Kehinde Wiley Quotes About Art

Quotes about: Art

• All art is self-portraiture.

  Kehinde Wiley

  Art, Self, Portraiture

  Source: www.aaa.si.edu

• I was 11 when I was first introduced to live drawing classes and going to art school.

  Kehinde Wiley

  Art, School, Class

  Source: www.aaa.si.edu

• One of my most strong memories was studying with Mel Bochner, one of the, I think, high water marks of American conceptual art.

  Kehinde Wiley

  Art, Strong, Memories

  Source: www.aaa.si.edu

• In the Studio Museum in Harlem, when I was dealing with that community and dealing with my peers in the streets, it allowed for me to get outside of Yale, to get outside of art-speak, and to really think about art as a material practice that has very useful and pragmatic material precedent.

  Kehinde Wiley

  Art, Thinking, Yale

  Source: www.aaa.si.edu

• I think what's really interesting and useful about this question is that ultimately all art is a type of self-portraiture. And so in the act of identifying yourself, you're using others to get to that point. And so you're parsing out different aspects of different people in the world. You're choosing not only from America but increasingly globally different aspects of what's out there.

  Kehinde Wiley

  Art, Thinking, America

  Source: www.aaa.si.edu

• The art world has become so insular. The rules have become so autodidactic that, in a sense, they lose track of what people have any interest in thinking about, talking about or even looking at.

  Kehinde Wiley

  Art, Thinking, Talking

  Source: www.interviewmagazine.com

• I was 12 in 1989 during perestroika, when my mother found a program that sent me to Russia to study art in the forests outside of Leningrad.

  Kehinde Wiley

  Mother, Art, Russia

  Source: www.aaa.si.edu

• Mel [Bochner] sets a very high standard. He expects only the best and most thoughtful and rigorous examinations, not only of the history of art but your own practice.

  Kehinde Wiley

  Art, Thoughtful, Practice

  Source: www.aaa.si.edu

• If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.

  Kehinde Wiley

  Art, Giving, Historical

  Source: www.aaa.si.edu

• There is no purity with regards to the marketplace and art, I believe.

  Kehinde Wiley

  Art, Believe, Purity

  Source: www.aaa.si.edu

• I guess art is in the eye of the beholder.

  Kehinde Wiley

  Art, Eye, Beholder

  Source: www.interviewmagazine.com

• I think it was a matter of, like, I'm not going to have my kids in these wild streets. Both my twin brother and I were in art school together.

  Kehinde Wiley

  Brother, Art, Kids

  Source: www.aaa.si.edu

• I think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.

  Kehinde Wiley

  Art, Moving, Thinking

  Source: www.aaa.si.edu

• So much of the hubris that surrounded conceptual art in the 1950s through '70s was that it had this arrogant presupposition that pointing in and of itself was a creative act. It never rigorously politically and socially analyzed the fact that the luxury to point is something that so many people throughout the world don't have.

  Kehinde Wiley

  Art, Luxury, People

  Source: www.aaa.si.edu

• One of the weirdest things that happened to artists and art criticism was this moment when everyone got cynical and stopped believing in the ability to engage the world in all of its myriad purposes, transformations, and incarnations.

  Kehinde Wiley

  Art, Believe, Cynical

  Source: www.artpractical.com

• That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence.

  Kehinde Wiley

  Girl, Art, Museums

  Interview with M.I.A., www.interviewmagazine.com. November 19, 2008.

• In high school I went to the Los Angeles County High School for the Arts. And this is like Fame. It's like that sort of prototypical, dancers in the hallway, theater students, musical students, art geeks. And it was a kindergarten in the truest sense of the world: a children's garden where I was able to sort of really come into myself as an artist, as a person, sexuality issues - like, all of this became something where there was a firming-up and a knowing that went on.

  Kehinde Wiley

  Art, Children, School

  Source: www.aaa.si.edu

• I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.

  Kehinde Wiley

  Running, Art, School

  Source: www.aaa.si.edu

• I think didactic art is boring. I mean, I love it in terms of, like, some of the historical precedents that I've learned from. You needed that. We needed those building blocks in terms of - you know, when I look at a great Barbara Kruger, for example, and you're thinking about, you know, the woman's position in society - you know, she found a way of making it beautiful, but at the same time it's very sort of preachy, you know what I mean?

  Kehinde Wiley

  Beautiful, Art, Block

  Source: www.aaa.si.edu

• What I love in art is that it takes known combinations and reorders them in a way that sheds light on something that they have never seen before or allows to consider the world in a slightly different way.

  Kehinde Wiley

  Art, Light, World

  "'I try to create a place of disorientation' - interview with Kehinde Wiley". Interview With Anna Savitskaya, artdependence.com. February 16, 2015.

• After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.

  Kehinde Wiley

  Art, School, San Francisco

  Source: www.aaa.si.edu

• I think that once you're able to sort of get in line with who and how you relate to the world, you'll become closer to this index that I'm referring to. Because what you want is this card that relates to that book. What you want is this human that relates to this world, rather than having this art school society scattering that point of view somewhere in between. It becomes diffused. And that level of clarity, I think, was gained at the Studio Museum in Harlem.

  Kehinde Wiley

  Art, Book, School

  Source: www.aaa.si.edu

• I think that an obsession with art history gave rise to the work.

  Kehinde Wiley

  Art, Thinking, Obsession

  Source: www.aaa.si.edu

• I was surrounded by art by virtue of not only the educational opportunities that my mother's foresight availed me to.

  Kehinde Wiley

  Mother, Art, Educational

  Source: www.aaa.si.edu

• I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.

  Kehinde Wiley

  Art, New York, Sleep

  Source: www.aaa.si.edu

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