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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
Painting
Becomes
Visibility
Struggle
Embodiment
Almost
Considered
Though
Main
Might
Subject
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More quotes by 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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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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Your best as an artist is to create something that resonates for you.
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I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.
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I'm fully capable of multitasking certain conceptual concerns within the work.
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The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale].
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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.
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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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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.
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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.
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I grew up in South Central Los Angeles, where people are in cars.
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Women are expected to identify gender as a starting point. Ethnicities are expected to identify that as a location. Is it ever possible for the artist to imagine a state of absolute freedom? That was my call to arms.
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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.
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I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.
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My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
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The ability to look at certain patterns with regards to urban fashion, with regards to swagger, with regards to cultural hegemony, with regards to the ways in which young people look at resistance culture as a pattern that should be mimicked and admired.
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I think that one of the questions that I asked of myself in later years was to this point of the political directive.
Kehinde Wiley
I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.
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I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.
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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.
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