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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
Given
Paintings
Nothing
Shocking
Much
Master
Way
Artists
Masters
Painting
Taught
Copying
Artist
Inherently

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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There's always a tug of war. Like, in the States, in America, there's certainly a higher quotient, I would imagine, of, like, macho, like, masculinity posturing.
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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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Your best as an artist is to create something that resonates for you.
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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.
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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.
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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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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.
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Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
Kehinde Wiley
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I think the world that I grew up in was like being in this sort of magical artistic garden.
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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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In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.
Kehinde Wiley
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I've met others [people] who simply responded to me, You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work.
Kehinde Wiley
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I'm fully capable of multitasking certain conceptual concerns within the work.
Kehinde Wiley
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I think that an obsession with art history gave rise to the work.
Kehinde Wiley
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I create something that means something to me, to the world, and try to do my best. I can't fix everything.
Kehinde Wiley
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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.
Kehinde Wiley
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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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So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.
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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.
Kehinde Wiley