connected in some way with a world in which you are presenting that kind of material to other, younger people. And so I started out I was going to be a children's book Illustrator. But I was really interested in the whole history of book illustration and the way books sort of came to be what they are.
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