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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
Higher
Imagine
War
America
Quotient
States
Posturing
Always
Macho
Would
Masculinity
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More quotes by 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
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.
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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.
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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'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
Believing that navel-gazing in and of itself can transform itself into something that means something for society. I mean, we are communicative creatures. We desire to sort of understand each other's experiences and points of view. Storytelling is what painting, literature, filmmaking is all about.
Kehinde Wiley
I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.
Kehinde Wiley
I think that an obsession with art history gave rise to the work.
Kehinde Wiley
All the world's a stage. P.T. Barnum: It becomes a circus. But circuses or street pageants or parades have always been useful in a society.They've always been useful as a way of critiquing power. The carnivalesque has always been useful as a way of the powerful being mocked in a public space.
Kehinde Wiley
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be a bit confusing and scattering. But as the artist, as the man behind the velvet rope who controls the smoke and the mirrors and the way that things move in the painted space, what I want to do is to try my best to be a good witness.
Kehinde Wiley
I think there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.
Kehinde Wiley
I love being a portraitist.
Kehinde Wiley
I went back to my mother's house recently and I saw some of my earlier works as a 15-year-old art student. And a lot of them were reiterations of classic works.
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 I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.
Kehinde Wiley
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.
Kehinde Wiley
I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.
Kehinde Wiley
I was 11 when I was first introduced to live drawing classes and going to art school.
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
