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I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.
Kehinde Wiley
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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Going
Necessarily
Something
Findings
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More quotes by Kehinde Wiley
I think the world that I grew up in was like being in this sort of magical artistic garden.
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I create something that means something to me, to the world, and try to do my best. I can't fix everything.
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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.
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Your best as an artist is to create something that resonates for you.
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Joseph Gotto, yeah. Just all-around one of the more inspiring artists - not because of any sort of specific content direction, but rather the respect that I had for his own work and the ability for him to translate his ideas into useful form for me as a student.
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You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
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What's interesting about my project recently is that I'm going out into broader global spaces but then isolating at the same time - sort of pushing out but then pulling in.
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My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
Kehinde Wiley
There's something really cool about being able to fly to South Africa and watch one of the most talented African footballers wearing a shoe on the field.
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I love being a portraitist.
Kehinde Wiley
In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.
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I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.
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I was 12 in 1989 during perestroika, when my mother found a program that sent me to Russia to study art in the forests outside of Leningrad.
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One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the ability to engage the world in all of its myriad purposes, transformations, and incarnations.
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People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.
Kehinde Wiley
What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.
Kehinde Wiley
A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.
Kehinde Wiley
When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
Kehinde Wiley
So sometimes you have to play your hand and sort of push in a direction. And I think that masculinity is the driving point for a lot of the way that people, like, posture in the work.
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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