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I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Didn
Condescend
Instructor
Instructors
Joseph
Spokes
Spoke
Painter
Amazing

More quotes by Kehinde Wiley

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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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As a twin, I operate with twin desires.
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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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I'm fully capable of multitasking certain conceptual concerns within the work.
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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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Most people say, Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this.Another way of looking at these paintings is, these are the guys who said yes.
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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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What's interesting about young black American artists within the twentieth century, and increasingly within the twenty-first as well, is that there's this expectation of a political corrective that demands that the artist fixes the ills of the world.
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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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Your best as an artist is to create something that resonates for you.
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I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.
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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.
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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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That should be something that an artist can respond to as well in terms of a painting.
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I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.
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I enjoy Chicago as one of the great American cities. When I come here and take a taxi from the airport, I meet a young man from Somalia. I meet a young man from Eritrea who engages with this nation with a sense of hope and a sense of desire. But we also we know that there are other elements of this nation that are toxic.
Kehinde Wiley
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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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Going to the Huntington gardens and libraries was radically important for me. They have one of the best collections of 18th- and 19th-century British portraiture that you can imagine in Southern California. One doesn't think about Southern California as being the capital of great art.
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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.
Kehinde Wiley