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
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
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
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
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
What's interesting about young black American artists within the twentieth century, and increasingly within the twenty-first as well, is that there's this… — Kehinde Wiley Copy Share Image
I enjoy Chicago as one of the great American cities. When I come here and take a taxi from the airport, I… — 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
It was probably one of the things that gave me a sense of possibility and allowed for me to see beyond the… — 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… — 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
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
Gauguin is creepy - let's just face it. He goes off into the Pacific, and he's looking at these young girls, and… — Kehinde Wiley Copy Share Image
I know how young black men are seen. They're boys - scared little boys, oftentimes. I was one of them. I was… — Kehinde Wiley Copy Share Image
I was recently in Israel doing my work and casting for models in the streets of Haifa and Jerusalem and Tel Aviv,… — 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
![“I think, at the L.A. County Museum of Art, I saw my first example of Kerry James Marshall, who had a very sort of heroic, oversized painting of black men in a barbershop. But it was painted on the same level and with the same urgency that you would see in a grand-scale [Anthony] van Dyck or…” quote by Kehinde Wiley](https://sms4smile.com/quotes/img-quotes/a08/kehinde-wiley-1194_art_i-think-at-the-l-a-county-museum-of-art_1563358.jpg)
