American - Artist | 1977 -
I came from a background where access to museum culture was rarely granted, and, when you got it, people wondered what the hell you were doing there.
Kehinde Wiley
CulturePeopleHellDoingYouWhere
The whole conversation of my work has to do with power and who has it.
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By and large, most of the work that we see in the great museums throughout the world are populated with people who don't happen to look like me.
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At its best, what art does is, it points to who we as human beings and what we as human beings value. And if Black Lives Matter, they deserve to be in paintings.
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If art can be at the service of anything, it's about letting us see a state of grace for those people who rarely get to be able to be seen that way.
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Europe has been a place of refuge. Why should it stop with black and brown bodies?
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Fashion is fragile and fleeting. But it is also an indicator for the cultural and social appetites for a nation.
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What's interesting about the 21st century is how people deal with cultural history. We don't necessarily feel like there are discrete categories. We consume it as a complete package, whether it's down the street or on the other side of the globe.
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As a working artist, I became increasingly aware of the patterns we see in the street and in America, becoming globalized in terms of pop culture and global and social outlook.
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In the end, what I'm trying to say as a person who does all this travel and fashions these images is that you arrive at an approximate location but never one destination.
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It's sad, the enslavement of the black underclass to designer labels - we're an age that cares more about Versace than Vermeer.
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My paintings are very much about the consumption and production of blackness. And how blackness is marketed to the world.
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