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" I've jokingly painted some of my favorite collectors as black men, so there's a really great portrait of David LaChapelle, the photographer - my version of him - that's in his collection. "
Kehinde Wiley
Men
Great
Portrait
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" It's sad, the enslavement of the black underclass to designer labels - we're an age that cares more about Versace than Vermeer. "
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Age
" Art in the age of the digital image is completely different from experiencing art in physical form. "
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Image
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" At its best, what art does is, it points to who we as human beings and what we as human beings value. And if Black Lives Matter, they deserve to be in paintings. "
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Deserve
" 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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Looking
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" When I thought about the absolute favourite of favourites or what stood for the best of haute couture, it was Givenchy. "
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Favourite
Thought
" You don't hire Kehinde Wiley to have a tame painting. "
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You
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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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Ability
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" We all look at the same object in different ways. "
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Different
Ways
" I came from a background where access to museum culture was rarely granted, and, when you got it, people wondered what the hell you were doing there. "
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People
Hell
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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. "
Kehinde Wiley
Identity
Performance
American
" My love affair with painting is bittersweet. "
Kehinde Wiley
Affair
Bittersweet
Painting
" Fashion is fragile and fleeting. But it is also an indicator for the cultural and social appetites for a nation. "
Kehinde Wiley
Also
Fashion
Nation
" The beauty of art is that it allows you to slow down, and for a moment, things that once seemed unfamiliar become precious to you. "
Kehinde Wiley
Slow
Beauty
You
" My paintings are very much about the consumption and production of blackness. And how blackness is marketed to the world. "
Kehinde Wiley
Much
World
Production
" I thought I'd be a chef by night and paint by day. Now I just have fabulous dinner parties. "
Kehinde Wiley
Chef
Day
Thought
" When you go back to the days when I was studying how to paint, some of the things that excited me most was to go into the Huntington Library and Gardens and to see the amazing pictures of the landed gentry. "
Kehinde Wiley
Amazing
Library
Me
" For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing. "
Kehinde Wiley
People
Black
Painting
" Painting is about the world that we live in. Black men live in the world. My choice is to include them. "
Kehinde Wiley
Men
Live
About
" When I was growing up and going to art school and learning about African-American art, much of it was a type of political art that was very didactic and based on the '60s, and a social collective. "
Kehinde Wiley
Learning
Growing Up
Going
" I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black bodies in it on a museum wall... It strengthened me on a cellular level. "
Kehinde Wiley
Remember
Time
Painting
" What I try to do is defy expectations in terms of boundaries, whether it is high or low art, pop culture, or fine-art culture. My work is about reconciling myriad cultural influences and bringing them into one picture. "
Kehinde Wiley
Try
Picture
High
" I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me to get away with painting the stories of people like me. "
Kehinde Wiley
Painting
Work
Day
" This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures. "
Kehinde Wiley
Hip-Hop
Performance
Masculinity
" I'm about looking at each of those perceived menacing black men that you see in the streets all over the place, people that you oftentimes will walk past without assuming that they have the same humanity, fears that we all do. "
Kehinde Wiley
People
Black
Looking
" Many people see my early work simply as portraits of black and brown people. Really, it's an investigation of how we see those people and how they have been perceived over time. "
Kehinde Wiley
Time
Work
Early
" Artists have been very good at working for the church and for the state; communicating the aspirations of a society. "
Kehinde Wiley
Church
Been
Society
" There's something to be said about the art-industrial complex, the collectors who recognize that your work has some sort of future economic value. "
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Work
Value
Said
" At the core, every artist, no matter what his subject matter happens to be, has to be someone doing the looking. I began to really interrogate the act of looking. "
Kehinde Wiley
Doing
Artist
Looking
" Art is about changing what we see in our everyday lives and representing it in such a way that it gives us hope. "
Kehinde Wiley
Hope
Changing
Art
" 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. "
Kehinde Wiley
American
Black
Body