A Quote by Kehinde Wiley

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. — © Kehinde Wiley
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.
I have a lot of problems with Western European easel painting.
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.
Easel painting means small painting.
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.
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.
In jazz, there is a lot of European influence harmonically.
And, granted, for a long time, the European has been dominant in certain parts of this Western Hemisphere, but by the end of the 21st century, it's over.
Maybe the given person, cup, or landscape is lost before one gets to painting. A figure exerts a continuing and unspecified influence on a painting as the canvas develops. The represented forms are loaded with psychological feeling. It can't ever just be painting.
Coming from Haiti and growing up in Brooklyn, there's a lot of European influence when I get dressed up. I wear a lot of fitted suits, elegant cuts; I think it's cool to mash up a lot of different looks.
Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything.. ..A convent, a monastery, a phalanstery of painting where one could train together.. ..but no programme, no instruction in painting.. ..drawing is still alright, it doesn't count, but painting - the way to learn is to look at the masters, above all at nature, and to watch other people painting.
When I took on the title sponsorship of the Western European League and the World Cup Final in October 2010, I did it because I love the sport and I love horses. It has proved to be a perfect match for the Reem Acra brand.
I always read the Latin American writers. I love so many of them: Gabriel García Márquez, José Donoso, Alejo Carpentier, Jorge Luis Borges, Clarice Lispector. I also love a lot of American experimental writers and surrealist European writers. But perhaps The Persian Book of Kings was the greatest influence - I encourage people to look at it. There is such a wealth of incredible stories.
Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.
The idea of the western, I believe, as people conceive of it, is really an artifact of the Hays Production Code of the '20s and '30s, and it has really nothing to do with the West and much to do with the influence of middle-European Jews who had come out to Hollywood to present to America a sanitized heroic idea of what America was.
While Hollywood has had a huge influence on the Indian industry, Bollywood and its actors, too, are garnering a lot of attention in the western film world.
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