Kehinde Wiley Quotes
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In America , there's a just-add-water reality TV world in which people expect to get their Warholian 15 minutes of fame.
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We all look at the same object in different ways.
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I know how young black men are seen. They're boys - scared little boys, oftentimes. I was one of them. I was completely afraid of the Los Angeles Police Department.
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What's interesting about the 21st century is how people deal with cultural history. We don't necessarily feel like there are discrete categories. We consume it as a complete package, whether it's down the street or on the other side of the globe.
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What I wanted to do was to look at the powerlessness that I felt as - and continue to feel at times - as a black man in the American streets. I know what it feels like to walk through the streets, knowing what it is to be in this body and how certain people respond to that body.
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The way we think about a presidential portrait is one that is imbued with dignity from the outset.
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During 1989, my mother, who was exceedingly good at finding these free programs - you know, we were on welfare, just trying to get through - but she would find these amazing programs. She sent me to the Soviet Union at the age of 12 to go study in the forest of then-Leningrad with 50 other Soviet kids.
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Painting does more than just point to things. The very act of pointing is a value statement.
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The performance of black American identity feels very different from actually living in a black body. There's a dissonance between inside and outside.
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If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be able to see a reflection of myself in that world.
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Painting is about the world that we live in. Black men live in the world. My choice is to include them.
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I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.
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In the end, so much of what I wanted to do was to have a body of work that exhaustively looked at black American notions of masculinity: how we look at black men - how they're perceived in public and private spaces - and to really examine that, going from every possible angle.
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Branding says a lot about luxury and about exclusion and about the choices that manufacturers make, but I think that what society does with it after it's produced is something else. And the African-American community has always been expert at taking things and repurposing them toward their own ends.
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The whole conversation of my work has to do with power and who has it.
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Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's about the depiction of light, the way that it bounces off different types of skin, different landscapes. The mastery of that light is the obsession of most of my painter friends.
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When I'm at my best, I'm trying to destabilize myself and figure out new ways of approaching art as a provocation. I think I am at my best when I push myself into a place where I don't have all the answers.
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I've fished everywhere I've traveled.
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Art is about changing what we see in our everyday lives and representing it in such a way that it gives us hope.
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You have to be careful about over-politicizing the utterances of people of colour because, oftentimes, there's poetry that seeks to go beyond that narrative.
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There is something that always will be true about painting and sculpture - that in order to really get it, you have to show up. That is something that is both sad and kind of beautiful about it. It remains analog. It remains special and irreducible.
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The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming. It doesn't get any better than that.
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Gauguin is creepy - let's just face it. He goes off into the Pacific, and he's looking at these young girls, and the colonial gaze: It's just really problematic.
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I think the pairing of your material practice with your subject is something that is the constant concern of every artist for time immemorial.