At its best, what art does is, it points to who we as human beings and what we as human beings value.… — 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… — Kehinde Wiley Copy Share Image
Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation. — 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… — Kehinde Wiley Copy Share Image
I like to play with the conventions around what we expect of paintings historically. But I also like to play with the… — 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
When we talk about Orientalist painting, we're talking about painting generally from the seventeenth through the nineteenth century, and some would say… — Kehinde Wiley Copy Share Image
I think that at its best, painting can be an act of juggling perceptions, a hall of mirrors. And it can be… — Kehinde Wiley Copy Share Image
There's nothing shocking inherently about that, given that so much of the way that artists are taught is by copying old master… — Kehinde Wiley Copy Share Image
Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract -… — Kehinde Wiley Copy Share Image
For years, I've been painting black men as a way to respond to the reality of the streets. I've asked black men… — Kehinde Wiley Copy Share Image
So much of the history of painting is the propaganda of self-aggrandizement. — Kehinde Wiley Copy Share Image
Painting does more than just point to things. The very act of pointing is a value statement. — Kehinde Wiley Copy Share Image
Painting is about the world that we live in. Black men live in the world. My choice is to include them. — Kehinde Wiley Copy Share Image
There's always a joy in newness as a painter, and in sub-Saharan Africa, I encountered different realities with regard to light and… — Kehinde Wiley Copy Share Image
That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings… — Kehinde Wiley Copy Share Image
My mother sent me to art classes at the age of 11. I began to have kids around me say, 'Will you… — Kehinde Wiley Copy Share Image
What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into… — Kehinde Wiley Copy Share Image
For example, in one of my last exhibitions I had a 50-foot massive painting with I think perhaps a hundred thousand hand-painted… — Kehinde Wiley Copy Share Image
I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a… — Kehinde Wiley Copy Share Image
Many people see my early work simply as portraits of black and brown people. Really, it's an investigation of how we see… — Kehinde Wiley Copy Share Image
Most people say, "Hell, no. I don't know who you are. This scares me. Like, I'm not interested in this."Another way of… — Kehinde Wiley Copy Share Image
Going back to that idea that painting sits still and that we give ourselves over to it over time. There's a difference… — Kehinde Wiley Copy Share Image
Stained glass is unique from the outside, but as a painting insider, I know that oil painting's all about light. And it's… — 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
