Kehinde Wiley Quotes

• 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

  Thinking, Important, Grain

  Interview with M.I.A., www.interviewmagazine.com. November 19, 2008.

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• What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

  Kehinde Wiley

  Arte, Luz, Mundo

  "'I try to create a place of disorientation' - interview with Kehinde Wiley". Interview With Anna Savitskaya, artdependence.com. February 16, 2015.

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• There is a political and racial context behind everything that I do. Not always because I design it that way, or because I want it that way, but rather because it's just the way people look at the work of an African-American artist in this country.

  Kehinde Wiley

  Country, Artist, People

  "'I try to create a place of disorientation' - interview with Kehinde Wiley". Interview With Anna Savitskaya, artdependence.com. February 16, 2015.

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• I think that artists provide questions, not answers. We provide provocations rather than fully formed objects.

  Kehinde Wiley

  Artist, Thinking, Answers

  Fuente: www.artpractical.com

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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

  Understanding, Looks, Want

  Fuente: www.artpractical.com

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• All art is self-portraiture.

  Kehinde Wiley

  Art, Self, Portraiture

  Fuente: www.aaa.si.edu

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• The backgrounds by design are a very key part of the conversation, because I want a kind of fight or pressure to exist between the figure and the background.

  Kehinde Wiley

  Fighting, Keys, Design

  "'I try to create a place of disorientation' - interview with Kehinde Wiley". Interview With Anna Savitskaya, artdependence.com. February 16, 2015.

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• I believe the artist is capable of contributing to the broader evolution of culture in all of its dimensions.

  Kehinde Wiley

  Believe, Artist, Culture

  Fuente: www.artpractical.com

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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

  Artist, Ethnicity, Arms

  Fuente: www.aaa.si.edu

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• I believe that artists should be part of the culture. I think that my work clearly bears that out.

  Kehinde Wiley

  Believe, Artist, Thinking

  Fuente: www.aaa.si.edu

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• I create something that means something to me, to the world, and try to do my best. I can't fix everything.

  Kehinde Wiley

  Mean, Trying, World

  Fuente: www.artpractical.com

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• When you're at your best, you're analyzing yourself and becoming increasingly isolated from a broader narrative.

  Kehinde Wiley

  Narrative, Analyzing, Becoming

  Fuente: www.aaa.si.edu

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• This is something that, as artists, we constantly deal with-throwing away the past, slaying the father, and creating the new. This desire to throw away the old rules.

  Kehinde Wiley

  Father, Artist, Past

  Interview with M.I.A., www.interviewmagazine.com. November 19, 2008.

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• We're wired to be empathetic and to care about the needs of others, but also to be curious about others. And I think that's just sort of in our DNA. And so portraiture is a very human act.

  Kehinde Wiley

  Thinking, Dna, Needs

  Fuente: www.aaa.si.edu

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• There is something to be said about laying bare the vocabulary of the aristocratic measure, right? There's something to be said about allowing the powerless to tell their own story.

  Kehinde Wiley

  Vocabulary, Stories, Said

  Fuente: www.artpractical.com

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• So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.

  Kehinde Wiley

  Differences, Careers, Wife

  Fuente: www.artpractical.com

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• Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation.

  Kehinde Wiley

  Race, Class, Painting

  Fuente: www.aaa.si.edu

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• I guess art is in the eye of the beholder.

  Kehinde Wiley

  Art, Eye, Beholder

  Fuente: www.interviewmagazine.com

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• Ese es en parte el éxito de mi trabajo: que una joven negra entre en el Museo de Brooklyn y vea cuadros que reconoce no por su arte o influencia histórica, sino por su inflexión, en términos de colores, su especificidad y presencia.

  Kehinde Wiley

  Girl, Art, Museums

  Interview with M.I.A., www.interviewmagazine.com. November 19, 2008.

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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

  Games, Historical, Portraiture

  Fuente: www.aaa.si.edu

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• 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

  Thinking, Order, Facts

  Fuente: www.aaa.si.edu

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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.

  Kehinde Wiley

  Thinking, Museums, Desire

  Fuente: www.aaa.si.edu

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• What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.

  Kehinde Wiley

  Thinking, Perfection, Anxiety

  Fuente: www.aaa.si.edu

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• Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.

  Kehinde Wiley

  Past, Play, Doe

  "'I try to create a place of disorientation' - interview with Kehinde Wiley". Interview With Anna Savitskaya, artdependence.com. February 16, 2015.

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• I feel sometimes constrained by the expectation that the work should be solely political. I try to create a type of work that is at the service of my own set of criteria, which have to do with beauty and a type of utopia that in some ways speaks to the culture I'm located in.

  Kehinde Wiley

  Expectations, Political, Trying

  Interview with M.I.A., www.interviewmagazine.com. November 19, 2008.

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