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 can't distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.
I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
As for the usefulness of poetry, its uses are many. It is the deification of reality.
That song helped make me a world citizen. It allowed me to live, work and sing in any city on the globe. It changed my whole life.
Scientists do stand on the shoulders of giants, just as do writers. Conversely, in the arts we do make discoveries. We do refine our tools. So I am arguing with, or at least playing with, the idea that art never improves.
My friend George and I were walking on the beach in Norfolk, and there were thousands of [razor-clam] shells. They were so beautiful, I thought I had to do something with them. So, we decided to make [a dress] out of them. . . . The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [OβConner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.
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