A Quote by Kehinde Wiley
You don't hire Kehinde Wiley to have a tame painting.
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I think that the Kehinde Wiley brand is something that I'm working towards expanding and to inclusion.
I like to play with the conventions around what we expect of paintings historically. But I also like to play with the conventions that you expect from a Kehinde Wiley painting, too.
I've met others [people] who simply responded to me, "You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work."
It never really understood its own situational luxury. And I think that by and large the privilege of being Kehinde Wiley in the 21st century, making these high-priced luxury goods, traveling the world, pointing at these people, behooves me to have a point of view and to say something about it.
I'd like to walk that fine line between the authentic artist self and the manufactured artist self. I'd like to exist outside of a set of expectations or assumptions about what the Kehinde Wiley brand is. And I'd like to walk towards something that's a bit more unpredictable, human.
You kin tame a bear. You kin tame a wild-cat and you kin tame a panther. ... You kin tame arything, son, excusin' the human tongue.
If you want to be a good saddler, saddle the worst horse; for if you can tame one, you can tame all.
It's illegal to hire or fire anybody because of their race, appearance, or sexual orientation, but in Hollywood, ironically, it's the reason people will hire or not hire you.
Later, you should learn to hire fast and scale up the company, but in the early days the goal should be not to hire. Not to hire.
Good people hire people better than themselves. So A players hire A+ players. But others hire below their skills to make themselves look good. So B players hire C players. C players hire D players, etc.
Music might tame and civilize wild beasts, but 'tis evident it never yet could tame and civilize musicians.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
As part of the process by which you hire me, you hire me. You just don't hire an hour of me to do a performance.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
Steve Jobs has a saying that A players hire A players; B players hire C players; and C players hire D players. It doesn't take long to get to Z players. This trickle-down effect causes bozo explosions in companies.
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