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.
I had to figure out how to bring the world into my work.
When I turned to writing fantasy, and writing for young people, it was joyous. It was like discovering an underground lake of ideas that went on forever.
I like to look at pictures, all kinds. And all those things you absorb come out subconsciously one way or another. You'll be taking photographs and suddenly know that you have resources from having looked at a lot of them before. There is no way you can avoid this. But this kind of subconscious influence is good, and it certainly can work for one. In fact, the more pictures you see, the better you are as a photographer.
My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.
Graffiti ultimately wins out over proper art because it becomes part of your city, it' s a tool; "I'll meet you in that pub, you know, the one opposite that wall with a picture of a monkey holding a chainsaw". I mean, how much more useful can a painting be than that?
You act in a movie, and at the end of the day, the director and editor decide what your performance is.
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