My peers at the time: you know, young black kids from off the streets of Harlem, having these conversations with me in… — Kehinde Wiley Copy Share Image
My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that… — Kehinde Wiley Copy Share Image
Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's… — Kehinde Wiley Copy Share Image
There are just so many different types of people that come into my studio, and secondarily, there's the idea of ideation, like,… — Kehinde Wiley Copy Share Image
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in… — Kehinde Wiley Copy Share Image
When I went to the Studio Museum in Harlem, there was a type of freedom that existed where I didn't have to… — Kehinde Wiley Copy Share Image
There's a team of filmmakers who follow me in the streets when I'm finding these models, to give me a sense of… — Kehinde Wiley Copy Share Image
In the Studio Museum in Harlem, when I was dealing with that community and dealing with my peers in the streets, it… — Kehinde Wiley Copy Share Image
I think that once you're able to sort of get in line with who and how you relate to the world, you'll… — Kehinde Wiley Copy Share Image
I had no idea about where I was going. I had no sense of art as anything other than a problem to… — 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
Whereas I remember being in Dakar, in Senegal, where I have my third studio, and street casting, and I remember looking at… — 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
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
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
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
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
I think the world that I grew up in was like being in this sort of magical artistic garden. — Kehinde Wiley Copy Share
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
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
Painting is situational. And my particular situation exists within gender, race, class, sexuality, nation. — Kehinde Wiley Copy Share
There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist. — Kehinde Wiley Copy Share
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
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
I believe that artists should be part of the culture. I think that my work clearly bears that out. — Kehinde Wiley Copy Share
Just physically, if you looked at the house that I grew up in, my mother created this greenhouse. And surrounded the entire property. And… — Kehinde Wiley Copy Share
![“My studio practice is a - I suppose a bit more like [Thomas] Gainsborough or [Peter Paul] Rubens in the sense that any artist who wants to create a grand narrative on a grand scale has to sort of parse out some of the smaller aspects of painting or the more mundane aspects of painting to others.” quote by Kehinde Wiley](https://sms4smile.com/quotes/i/9b9/kehinde-wiley-1194_art_my-studio-practice-is-a-i-suppose-a-bit_2097387.jpg)
![“Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.” quote by Kehinde Wiley](https://sms4smile.com/quotes/i/49f/kehinde-wiley-1194_critique_mel-bochner-held-large-form-meetings-wit_717613.jpg)
![“I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to…” quote by Kehinde Wiley](https://sms4smile.com/quotes/i/dd2/kehinde-wiley-1194_art_i-began-working-within-the-streets-of-ha_2894302.jpg)
