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" The way we think about a presidential portrait is one that is imbued with dignity from the outset. "
Kehinde Wiley
About
Dignity
Portrait
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" I need to open a restaurant, a big soul food restaurant in Beijing! "
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" There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting. "
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You
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" I think I've come through the art-industrial complex - I've been educated in some of the best institutions and been privy to some of the insider conversations around theory and the evolution of art. "
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Think
Evolution
Educated
" 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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President
Ability
Better
" 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. "
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Doing
Artist
Looking
" Painting has the ability to communicate something about the sitter that gets to his essence. "
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Ability
Essence
Painting
" The language of the heroic is something that has evolved over time. "
Kehinde Wiley
Over
Heroic
Language
" 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. "
Kehinde Wiley
Friends
Know
Light
" In America , there's a just-add-water reality TV world in which people expect to get their Warholian 15 minutes of fame. "
Kehinde Wiley
World
America
Fame
" Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography. "
Kehinde Wiley
Painting
Life
Long
" I grew up in this weird, educationally elite but economically impoverished environment. Total 'Oprah' story. "
Kehinde Wiley
Elite
Environment
Up
" 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
" I taught myself to paint African-Americans, mostly people roughly my skin tone. "
Kehinde Wiley
Paint
Skin
People
" Once I get a project in my head, I start getting really obsessive about it. "
Kehinde Wiley
Get
Once
Start
" My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint. "
Kehinde Wiley
Matter
Up
Work
" 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
" We all look at the same object in different ways. "
Kehinde Wiley
Look
Different
Ways
" 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
Value
Important
Finding
" I do think that fist-waving conversations around liberation ideologies are sort of dated - I'm not creating Barbara Kruger moments of self-actualization - what I'm trying to do is create more moments of chaos where we don't really know where we are: to destabilize; where all the rules are suspended temporarily. "
Kehinde Wiley
Rules
More
Moments
" My father is Nigerian; my mother is from Texas and African-American. My father was the first in his family to go to university. He flew from Nigeria to Los Angeles in the '70s to go to UCLA, where he met my mother. They broke up before I was born, and he returned to Nigeria. "
Kehinde Wiley
Go
Family
Texas
" 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. "
Kehinde Wiley
Police
Black
Know
" 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
" 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. "
Kehinde Wiley
Interesting
Street
History
" 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 think my life has been transformed by the ability to take things that exist in the world and look at them more closely. I think that's what art does at its best: it allows us to slow down. "
Kehinde Wiley
World
Best
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
" There is - and always will be - the legacy of chattel slavery in this nation, an obsession with racial and gender differences, but I think that, at its best, this nation is capable of creating standards for itself and reaching towards those standards. "
Kehinde Wiley
Slavery
Best
Gender
" 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
" 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. "
Kehinde Wiley
Think
Society
Own
" The games I'm playing have much more to do with using the language of power and the vocabulary of power to construct new sentences. It's about pointing to empire and control and domination and misogyny and all those social ills in the work, but it's not necessarily taking a position. Oftentimes, it's actually embodying it. "
Kehinde Wiley
Work
Control
Games