A Quote by Kehinde Wiley

My paintings are very much about the consumption and production of blackness. And how blackness is marketed to the world. — © Kehinde Wiley
My paintings are very much about the consumption and production of blackness. And how blackness is marketed to the world.
Im not really about blackness, per se, but about blackness and whiteness, and what they mean and how they interact with one another and what power is all about.
I never had a moment of realization about my blackness - I just was. Blackness was a central thread of my experience as a child and as an adolescent, as it is now that I'm an adult.
I am not renouncing my blackness and going on about my day. I am rejecting the legitimacy of the entire racial construct in which blackness functions as one orienting pole.
The blackness of space was a big shock to me. It is a deep, three-dimensional, oily blackness. You can feel the distance.
Sometimes I feel like I'm not solid. I'm hollow. There's nothing behind my eyes. I'm a negative of a person. All I want is blackness, blackness and silence.
Being conscious of Global Blackness is knowing that we are not an island of our struggle but a nation of our triumphs. That's blackness to me.
Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness and your black presence.
Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence.
All I want is blackness. Blackness and silence.
Blackness, any sort of difference, is not a burden. Relegating blackness or other sorts of difference to serious books that explicitly engage with issues creates a context in which it can seem like one.
Since I got to this country when I was 12, I've been obsessed with this idea of whiteness and blackness because I realized I was neither. For me, it was so important to me to make a film that focused on whiteness because you wouldn't have blackness if you didn't have whiteness.
When I started, I was aware of using the black as a rhetorical device. It's understanding that black people come in a wide range of colors, but you find instances in a lot of black literature in which the blackness is used as a metaphor. In some places, you can find an extreme blackness used as a descriptive.
The blackness he woke to on those nights was sightless and impenetrable. A blackness to hurt your ears with listening. Often he had to get up. No sound but the wind in the trees. He rose and stood tottering in that cold autistic dark with his arms outheld for balance while the vestibular calculations in his skull cranked out their reckonings.
It is only against the pitch blackness of the night that we see the glory of the stars. And it is only against the pitch blackness of man's radical depravity that we can begin to see the glories of the gospel.
I shall argue that it is the capital stock from which we derive satisfaction, not from the additions to it (production) or the subtractions from it (consumption): that consumption, far from being a desideratum, is a deplorable property of the capital stock which necessitates the equally deplorable activity of production: and that the objective of economic policy should not be to maximize consumption or production, but rather to minimize it, i.e. to enable us to maintain our capital stock with as little consumption or production as possible.
For the first time, we saw our world, not as a solid, immovable, kind of indestructible place, but as a very small, fragile-looking world just hanging against the blackness of space.
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