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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
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More quotes by Kehinde Wiley
I think the world that I grew up in was like being in this sort of magical artistic garden.
Kehinde Wiley
Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
Kehinde Wiley
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
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
You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by Michael Jackson. And he requested that I paint his portrait.
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 was 11 when I was first introduced to live drawing classes and going to art school.
Kehinde Wiley
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
At age 20 I went to go find my father in Nigeria. And after much toil, I finally figured out exactly where he was. And there's something about seeing your father for the first time - my mother destroyed all pictures of him.
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 love the idea of engaging religious sentiment and how that vocabulary has evolved over time.
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 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 think that one of the questions that I asked of myself in later years was to this point of the political directive.
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
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 actually studied cooking and, like, was thinking about becoming a chef.
Kehinde Wiley
We're wired to be empathetic and to care about the needs of others, but also to be curious about others. And I think that's just sort of in our DNA. And so portraiture is a very human act.
Kehinde Wiley
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
