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Like, the smells and the sights and the sounds. As an artist, you want to sort of be able to engage that and get that down in some way. This is - this is a type of familiarity but a type of radical difference at the same time.
Kehinde Wiley
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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
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More quotes by Kehinde Wiley
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.
Kehinde Wiley
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.
Kehinde Wiley
I have been painting models with black and brown skin only for the past years. So, I did already have this experience, this is how I have come to the paintings I do now.
Kehinde Wiley
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.
Kehinde Wiley
I think the world that I grew up in was like being in this sort of magical artistic garden.
Kehinde Wiley
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
I create something that means something to me, to the world, and try to do my best. I can't fix everything.
Kehinde Wiley
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
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
I've had moments where I've met people who were complete, like, idiots, who could not understand visual culture to save their lives.
Kehinde Wiley
I actually studied cooking and, like, was thinking about becoming a chef.
Kehinde Wiley
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be a bit confusing and scattering. But as the artist, as the man behind the velvet rope who controls the smoke and the mirrors and the way that things move in the painted space, what I want to do is to try my best to be a good witness.
Kehinde Wiley
What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.
Kehinde Wiley
I think that an obsession with art history gave rise to the work.
Kehinde Wiley
Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.
Kehinde Wiley
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.
Kehinde Wiley
I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.
Kehinde Wiley
My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
Kehinde Wiley
I'm fully capable of multitasking certain conceptual concerns within the work.
Kehinde Wiley
What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.
Kehinde Wiley
