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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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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Humans
Prefer
Looks
Forms
Something
Fruit
Think
Large
Portraiture
Thinking
Beings
Bowl
Form
Bowls
Look
Primarily
Human
Drawn
More quotes by Kehinde Wiley
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
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
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.
Kehinde Wiley
There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.
Kehinde Wiley
There's nothing shocking inherently about that, given that so much of the way that artists are taught is by copying old master paintings.
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
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.
Kehinde Wiley
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.
Kehinde Wiley
Believing that navel-gazing in and of itself can transform itself into something that means something for society. I mean, we are communicative creatures. We desire to sort of understand each other's experiences and points of view. Storytelling is what painting, literature, filmmaking is all about.
Kehinde Wiley
[My parents] met in university back in the '70s. And I didn't grow up with my father. He - they separated before I was born.
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
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
Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.
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
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.
Kehinde Wiley
We have a lot of sort of received historical ways of viewing portraiture. And I suppose in some way I'm sort of questioning that by toying with the rules of the game.
Kehinde Wiley
As a twin, I operate with twin desires.
Kehinde Wiley
When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
Kehinde Wiley
I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.
Kehinde Wiley
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be a bit confusing and scattering. But as the artist, as the man behind the velvet rope who controls the smoke and the mirrors and the way that things move in the painted space, what I want to do is to try my best to be a good witness.
Kehinde Wiley
