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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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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Saying
Paintings
Making
Join
Hands
Foot
Ends
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Today
Figures
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Possibility
Work
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Love
Feet
Flexibility
More quotes by Kehinde Wiley
There is a political and racial context behind everything that I do. Not always because I design it that way, or because I want it that way, but rather because it's just the way people look at the work of an African-American artist in this country.
Kehinde Wiley
I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.
Kehinde Wiley
Most people say, Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this.Another way of looking at these paintings is, these are the guys who said yes.
Kehinde Wiley
Just so [becoming a chef ] that I could support my art habit. You know? I mean, this is - this is something where you've been literally given an opportunity to put the world on pause for a second.
Kehinde Wiley
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
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
[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
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
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 grew up in South Central Los Angeles, where people are in cars.
Kehinde Wiley
I'm fully capable of multitasking certain conceptual concerns within the work.
Kehinde Wiley
It's a culture. It's - I mean, people obsess over this. And people create subcultures that identify - and there are people in the streets who will recognize certain patterns and signifiers.
Kehinde Wiley
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
My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
Kehinde Wiley
People who - and I think that's been a huge education for me. I think it's a - it's a privilege to be able to meet such a broad cross-section of New York and increasingly the world, and to get a feel of how people respond to visual culture.
Kehinde Wiley
I have been painting white people for much longer in my life than I have done for colored people.
Kehinde Wiley
I actually studied cooking and, like, was thinking about becoming a chef.
Kehinde Wiley
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
I have a lot of problems with Western European easel painting.
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