A Quote by Kehinde Wiley

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.
I'm never interested in the painting being a mirror to culture. I think that's really boring. What I'm interested in is painting as an affective space. The place where the hierarchies of the world can be rearranged within the space of a painting. And they can be articulated in different ways.
The percentage of Indian kids doing some sort of artistic work is much higher than in the general population - painting, drawing, dancing, singing. The creation of art is still an everyday part of Indian culture, unlike the dominant culture, where art is sort of peripheral.
I myself wouldn't want to read a magazine that focuses solely on a small part of the literary field or of the popular culture - better to smash the borders and look for interesting and important stuff from many different forms of storytelling.
As an actor, doing animation is definitely on the list of most actors because it is such a freeing, fun, different experience than being on camera. There's just something different about it that's not more fun, but a different sort of fun.
Korean feminism has been swept away by popular culture. It became a sort of old-fashioned trend or a joke.
My attraction to the Church of Satan... is the same thing that initially attracted me to punk rock. It was something that wasn't very entirely popular, and it was sort of like the adversary to mainstream culture and beliefs.
I'd sort of gone through some sort of spiritual change in the late 70s where I sort of saw there was some other life to live. It changed the way that I worked just having a different presence and a different tension.
It's sort of like my past is an unfinished painting, and as the artist of that painting, I must fill in all the ugly holes and make it beautiful again.
I think when you work alone - the way I do it, anyway - you could sort of liken it to painting, where there's sort of a one-on-one with the canvas.
Painted time is a different zone. This is why I don't believe that a painting - although I've been accused of it many times now - can be truly topical. A painting's physicality gives it a different persistence and a different perception.
I tried different techniques during my career, but I especially fell in love with painting with oil and pallette-knife. Every artwork is the result of long painting process; every canvas is born during the creative search; every painting is full of my inner world.
I love California. It has such a strong contribution to the history of culture, and popular culture. For better and worse, of course. Even the worst can be interesting to some degree sometimes for somebody creative.
Popular culture as a whole is popular, but in today's fragmented market it's a jostle of competing unpopular popular cultures. As the critic Stanley Crouch likes to say, if you make a movie and 10 million people go see it, you'll gross $100 million - and 96 per cent of the population won't have to be involved. That alone should caution anyone about reading too much into individual examples of popular culture.
My working hypothesis is that stupidity in popular culture is a constant. Popular culture cannot get more stupid.
I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.
I don't hear any of the popular stuff unless it's good 'cause I pay no attention to popular culture, at all.
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