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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.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Type
Patterns
Copying
Painting
Began
Yale
Happened
Rise
Occurred
Ends
Aware
Paintings
Become
Later
Shift
Much
Childhood
Types
Conceptually
Years
Gave
Mechanism
Materially
Conscious
Suppose
Mechanisms

More quotes by Kehinde Wiley

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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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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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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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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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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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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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He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
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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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I have been painting white people for much longer in my life than I have done for colored people.
Kehinde Wiley
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I have a lot of problems with Western European easel painting.
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I'm fully capable of multitasking certain conceptual concerns within 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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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.
Kehinde Wiley
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I actually studied cooking and, like, was thinking about becoming a chef.
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I think that an obsession with art history gave rise to the work.
Kehinde Wiley
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I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for the great punchline, but also for a great painting, in society.
Kehinde Wiley
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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 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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All the world's a stage. P.T. Barnum: It becomes a circus. But circuses or street pageants or parades have always been useful in a society.They've always been useful as a way of critiquing power. The carnivalesque has always been useful as a way of the powerful being mocked in a public space.
Kehinde Wiley