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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

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Thinking
Directive
Questions
Later
Asked
Point
Political
Years
Think

More quotes by Kehinde Wiley

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There's nothing shocking inherently about that, given that so much of the way that artists are taught is by copying old master paintings.
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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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Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
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People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.
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I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.
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As a twin, I operate with twin desires.
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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 grew up in South Central Los Angeles, where people are in cars.
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I love being able to have a team.
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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.
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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.
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You'll find that street casting in America is a lot different than street casting in different nations.
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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 have a lot of problems with Western European easel painting.
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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.
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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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It's a culture. It's - I mean, people obsess over this. And people create subcultures that identify - and there are people in the streets who will recognize certain patterns and signifiers.
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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.
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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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I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.
Kehinde Wiley