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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
America
Quotient
States
Posturing
Always
Macho
Would
Masculinity
Like
Certainly
Higher
Imagine
War
More quotes by Kehinde Wiley
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
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 have been painting white people for much longer in my life than I have done for colored people.
Kehinde Wiley
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
Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.
Kehinde Wiley
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
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
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
Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.
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
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 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.
Kehinde Wiley
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.
Kehinde Wiley
There was no image of the other biological half of myself. And as an artists, as a - as an - as a portraitist, the look of who you are was radically important to me.
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
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
What's interesting about young black American artists within the twentieth century, and increasingly within the twenty-first as well, is that there's this expectation of a political corrective that demands that the artist fixes the ills of the world.
Kehinde Wiley
My assistants generally do all the flowers and all of the decorative work. I concentrate on the figure.
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
In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.
Kehinde Wiley
