A Quote by Kehinde Wiley
I think that an obsession with art history gave rise to the work.
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Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.
Programmed by quanta, physics gave rise first to chemistry and then to life; programmed by mutations and recombination, life gave rise to Shakespeare; programmed by experience and imagination, Shakespeare gave rise to Hamlet.
Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise. I rise. I rise.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.
We have come to think of art and work as incompatible, or at least independent categories and have for the first time in history created an industry without art.
What's important about the artists we learn about in art history and see in all the art books is that they have somehow pushed the boundaries of what people think art is or should be, and that's how they've made their work relevant. That's what I'm trying to figure out for myself.
Satellite photography in the 1970's gave rise to the long-range weather forecast, a month at a time. This in turn gave rise to the observation that the long-range weather forecast was wrong most of the time. In turn, this gave rise to the dropping of the long-range weather forecast and to the admission that really accurate forecasting could only cover the next day or two, and not always then.
In the 20th century, in the darkest period of German and European history, an insane racist ideology, born of neopaganism, gave rise to the attempt, planned and systematically carried out by the regime, to exterminate European Jews. The result has passed into history as the Shoah.
Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
Sitting with a deck of cards in your hand all day is an obsession. Visiting print shops and bookstores and libraries is an obsession. And writing about this is an obsession. I think, in general, most collectors are obsessed. I think the only form of a rationalized greed is when you're collecting something you are supposedly serious about.
I do write about obsession, but I don't think I have an obsession for writing. I'm not a compulsive writer. I like to watch obsession in other people, watch the way it makes them behave.
History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.
I think that America has an obsession with history, really.
Throughout human history, countries rise and fall. But not America-we continue to rise and rise, like dough, until Jesus bakes us in the fiery Afterscape of the Rapture.
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