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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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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Great
Painting
Room
Color
Rooms
Society
Use
Palette
Also
Temperature
Certain
Expectations

More quotes by 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 create something that means something to me, to the world, and try to do my best. I can't fix everything.
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
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I love the flexibility of saying, Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work. But in the end, it's a possibility.
Kehinde Wiley
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I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.
Kehinde Wiley
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I guess art is in the eye of the beholder.
Kehinde Wiley
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In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.
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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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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The ability to look at certain patterns with regards to urban fashion, with regards to swagger, with regards to cultural hegemony, with regards to the ways in which young people look at resistance culture as a pattern that should be mimicked and admired.
Kehinde Wiley
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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
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I think the world that I grew up in was like being in this sort of magical artistic garden.
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 grew up in South Central Los Angeles, where people are in cars.
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.
Kehinde Wiley
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I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.
Kehinde Wiley
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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.
Kehinde Wiley
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Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
Kehinde Wiley
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One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the ability to engage the world in all of its myriad purposes, transformations, and incarnations.
Kehinde Wiley
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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.
Kehinde Wiley