A Quote by Kehinde Wiley
I have a lot of problems with Western European easel painting.
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In the end I'm in love with it [Western European easel painting]. And that's where a lot of the influence from the work comes from.
Easel painting means small painting.
My painting does not come from the easel.
We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.
Well, painting today certainly seems very vibrant, very alive, very exiting. Five or six of my contemporaries around New York are doing very vital work, and the direction that painting seems to be taken here - is - away from the easel - into some sort, some kind of wall, wall painting.
I don't make a lot of distinctions between things like landscape or figure painting, because to me the problems are inherently the same - lighting, color, structure, and so on - certainly traditional and ordinary problems.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.
In the emerging world of ethnic conflict and civilizational clash, Western belief in the universality of Western culture suffers three problems: it is false; it is immoral; and it is dangerous.
I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.
America has a lot of problems, believe me. I know what the problems are even better than you do. They're deep problems. They're serious problems. We don't need more.
As far as I'm concerned, any Aboriginal that gets out there and accepts money that has been put out as a package for this bicentenary is actually accepting blood money. We've still got people with leprosy and we still got tremendous problems. These problems have not been our problems, they're the problems of the European population of Australia.
If you think about the way we experience art, the paradigm is still Western European. If I go to the National Gallery, what am I going to see the most of? I'm not going to see a whole lot of black figures in pictures.
Realist painting has to do with leaving out a lot of detail. I think my painting can be a little shocking in all that it leaves out. But what happens is that the mind fills in what's missing . . . Painting is a way of making you see what I saw.
To achieve effectiveness and legitimacy it is time to scrap the right of veto given to permanent members of the UN, or at least severely restrict its use. It is also time to either abandon the idea of permanent membership or broaden it to reflect the rise of non-Western states to the status of global leaders (e.g. Brazil, India, Indonesia, Turkey, South Africa), and to downgrade European representation by either giving the European Union a single seat or rotating a European state among Germany, France, UK, and Italy.
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