I think the world that I grew up in was like being in this sort of magical artistic garden. — 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… — 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… — Kehinde Wiley Copy Share Image
I believe that artists should be part of the culture. I think that my work clearly bears that out. — Kehinde Wiley Copy Share Image
That's the trouble with, I think, my - the contemporary read of my work. So many people just simply say, "These are… — 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 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
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's kind of indicative of a type of self-confidence that people develop when they recognize their own ability to create. — Kehinde Wiley Copy Share Image
I think that artists provide questions, not answers. We provide provocations rather than fully formed objects. — 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
It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in… — 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 think there's something important in going against the grain and perhaps finding value in things that aren't necessarily institutionally recognized. — Kehinde Wiley Copy Share Image
I think what we should concentrate on is what it feels like to be a working artist in the day to day.… — Kehinde Wiley Copy Share Image
I actually studied cooking and, like, was thinking about becoming a chef. — Kehinde Wiley Copy Share Image
I think it's really useful to create parameters. The term you use can be forwarded into something more like a grid, a… — Kehinde Wiley Copy Share Image
I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together,… — 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
You know, one of my - one of my best and, I think, most enlightening moments was when I was contacted by… — Kehinde Wiley Copy Share Image
Can I - do I have to be obsessed with it and proceed from that? Not always. But when I'm on top… — Kehinde Wiley Copy Share Image
I am interested in evolution within my thinking. I am not interested in the evolution of my paint. — Kehinde Wiley Copy Share Image
You know, the process, I think, is the story. And it goes back, again, to what I said about chance and about… — Kehinde Wiley Copy Share Image
And as a young black man, a lot of my professors would really think that it was useful to see the work… — Kehinde Wiley Copy Share Image
I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very… — 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
