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Kehinde Wiley Inspirational Quotes (94)

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In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.
Kehinde Wiley
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I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.
Kehinde Wiley
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I love the flexibility of saying, Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work. But in the end, it's a possibility.
Kehinde Wiley
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I think that an obsession with art history gave rise to the work.
Kehinde Wiley
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I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.
Kehinde Wiley
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Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.
Kehinde Wiley
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If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
Kehinde Wiley
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I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.
Kehinde Wiley
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Just so [becoming a chef ] that I could support my art habit. You know? I mean, this is - this is something where you've been literally given an opportunity to put the world on pause for a second.
Kehinde Wiley
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I have been painting white people for much longer in my life than I have done for colored people.
Kehinde Wiley
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I think the world that I grew up in was like being in this sort of magical artistic garden.
Kehinde Wiley
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Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.
Kehinde Wiley
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I think that I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.
Kehinde Wiley
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I love being a portraitist.
Kehinde Wiley
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So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.
Kehinde Wiley
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There's always a tug of war. Like, in the States, in America, there's certainly a higher quotient, I would imagine, of, like, macho, like, masculinity posturing.
Kehinde Wiley
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I was 11 when I was first introduced to live drawing classes and going to art school.
Kehinde Wiley
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The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
Kehinde Wiley
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The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about or even looking at.
Kehinde Wiley
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I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.
Kehinde Wiley
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That should be something that an artist can respond to as well in terms of a painting.
Kehinde Wiley
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Just physically, if you looked at the house that I grew up in, my mother created this greenhouse. And surrounded the entire property. And there was, like, trees and sculptures and like - it was, like, this crazy, like, secret garden space.
Kehinde Wiley
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