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

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It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and just like really honestly being a little bit confused, quite frankly, about Harlem.
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I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.
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Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
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I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.
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I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.
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I guess art is in the eye of the beholder.
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[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.
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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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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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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.
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There is a political and racial context behind everything that I do. Not always because I design it that way, or because I want it that way, but rather because it's just the way people look at the work of an African-American artist in this country.
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A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.
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The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very fixed, given who I am in the world. People have certain expectations of me as an artist.
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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.
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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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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 an obsession with art history gave rise to the work.
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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.
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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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