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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.
Kehinde Wiley
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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Much
Master
Way
Artists
Masters
Painting
Taught
Copying
Artist
Inherently
Given
Paintings
Nothing
Shocking
More quotes by Kehinde Wiley
I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.
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You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
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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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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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As a twin, I operate with twin desires.
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I actually studied cooking and, like, was thinking about becoming a chef.
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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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If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
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I was 12 in 1989 during perestroika, when my mother found a program that sent me to Russia to study art in the forests outside of Leningrad.
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At age 20 I went to go find my father in Nigeria. And after much toil, I finally figured out exactly where he was. And there's something about seeing your father for the first time - my mother destroyed all pictures of him.
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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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I have a lot of problems with Western European easel painting.
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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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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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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.
Kehinde Wiley
I think that one of the questions that I asked of myself in later years was to this point of the political directive.
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There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.
Kehinde Wiley
Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
Kehinde Wiley
My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
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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.
Kehinde Wiley
