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I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Vocabulary
Sentiments
Religious
Idea
Ideas
Time
Sentiment
Love
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Engaging

More quotes by Kehinde Wiley

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I have a lot of problems with Western European easel painting.
Kehinde Wiley
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It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
Kehinde Wiley
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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.
Kehinde Wiley
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You'll find that street casting in America is a lot different than street casting in different nations.
Kehinde Wiley
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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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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.
Kehinde Wiley
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I was 11 when I was first introduced to live drawing classes and going to art school.
Kehinde Wiley
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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.
Kehinde Wiley
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I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.
Kehinde Wiley
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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.
Kehinde Wiley
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Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
Kehinde Wiley
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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.
Kehinde Wiley
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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
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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.
Kehinde Wiley
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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.
Kehinde Wiley
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I mean, the radical contingency that is - that exists and the fact that I'm going into the streets and finding random strangers any given day - who's in these streets that day?
Kehinde Wiley
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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.
Kehinde Wiley
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I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.
Kehinde Wiley
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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.
Kehinde Wiley
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When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
Kehinde Wiley