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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

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Like
Certainly
Higher
Imagine
War
America
Quotient
States
Posturing
Always
Macho
Would
Masculinity

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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.
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A realization and a dissection of the canon gave rise to the work. But there's also a sneaking suspicion of the canon.
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There is something to be said about laying bare the vocabulary of the aristocratic measure, right? There's something to be said about allowing the powerless to tell their own story.
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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.
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I was 11 when I was first introduced to live drawing classes and going to art school.
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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.
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I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.
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It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
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Your best as an artist is to create something that resonates for you.
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Portraiture is something that we're all drawn to. I think primarily other forms - we prefer, by and large, to look at human beings than a bowl of fruit.
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I grew up in South Central Los Angeles, where people are in cars.
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Almost as though the painting itself becomes the embodiment of a type of struggle for visibility, and this might be considered the main subject of the painting.
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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.
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When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.
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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.
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I have been painting white people for much longer in my life than I have done for colored people.
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The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about or even looking at.
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I'm fully capable of multitasking certain conceptual concerns within the work.
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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.
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I think the world that I grew up in was like being in this sort of magical artistic garden.
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