The erotic and the art historical imagination is something that gets very little play when people talk about my work, and when… — Kehinde Wiley Copy Share Image
What I try to do is defy expectations in terms of boundaries, whether it is high or low art, pop culture, or… — 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
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho… — Kehinde Wiley Copy Share Image
This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the… — Kehinde Wiley Copy Share Image
I'm like a gypsy. I've got a place in Beijing, a place in New York, a place in west Africa; I'm working… — Kehinde Wiley Copy Share Image
What you have in my work is one person's path as he travels through the world, and there is no limitation of… — Kehinde Wiley Copy Share Image
There's something to be said about the art-industrial complex, the collectors who recognize that your work has some sort of future economic… — Kehinde Wiley Copy Share Image
My work is a contemporary call to arms. It is time to get our mojo back. To rediscover our true north. — Kehinde Wiley Copy Share Image
In the end, so much of what I wanted to do was to have a body of work that exhaustively looked at… — Kehinde Wiley Copy Share Image
I started making work that I assumed would be far too garish, far too decadent, far too black for the world to… — Kehinde Wiley Copy Share Image
The games I'm playing have much more to do with using the language of power and the vocabulary of power to construct… — Kehinde Wiley Copy Share Image
In my work, I want to create an understanding, not about what a painting looks like but about what a painting says. — Kehinde Wiley Copy Share Image
The whole conversation of my work has to do with power and who has it. — Kehinde Wiley Copy Share Image
By and large, most of the work that we see in the great museums throughout the world are populated with people who… — 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
