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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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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
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More quotes by Kehinde Wiley
My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
Kehinde Wiley
I enjoy Chicago as one of the great American cities. When I come here and take a taxi from the airport, I meet a young man from Somalia. I meet a young man from Eritrea who engages with this nation with a sense of hope and a sense of desire. But we also we know that there are other elements of this nation that are toxic.
Kehinde Wiley
I have a lot of problems with Western European easel painting.
Kehinde Wiley
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.
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 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
Joseph Gotto, yeah. Just all-around one of the more inspiring artists - not because of any sort of specific content direction, but rather the respect that I had for his own work and the ability for him to translate his ideas into useful form for me as a student.
Kehinde Wiley
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.
Kehinde Wiley
He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
Kehinde Wiley
In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.
Kehinde Wiley
Just physically, if you looked at the house that I grew up in, my mother created this greenhouse. And surrounded the entire property. And there was, like, trees and sculptures and like - it was, like, this crazy, like, secret garden space.
Kehinde Wiley
I think that an obsession with art history gave rise to the work.
Kehinde Wiley
The work that I wanted to create wasn't being done then. I was too much concerned about fellow students, professors, institutional style [in Yale].
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 create something that means something to me, to the world, and try to do my best. I can't fix everything.
Kehinde Wiley
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
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
I went back to my mother's house recently and I saw some of my earlier works as a 15-year-old art student. And a lot of them were reiterations of classic works.
Kehinde Wiley
I guess art is in the eye of the beholder.
Kehinde Wiley
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
Kehinde Wiley
