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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
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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
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More quotes by 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
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
You'll find that street casting in America is a lot different than street casting in different nations.
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
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
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
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
[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
I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.
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
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
It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and just like really honestly being a little bit confused, quite frankly, about Harlem.
Kehinde Wiley
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
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
A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.
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
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 love being able to have a team.
Kehinde Wiley
I grew up in South Central Los Angeles, where people are in cars.
Kehinde Wiley
He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
Kehinde Wiley