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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.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Games
Questioning
Way
Received
Suppose
Historical
Rules
Game
Toying
Ways
Portraiture
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More quotes by Kehinde Wiley

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I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.
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I guess art is in the eye of the beholder.
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I grew up in South Central Los Angeles, where people are in cars.
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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.
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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 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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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.
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I would imagine that what you try to do is to - is to be as sensitive to the environment that surrounds you as possible. As you see, my work has become increasingly global. My presence in the world has become increasingly global.
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I love the idea of engaging religious sentiment and how that vocabulary has evolved over time.
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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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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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I was 11 when I was first introduced to live drawing classes and going to art school.
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That should be something that an artist can respond to as well in terms of a painting.
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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 believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.
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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 there's something important in going against the grain, and perhaps finding value in things that aren't necessarily institutionally recognized.
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Joseph Gotto, yeah. Just all-around one of the more inspiring artists - not because of any sort of specific content direction, but rather the respect that I had for his own work and the ability for him to translate his ideas into useful form for me as a student.
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It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in the 21st century, making these high-priced luxury goods, traveling the world, pointing at these people, behooves me to have a point of view and to say something about it.
Kehinde Wiley