There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist. — Kehinde Wiley Copy Share Image
It became a question of taste. I have a certain taste in art history. And that - I had a huge library… — Kehinde Wiley Copy Share Image
The ability to look at certain patterns with regards to urban fashion, with regards to swagger, with regards to cultural hegemony, with… — Kehinde Wiley Copy Share Image
It's a culture. It's - I mean, people obsess over this. And people create subcultures that identify - and there are people… — Kehinde Wiley Copy Share Image
I noticed that the work of my non - I noticed that the work of my friends who were white and male,… — Kehinde Wiley Copy Share Image
I think that gave rise to the type of practice that I - that I do now. I think it was informed… — Kehinde Wiley Copy Share Image
I use those expectations as a color on my palette, a certain temperature in the room. You can use those expectations for… — Kehinde Wiley Copy Share Image
While it may seem a little mundane, the material realities of realizing the painting actually have a lot to do with how… — Kehinde Wiley Copy Share Image
I'm fully capable of multitasking certain conceptual concerns within the work. — Kehinde Wiley Copy Share Image
I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in… — Kehinde Wiley Copy Share Image
The expectations of the viewer are what you're asking about. And the expectations of the viewer are manifold. However, they are very… — Kehinde Wiley Copy Share Image
Is it the responsibility of the colored artist or the ethnic artist to create works that are designed to exist in opposition… — Kehinde Wiley Copy Share Image
There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would… — Kehinde Wiley Copy Share Image
Much like teaching art to young art students age 10 to 15 or so on, you have to break it down into bite-sized pieces,… — Kehinde Wiley Copy Share Image
The erotic and the art historical imagination is something that gets very little play when people talk about my work, and when they rarely… — Kehinde Wiley Copy Share Image
One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the… — Kehinde Wiley Copy Share Image
At its best, what art does is, it points to who we as human beings and what we as human beings value. And if… — Kehinde Wiley Copy Share Image
My style is in the 21st century. If you look at the process, it goes from photography through Photoshop, where certain features are heightened,… — Kehinde Wiley Copy Share Image
I think the world that I grew up in was like being in this sort of magical artistic garden. — Kehinde Wiley Copy Share Image
It was something that came sort of matter-of-factually. Because there - it's like really - real honest engagement with the people around me and… — Kehinde Wiley Copy Share Image
We're wired to be empathetic and to care about the needs of others, but also to be curious about others. And I think that's… — Kehinde Wiley Copy Share Image
Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation. — Kehinde Wiley Copy Share Image
There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist. — Kehinde Wiley Copy Share Image
I think, something that you might be able to locate in the work that I'm creating today: the ability to look at a black… — Kehinde Wiley Copy Share Image
I remember the first time I went to the Los Angeles County Museum of Art and saw a Kerry James Marshall painting with black… — Kehinde Wiley Copy Share Image
