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.
Kehinde WileyRead
Being a kid with black skin in South Central Los Angeles, in a part of the world where opportunity didn't necessarily knock every day, is what gave me this sensibility and drove me to explore my fascination with art.
Interpretation
The quote reflects how a challenging environment influenced the author’s passion for art.
Kehinde Wiley's quote reveals the profound impact of his upbringing in South Central Los Angeles on his artistic journey. Growing up as a Black child in a community where opportunities were scarce shaped his sensitivity to the world around him, igniting a deep fascination with art as a means of expression and exploration. His experiences served not only as a backdrop for his creativity but also as a source of inspiration that drives his work.
In practice
In a speech about the importance of diversity in art, this quote could highlight the influence of personal background.
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.
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.
What is portraiture? It's choice. It's the ability to position your body in the world for the world to celebrate you on your own terms.
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.
Painting is about the world that we live in. Black men live in the world. My choice is to include them.
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.
The idea that one might use art for 'instrumental' reasons tends to set off alarm bells at the heart of the cultural elite, who contend that it's not a pill, that it shouldn't be asked to perform some specific function, especially something as egocentric as to 'cheer you up' or to 'make you a more empathetic person.'
A great city, whose image dwells in the memory of man, is the type of some great idea. Rome represents conquest; Faith hovers over the towers of Jerusalem; and Athens embodies the pre-eminent quality of the antique world, Art.
Drawing is the root of everything, and the time spent on that is actually all profit.
Each night about this time he puts on sadness like a garment and goes on writing.
The sunflower is mine, in a way.
Beauty in music is too often confused with something that lets the ears lie back in an easy chair. Many sounds that we are used to do not bother us, and for that reason we are inclined to call them beautiful. Frequently, when a new or unfamiliar work is accepted as beautiful on its first hearing, its fundamental quality is one that tends to put the mind to sleep.
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