Kehinde Wiley Quotes

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I think it would be really interesting to paint Obama.

I've jokingly painted some of my favorite collectors as black men, so there's a really great portrait of David LaChapelle, the photographer - my version of him - that's in his collection.

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In the field of aesthetic theory, humans are pattern-seeking creatures. That can be seen in terms of musical structures, patternmaking, even in terms of storytelling and literature.

I do think that fist-waving conversations around liberation ideologies are sort of dated - I'm not creating Barbara Kruger moments of self-actualization - what I'm trying to do is create more moments of chaos where we don't really know where...

You have to be careful about over-politicizing the utterances of people of colour because, oftentimes, there's poetry that seeks to go beyond that narrative.

I need to open a restaurant, a big soul food restaurant in Beijing!

My interest is in completing an image that is spectacular beyond belief. My fidelity is to the image and the art and not to the bragging rights of making every stroke on every flower. I'm realistic.

Painting has the ability to communicate something about the sitter that gets to his essence.

Painting from life is a completely different monster, which I like. But because I've been painting from photography for so long, I've learned my best moves from photography.

I've fished everywhere I've traveled.

If you look at the paintings that I love in art history, these are the paintings where great, powerful men are being celebrated on the big walls of museums throughout the world. What feels really strange is not to be...

My mother sent me to art classes at the age of 11. I began to have kids around me say, 'Will you make drawings for me? Will you make a painting for me?' And it really clicked.

I started making work that I assumed would be far too garish, far too decadent, far too black for the world to care about. I, to this day, am thankful to whatever force there is out there that allows me...

Painting is about the world that we live in. Black men live in the world. My choice is to include them.

Artists are those people who sit at the intersection between the known and unknown, the rational and irrational, coming to terms with some of the confusing histories we, as artists, deal with.

Many people see my early work simply as portraits of black and brown people. Really, it's an investigation of how we see those people and how they have been perceived over time.

The performance of black American identity feels very different from actually living in a black body. There's a dissonance between inside and outside.

When I'm at my best, I'm trying to destabilize myself and figure out new ways of approaching art as a provocation. I think I am at my best when I push myself into a place where I don't have all...

In the end, so much of what I wanted to do was to have a body of work that exhaustively looked at black American notions of masculinity: how we look at black men - how they're perceived in public and...

Branding says a lot about luxury and about exclusion and about the choices that manufacturers make, but I think that what society does with it after it's produced is something else. And the African-American community has always been expert at...

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