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That should be something that an artist can respond to as well in terms of a painting.

Kehinde Wiley

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Kehinde Wiley
Age: 47
Born: 1977
Born: February 28
Painter
LA
California
Wells
Well
Something
Respond
Terms
Painting
Term
Artist

More quotes by Kehinde Wiley

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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.
Kehinde Wiley
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In my work, I want to create an understanding, not about what a painting looks like but about what a painting says.
Kehinde Wiley
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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.
Kehinde Wiley
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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.
Kehinde Wiley
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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.
Kehinde Wiley
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I had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.
Kehinde Wiley
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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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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
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I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.
Kehinde Wiley
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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
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I suppose in the end what shift occurred - is that at Yale I began to become more materially and conceptually aware of the mechanisms that gave rise to those types of patterns and paintings. And so the copying that happened in the childhood was a much more conscious type of copying in later years.
Kehinde Wiley
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You'll find that street casting in America is a lot different than street casting in different nations.
Kehinde Wiley
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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.
Kehinde Wiley
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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
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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
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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.
Kehinde Wiley
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Women are expected to identify gender as a starting point. Ethnicities are expected to identify that as a location. Is it ever possible for the artist to imagine a state of absolute freedom? That was my call to arms.
Kehinde Wiley
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I have been painting white people for much longer in my life than I have done for colored people.
Kehinde Wiley
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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.
Kehinde Wiley
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Going to the Huntington gardens and libraries was radically important for me. They have one of the best collections of 18th- and 19th-century British portraiture that you can imagine in Southern California. One doesn't think about Southern California as being the capital of great art.
Kehinde Wiley