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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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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Garden
Grew
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Think
Thinking
Like
World
Magical
Artistic

More quotes by Kehinde Wiley

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He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
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I've had moments where I've met people who were complete, like, idiots, who could not understand visual culture to save their lives.
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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 guess art is in the eye of the beholder.
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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.
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It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in the 21st century, making these high-priced luxury goods, traveling the world, pointing at these people, behooves me to have a point of view and to say something about it.
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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 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.
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I'm fully capable of multitasking certain conceptual concerns within the work.
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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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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.
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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.
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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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When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
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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 grew up in South Central Los Angeles, where people are in cars.
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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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It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and just like really honestly being a little bit confused, quite frankly, about Harlem.
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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.
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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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