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
For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men to show up in my studio in the clothes that they want to be wearing. And often times, those clothes would be the same trappings people would see on television and find menacing.
Interpretation
Kehinde Wiley emphasizes the importance of portraying black men authentically, challenging societal stereotypes.
In this quote, Kehinde Wiley discusses his artistic journey of depicting black men in a way that reflects their reality and identity. He invites them to his studio dressed as they wish, countering the negative and menacing portrayals often seen in mainstream media. Wiley's work seeks to reclaim the narrative surrounding black masculinity and to celebrate the individuality of his subjects.
In practice
In a panel discussion on modern art, one could cite this quote to highlight the significance of representation.
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 thing about my music is, there really is no point.
They are fairies; he that speaks to them shall die. I'll wink and couch; no man their works must eye.
My wife Martha used to call me Ol' Lemon Face because of my facial contortions when I play Lucille. I squeeze my eyes and open my mouth, raise my eyebrows, cock my head and God knows what else. I look like I'm in torture, when in truth, I'm in ecstasy. I don't do it for show. Every fiber of my being is tingling.
I think all art is about control, the encounter between control and uncontrollable.
Recently I danced in a video spoof of the song 'Gangnam Style,' and it was quickly banned across multiple Chinese online video platforms. But the story still traveled all over the world, carried in hundreds of international media reports.
Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.
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