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Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.
Kehinde Wiley
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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Almost
Considered
Though
Main
Might
Subject
Subjects
Type
Painting
Becomes
Visibility
Struggle
Embodiment
More quotes by Kehinde Wiley
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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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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I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
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I have a really strong suspicion of the romantic nature of portraiture, the idea that you're telling some essential truth about the interior lives of your subject.
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Your best as an artist is to create something that resonates for you.
Kehinde Wiley
I think that an obsession with art history gave rise to the work.
Kehinde Wiley
I create something that means something to me, to the world, and try to do my best. I can't fix everything.
Kehinde Wiley
You'll find that street casting in America is a lot different than street casting in different nations.
Kehinde Wiley
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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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.
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I grew up in South Central Los Angeles, where people are in cars.
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.
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As a twin, I operate with twin desires.
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This is - it's a sociological experiment in many ways. And so you're seeing the results of what happens when you put a lot of boys in a room looking at art history.
Kehinde Wiley
There is something to be said about laying bare the vocabulary of the aristocratic measure, right? There's something to be said about allowing the powerless to tell their own story.
Kehinde Wiley
I love being able to have a team.
Kehinde Wiley
I would imagine that what you try to do is to - is to be as sensitive to the environment that surrounds you as possible. As you see, my work has become increasingly global. My presence in the world has become increasingly global.
Kehinde Wiley
What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.
Kehinde Wiley
Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.
Kehinde Wiley
I guess art is in the eye of the beholder.
Kehinde Wiley
