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
By and large, most of the work that we see in the great museums throughout the world are populated with people who don't happen to look like me.
Interpretation
The quote highlights the lack of diversity in the art world, particularly in museums.
Kehinde Wiley's quote draws attention to the representation issues within the art world, specifically in prestigious museums, where the majority of artwork seems to exclude artists from diverse backgrounds. This observation points to a broader conversation about inclusion and how history has often overlooked contributions from various cultures, prompting a call for change and increased visibility of diverse artists.
In practice
In a speech about the importance of representation in the arts.
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.
Drumming completely eclipsed my life from age 13, when I started drum lessons. Everything disappeared. I'd done well in school up until that time. I was fairly adjusted socially up until that time. And I became completely monomania, obsessed all through my teens. Nothing else existed anymore.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
Be a good craftsman; it won't stop you from being a genius.
I was an only child. I lost both my parents. By the time I was twenty I was bald. I'm homosexual. In the way of circumstances and background to transcend I had everything an artist could possibly want. It was practically a blueprint.
There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.
When I really have to push and grope and scratch and claw to make a story work, that's a telltale sign that maybe something conceptually isn't right.
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