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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

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Truth
Essentials
Ideas
Subject
Really
Telling
Portraiture
Subjects
Interior
Idea
Interiors
Lives
Suspicion
Strong
Romantic
Nature
Essential

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He's a great - he's a great professor. He retired recently, but.But Peter Halley as well.
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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.
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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?
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I love being a portraitist.
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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.
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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.
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I think that's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create.
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I think that an obsession with art history gave rise to the work.
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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 think that one of the questions that I asked of myself in later years was to this point of the political directive.
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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.
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You'll find that street casting in America is a lot different than street casting in different nations.
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As a twin, I operate with twin desires.
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I have a lot of problems with Western European easel painting.
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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.
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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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I guess art is in the eye of the beholder.
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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.
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So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.
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Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.
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