Kehinde Wiley

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Kehinde Wiley
Kehinde Wiley (2015) (cropped).jpg
Wiley in 2015
Born (1977-02-28) February 28, 1977 (age 48)
Los Angeles, California, US
Alma mater
Known forPainting, sculpting
Notable work President Barack Obama

Kehinde Wiley (born February 28, 1977) is an American portrait painter based in New York City. [1] He is known for his naturalistic paintings of Black subjects that reference the work of Old Master paintings. In 2017, Wiley was commissioned to paint former U.S. President Barack Obama's portrait for the National Portrait Gallery of the Smithsonian Institution. The Columbus Museum of Art hosted an exhibition of his work in 2007 and describes his paintings as "heroic portraits which address the image and status of young African-American men in contemporary culture." [2]

Contents

Wiley was included in Time magazine's "100 Most Influential People of 2018." [3]

Early life and education

Wiley was born in Los Angeles, California, in 1977. His father, Isaiah D. Obot, [4] is Ibibio, from Nigeria, and his mother, Freddie Mae Wiley, [4] is African American. He has a twin brother. [5]

As a child, Wiley's mother enrolled him and his siblings in art classes after school with the aim of keeping them engaged in constructive activities. At age 11, Wiley and his brother were selected, along with 48 other children, to study briefly at an art conservatory near St. Petersburg, Russia. [6] [7] [8] [4] There, Wiley developed a strong interest in portraiture. Wiley has said that his brother was better at portraiture than he was, which fueled a sense of friendly competition between them. The siblings would compete to see who could recreate the most realistic images. [7] After returning to the United States, Wiley continued studying art [9] and attended the Los Angeles County High School for the Arts. [10] [11]

Kehinde Wiley sculpture Kehinde Wiley sculpture.jpg
Kehinde Wiley sculpture

Wiley's father, Isaiah, was a Nigerian student who came to the US on scholarship. He returned to Nigeria upon finishing his studies, [12] leaving Wiley's mother, Freddie, to raise the couple's six children on her own. [13] Wiley has said that his family survived on welfare checks and the limited income earned by his mother's "thrift store"—a patch of sidewalk outside their home. [14] At age 20, Wiley traveled to Nigeria to meet his father and explore his family roots. [15]

In 1999, Wiley earned a BFA from the San Francisco Art Institute. He received a scholarship to attend the Yale University School of Art, and completed an MFA in 2001. Wiley has said his most important lesson in art school was to focus on making the work he wanted to make, rather than the work he thought professors wanted him to make. [12] [1]

Wiley received an honorary DFA from Yale University in 2024. [13]

Career

Residency and inspiration

Kehinde Wiley is a portrait painter whose monumental works use bold color and engage themes of race and representation. [14] He has been described as among contemporary artists seeking to address racial power dynamics through art. [15] After receiving the commission to paint former United States President Barack Obama, Wiley gained wider attention, exhibiting in multiple international shows and exhibiting in such places as Cuba, Nigeria, and Los Angeles. [16]

The beginnings of Wiley's portraits can be traced back to his time in Harlem during a residency at the Studio Museum. During that period, he found a crumpled NYPD mugshot of an African American man in his 20s with basic personal identifying information. [17] Wiley kept the image, which would later inspire future works including Conspicuous Fraud Series #1 (Eminence) and a recreation in Mugshot Study (2006, Plate 8). [18]

Reflecting on the mugshot's influence, Wiley has said the discovery altered his view of what portraiture could be and sharpened his thinking about the portrayal of Black men. [18] To address what he saw as gaps in that portrayal, he drew on his background in classical painting, combining modern source material with historic portrait traditions. [18]

Wiley's Rumors of War is a bronze sculpture that commemorates African American youth affected by social and political conflicts across the United States. [19]

The World Stage

Though Wiley's early portraits were based on photographs of young men from the streets of Harlem, he later expanded his sources and references internationally, drawing from urban centers including Mumbai, Senegal, Dakar, and Rio de Janeiro. This resulting body of work became known as The World Stage. Models wore everyday clothing and assumed poses drawn from artwork in their location's history. It has been described as a juxtaposition of "the 'old' inherited by the 'new', who often have no visual inheritance of which to speak." [20]

Wiley has said he selects countries he sees as on the "conversation block" in the 21st century to be represented in The World Stage. These have included Brazil, Nigeria, India, and China, which he has called "points of anxiety and curiosity and production" for the world. [20] He has increasingly referenced historic artistic styles from the subjects' own countries rather than relying solely on Western traditions. [20]

Barack Obama presidential portrait

In October 2017, it was announced that Wiley had been chosen by Barack Obama to paint an official portrait of the former president to appear in the Smithsonian National Portrait Gallery "America's Presidents" exhibition. [21] Amy Sherald was simultaneously chosen by Michelle Obama for the First Lady portrait. They were the first Black artists to paint the official portraits of a U.S. president and First Lady.

From initial discussions to unveiling on February 12, 2018, the project spanned more than two years. [22] While many presidential portraits depict their subjects in formal office settings, Wiley portrayed Obama seated on an antique chair, seemingly floating amid foliage. [22] Each plant references a location from Obama's life: chrysanthemums, the official flower of the city of Chicago (where he was elected as senator); African lilies, representing Kenya to show respect to Obama's father, who died when he was a young adult; and jasmine, representing Obama's childhood in Hawaii with his grandparents. [23]

Wiley has said Obama's pose in the portrait was inspired by a candid moment during the reference photo session that felt authentic to Obama.[ citation needed ] During the unveiling, Wiley stated that Obama wanted "a very relaxed, man-of-the-people representation," achieved through small details such as an open collar, the absence of a tie, and the perception that the President's body was physically moving towards the viewer instead of appearing aloof. [7] Wiley also explained that the composition stages a visual tension between Obama and the foreground foliage, intended to suggest a life larger than any single narrative. [24] [25]

Obama has said that Wiley's work elevates ordinary people to look regal and places them within American visual life, reflecting Obama's belief that politics should be about the country unfolding from the bottom up and not the other way around. [26]

After the unveiling of Wiley's portrait of the president and Amy Sherald's portrait of the First Lady, the Smithsonian National museum saw an increase in the number of visitors from 1.1 to 2.1 million people. [22]

Some conservative commentators criticized Wiley's selection for the commission by noting earlier paintings in which he depicted Black women holding the severed heads of White women in versions of Judith Beheading Holofernes . [27] [28] [29]

Rumors of War series and statue

Wiley's initial series of works titled Rumors of War (2005) and reimagined equestrian portraiture with contemporary male subjects wearing items such as sports jerseys and Timberland boots, while retaining the original titles. [8]

Kehinde Wiley's sculpture Rumors of War in Times Square, 2019 KehindeWiley.2019jpeg.jpg
Kehinde Wiley's sculpture Rumors of War in Times Square, 2019

After visiting Richmond, Virginia, Wiley revisited the idea in response to Confederate monuments on Monument Avenue and the idea of the Lost Cause of the Confederacy existing within a modern "hipster" town. Wiley create Rumors of War, a 30-foot-tall statue of a young Black man in jeans, Nike high-tops and dreadlocks, [8] modeled on the J. E. B. Stuart monument. The work was unveiled in Times Square before being moved to the Virginia Museum of Fine Arts, roughly a mile away from the J. E. B. Stuart statue which inspired it and the institute that commissioned it. [30] [31] [32] At 27 feet high and 16 feet wide, it was his largest work to date as of 2019. [33] The project was delivered in collaboration with Times Square Arts, Sean Kelly Gallery and UAP. [34] [35]

Other work

Wiley had a retrospective in 2016 at the Seattle Art Museum. [36] In May 2017, he had an exhibit, Trickster at the Sean Kelly Gallery, New York City, featuring 11 paintings of contemporary black artists. [37]

Wiley opened a studio in Beijing, China in 2006, initially to reduce costs by employing assistants for some brushwork; by 2012, he said lower costs were no longer the reason. [38] Some critics have questioned the extent to which Wiley's paintings are painted by Wiley himself; when asked about visiting his Beijing studio to watch him paint, he declined. The studio is managed by Ain Cocke, who has worked for Wiley for nearly a decade, first as a painting assistant and now as a manager. He is an accomplished painter, though far less successful commercially. [39]

In 2021, Wiley's Go became a permanent installation in the concourse of New York City's Penn Station. The stained-glass work depicts Black breakdancers against a sky with clouds. [8] The piece is inspired by the 18th century ceiling frescoes of Giovanni Battista Tiepolo. [40] The work is his first permanent, site-specific installation in the medium of glass. [41] He also curated a group show of African arts featuring Nigerian artist Oluwole Omofemi at the Jeffrey Deitch Gallery in Los Angeles. [42]

Imagery, symbolism, and themes

Reimagining the Old Masters with Black protagonists

Saint Adelaide (2014) is a stained-glass window designed by Wiley. It was inspired by an 1843 window of Saint Adelaide designed by Jean-Auguste-Dominique Ingres for the Chapel of Saint Ferdinand, Paris. Saint Adelaide, Kehinde Wiley 2014 - Stained Glass Museum.jpg
Saint Adelaide (2014) is a stained-glass window designed by Wiley. It was inspired by an 1843 window of Saint Adelaide designed by Jean-Auguste-Dominique Ingres for the Chapel of Saint Ferdinand, Paris.

Wiley often references Old Masters paintings for the pose of a figure. [44] Rendering figures realistically while citing specific Old Master works, Wiley fuses period styles and influences ranging from French Rococo, Islamic architecture, and West African textile design to urban hip-hop and the "sea foam green" of a Martha Stewart Interiors color swatch. He depicts his larger-than-life figures in a heroic manner, giving them poses that connote power and spiritual awakening in their portrayal of masculinity.

In a number of his paintings, Wiley inserts Black protagonists into Old Master paintings. In 2007, he reimagined Théodore Géricault's early-nineteenth-century The Charging Chasseur with a young black man in casual streetwear as the sword-wielding hussar in Officer of the Hussars. [45]

Similarly, Napoleon Leading the Army over the Alps (2005) is based on Napoleon Crossing the Alps (1800) by Jacques-Louis David. Wiley restaged it with an African rider wearing modern army fatigues and a bandanna. Wiley "investigates the perception of blackness and creates a contemporary hybrid Olympus in which tradition is invested with a new street credibility." [46] While creating the work, Wiley attempted to use live horses and found the proportions between rider and horse in the original to be unrealistic. The purpose of art during David's time was to serve as propaganda. Although seemingly naturalistic, both Wiley's and David's portraits feature rider's who are disproportionate to their steed, because "men look a lot smaller on real horses." Wiley has said he is drawn to, and also seeks to expose, the illusionism of Old Master painting: "The appeal, I suppose, is that, in a world so unmasterable and so unknowable, you give the illusion or veneer of the rational, of order—these strong men, these powerful purveyors of truth. And so this thing that I do is in a strange sense being drawn toward that flame and wanting to blow it out at once." [47]

Wiley's portraits are based on men he encounters, including on Harlem's 125th Street and in South Central Los Angeles neighborhood where he was born. Wearing everyday clothing, models are asked to assume poses from paintings by Renaissance masters, such as Titian and Giovanni Battista Tiepolo. Wiley describes his approach as "interrogating the notion of the master painter, at once critical and complicit." His figurative paintings "quote historical sources and position young black men within that field of power."

His art has been described as having homoerotic qualities. [48] Wiley has used a sperm motif as symbolic of masculinity and gender. [49] [50] [51]

Wiley sometimes changes the gender of figures portrayed in earlier works. In Portrait of a Couple (2012), he replaces a 1610 heterosexual couple with two young men. [52] The same year, he exhibited two variations on the Judith Beheading Holofernes Biblical story famously painted by Caravaggio, [53] replacing the male Holofernes with female figures. New York magazine described one of these as depicting "a tall, elegant black woman in a long blue dress. In one hand, she holds a knife. In the other, a cleanly severed brunette female head." Wiley said about this work: "It's sort of a play on the 'kill whitey' thing". [38] A second painting entitled Judith Beheading Holofernes [54] also features a modern-day black woman as Judith and a white woman as Holofernes, challenging the viewer's expectations of this familiar motif, inviting political readings, and "bending a violent image from art history—which is rife with them [...]—to the needs of a country that is reexamining the violent underpinnings of even its most benign-seeming traditions." [55] Art critic Walter Robinson remarks that this reimagining of the Judith/Holofernes story "suggests, with a jovial brutality, that Judith would prefer to be done with white standards of beauty." [56]

Masculinity and femininity

Much of Wiley's work focuses on male figures, a choice he has linked to the relative absence of women in historical portraiture. [57] The way he positions and paints his figures has been described as inverting conventional masculine and feminine social norms. He emphasizes features in ways traditionally applied to women, includes motifs such as sperm that reference vitality, and sometimes places figures in vulnerable poses. [57] The floral and decorative backgrounds further complicate the idea of masculinity. Patterns of lace and flowers are often associated with femininity, and, by submerging his male figures in these ornate backgrounds, Wiley acknowledges the beauty and youth of his subjects. [58]

Power

Wiley has stated that his ornate portraits were intended to reimage depictions of Black men in art. [57] Poses adapted from classical paintings are used to comment on historical power dynamics between African American men and white men. In these reworks on 18th-century compositions featuring modern Black subjects, the subjects assume positions of status and regard. Wiley’s paintings have been described as presenting figures as worthy of attention, rather than as background or subordinate elements, and as offering alternatives to certain media portrayals. Some figures appear in poses that do not align with contemporary expectations of Black masculinity. [58]

Background imagery

Wiley's portraits are known for their bright, intricate backgrounds that are purposefully different from the portraits they are based on. Where original backdropsof the classical portraits Wiley uses for his references are full of sweeping estates, their families, and other possessions, Wiley instead introduces detailed backgrounds full of bright patterns that at times extend into the foreground. [59] His intent is to create a background that, just like his figures, is competing to be noticed, and to blend the two in order to elevate them both. [59]

Wiley draws inspiration for these designs from historical work from the Rococo and Neoclassical art periods as well as elaborate wallpapers. [57] The original portraits that Wiley recreates would have hung in lavish homes of the wealthy amongst other extremely detailed ornaments to further enhance the wealth of the homeowners. [57] By replicating these patterns and motifs from opulent decor and other elements of interior design and encapsulating his figures within them, Wiley is recreating a similar sense of wealth with his portraits. [58] Viewers are led to re-contextualize their view of the urban figures as they associate them with the lavish backdrops. [57]

Recognition and honors

In October 2011, Wiley received the Artist of the Year Award from the New York City Art Teachers Association/United Federation of Teachers. He also received Canteen magazine's Artist of the Year Award.[ citation needed ] Two of Wiley's paintings were featured on the tops of 500 New York City taxi cabs in early 2011 as a collaboration with the Art Production Fund.

Wiley was featured in a commercial on the USA Network as a 2010 Character Honoree. [60]

Puma AG commissioned Wiley to paint four portraits of prominent African soccer players; patterns from the paintings were incorporated into Puma athletic gear. [61] The complete series, Legends of Unity: World Cup 2010, was exhibited in early 2010 at Deitch Projects in New York City. [62]

His work was exhibited in the National Portrait Gallery as part of the Recognize exhibit in 2008. [63] Kehinde Wiley: A New Republic, was a retrospective at the Virginia Museum of Fine Arts, in the summer of 2016. It displayed nearly 60 of his paintings and sculptures.

Sexual assault allegations

In May 2024, Wiley was accused of sexual assault by artist Joseph Awuah-Darko, who said that Wiley had assaulted him twice in June 2021 during and after a dinner event in Ghana. Awuah-Darko said he was first "inappropriately groped" shortly after meeting Wiley, and that a "much more severe and violent" assault occurred later that day. Awuah-Darko said that he did not initially recognized the incident as assault and did not report it due to attitudes toward LGBT rights in Ghana. [64] [65] [66] Awuah-Darko also used his Instagram to share testimonials from others who said their experiences corroborated his allegations. [66]

Wiley denied the accusations, stating that the two had been in a "brief, consensual relationship." Lawyers for Wiley sent Awuah-Darko a cease and desist letter demanding the removal of his "categorically false and defamatory" Instagram posts. [64] [65] [66] Wiley's representatives also shared a series of text messages between the two men, which they said were sent in the months after the alleged assault, in which Awuah-Darko asked to meet Wiley again. [64] [65]

Following Awuah-Darko's posts, three more individuals accused Wiley of sexual violence: activist Derrick Ingram, artist Nathaniel Lloyd Richards, and photographer Terrell Armistead. [67] Ingram said that Wiley raped and sexually assaulted him in September 2021 during what he described as a brief relationship. [68] Richards said that Wiley had groped him on a date in 2019. [69] Armistead accused Wiley of groping him and "performing forced oral penetration" during a 2010 encounter at Wiley's apartment. [70] The four accusers said they planned to file a class action lawsuit against him. [70]

In response, Wiley said that the allegations were "completely false" and a "social media-driven fabrication" that distracted from his traveling exhibition "An Archaeology of Silence." [68] He also said he had never met Armistead and disputed elements of Armistead's story. [70]

Several art museums said they would suspend or cancel planned exhibitions of Wiley's work, including the Minneapolis Institute of Art, the Pérez Art Museum Miami, and the Joslyn Art Museum. [68] [71] The National Coalition Against Censorship called the allegations against Wiley "serious and concerning" but criticized the museums' decisions, arguing for contextualizing problematic artists rather than canceling them. [72] [73]

Personal life

Wiley has identified as a gay man. [74] [75] He has said that his sexuality "is not black and white. I am a gay man who has drifted. I am not bi. I've had perfectly pleasant romances with women, but they weren't sustainable. My passion wasn't there. I would always be looking at guys." [4]

Between 2014 and 2018, he created Black Rock Senegal in Yoff, an artist residence designed by Senegalese architect Abib Djenne. [76] [8]

List of works

Solo exhibitions

Collections

References

  1. ↑ "Kehinde Wiley", Artnet. Retrieved October 13, 2010.
  2. ↑ Villarreal, Ignacio. "Kehinde Wiley: Columbus To Open". Art Daily.
  3. ↑ "Kehinde Wiley: The World's 100 Most Influential People". Time. Retrieved September 22, 2020.
  4. 1 2 3 4 "Kehinde Wiley Biography, Life & Quotes". The Art Story. Retrieved March 11, 2021.
  5. ↑ "Artist Talk: Kehinde Wiley". YouTube. October 26, 2018. Retrieved January 13, 2019.
  6. ↑ Wiley, Kehinde, "On studying art in the forests of St. Petersburg at age 12, his hyperdecorative style, and combining grandeur with chance", Wall Street Journal , April 26, 2012.
  7. 1 2 3 Cunningham, Vinson (October 22, 2018). "Kehinde Wiley on Painting Masculinity and Blackness, from President Obama to the People of Ferguson". The New Yorker.
  8. 1 2 3 4 5 "Kehinde Wiley | Biography, Art, Portraits, Paintings, Sculptures, & Facts". Encyclopedia Britannica. Retrieved March 11, 2021.
  9. ↑ Cunningham, Vinson (October 22, 2018). "Kehinde Wiley on Painting Masculinity and Blackness, from President Obama to the People of Ferguson". The New Yorker . Retrieved October 22, 2018.
  10. ↑ "'Antonovich Amphitheatre' dedicated at LACHSA > LACOE". www.lacoe.edu. May 21, 2015. Archived from the original on November 15, 2022. Retrieved February 2, 2022.
  11. ↑ Boehm, Mike (April 6, 2010). "L.A. County High School for the Arts has celebrity lineup to celebrate its 25th anniversary". LA Times Blogs - Culture Monster. Los Angeles Times.
  12. ↑ "Kehinde Wiley Paintings, Bio, Ideas". The Art Story. Retrieved August 11, 2022.
  13. ↑ "Kehinde Wiley '01 M.F.A. | Yale 2024". yale2024.yale.edu. Retrieved May 20, 2024.
  14. ↑ Lucas, Julian (December 26, 2022). "How the Artist Kehinde Wiley Went from Picturing Power to Building It". The New Yorker. ISSN   0028-792X . Retrieved May 24, 2023.
  15. ↑ "Untitled Document". login.libris.mtsac.edu. Retrieved May 24, 2023.[ permanent dead link ]
  16. ↑ "Five years after his Obama portrait, Kehinde Wiley is taking his art everywhere all at once". ABC News. Retrieved May 24, 2023.
  17. ↑ Miller, P.D. (2007). "New World Portraiture: Kehinde Wiley". Art Asia Pacific. 55: 140–143.
  18. 1 2 3 Tsai, Eugenie (February 20, 2015). Kehinde Wiley: A New Republic (Illustrated ed.). Prestel. ISBN   978-3791354309.
  19. ↑ "Sculpture Created by Kehinde Wiley for VMFA - VMFA". November 12, 2019. Retrieved May 24, 2023.
  20. 1 2 3 Wiley, Kehinde. "Kehinde Wiley". Kehinde Wiley Studio.
  21. ↑ Smith, Roberta (October 16, 2017). "Why the Obamas' Portrait Choices Matter". New York Times. Retrieved December 24, 2017.
  22. 1 2 3 Caragol, Taína; Moss, Dorothy; Powell, Richard; Sajet, Kim (2020). "The Obama Portraits". ProQuest Ebook Central. Princeton University Press.
  23. ↑ Vankin, Deborah (January 24, 2020). "Obama Portraits to Tour in Summer '21; the Smithsonian Says the Portraits of Barack and Michelle Will Visit Five Cities, Including Los Angeles' LACMA". Los Angeles Times. ProQuest   2344081883.
  24. ↑ "Barack and Michelle Obama portraits unveiled at Smithsonian". YouTube . February 12, 2018. Archived from the original on December 21, 2021. Retrieved June 4, 2020.
  25. ↑ Says, Simon (February 13, 2018). "President Obama's speech at the portrait unveiling at the Smithsonian National Portrait Gallery…". Medium. Retrieved June 4, 2020.
  26. ↑ Pogrebin, Robin (February 12, 2018). "Obama Portrait Artists Merged the Everyday and the Extraordinary". ProQuest   2001133419.{{cite journal}}: Cite journal requires |journal= (help)
  27. ↑ "Obama portrait artist's past work depicted black women decapitating white women". The Telegraph. February 13, 2018. Retrieved February 13, 2018.
  28. ↑ Levine, Jon (February 12, 2018). "Obama Portrait Artist Kehinde Wiley Once Painted Black Women Decapitating White Women". Yahoo Entertainment. Retrieved February 13, 2018.
  29. ↑ "FACT CHECK: Did Obama's Portraitist Paint an Image of a Black Woman Holding the Severed Head of a White Person?". Snopes.com. February 13, 2018. Retrieved February 14, 2018.
  30. ↑ Curran, Colleen (June 20, 2019). "VMFA acquires massive sculpture by artist Kehinde Wiley, created in response to Confederate monuments". Richmond-Times Dispatch. Retrieved June 25, 2019.
  31. ↑ Ugwu, Reggie (September 27, 2019). "Kehinde Wiley's Times Square Monument: That's No Robert E. Lee". The New York Times. ISSN   0362-4331 . Retrieved October 1, 2019.
  32. ↑ "Rumors of War statue unveiled in Richmond, Virginia", BBC News , December 11, 2019.
  33. ↑ Moynihan, Ellen, and Larry McShane, "'Rumors of War' statue makes Times Square debut, provides a response to Confederate monuments in its future home of Richmond, Va.", New York Daily News , September 27, 2019.
  34. ↑ "UAP". www.uapcompany.com. Retrieved January 25, 2021.
  35. ↑ "Kehinde Wiley Taps Creative Studio UAP for First Public Artwork, Set for Times Square". HYPEBEAST. July 12, 2019. Retrieved January 25, 2021.
  36. ↑ Romano, Tricia (February 4, 2016). "A new republic: Kehinde Wiley comes to Seattle Art Museum". Seattle Times. Retrieved February 4, 2016.
  37. ↑ Frank, Priscilla (May 26, 2017). "Kehinde Wiley Paints The Formative Black Artists Of Our Time". Huffington Post. Retrieved June 22, 2017.
  38. 1 2 Beam, Christopher (April 22, 2012). "Outsource to China - While riffing on the Western canon. Kehinde Wiley's global reach". New York Magazine. Retrieved February 13, 2018.
  39. ↑ Mason, Wyatt (April 10, 2013). "How Kehinde Wiley Makes A Masterpiece". GQ .
  40. ↑ "9 New Public Art Installations in NYC March 2021 - Page 22 of 39". Untapped New York. March 2, 2021. Retrieved March 12, 2021.
  41. ↑ "Kehinde Wiley "Go" - News - Roberts Projects LA". www.robertsprojectsla.com. Retrieved March 12, 2021.
  42. ↑ "Kehinde Wiley Curates a Group Exhibition Celebrating Contemporary African Portraiture". November 19, 2021.
  43. ↑ "Saint Adelaide". The Stained Glass Museum. Retrieved June 4, 2024.
  44. ↑ Hurst, Roy. "Young, Gifted, and Black: Painter Kehinde Wiley", NPR, June 1, 2005.
  45. ↑ "Kehinde Wiley, Officer of the Hussars, 2007". Detroit Institute of Arts. Retrieved September 3, 2020.
  46. ↑ Hans Werner Holzwarth, ed. (2008). Art Now, Vol. 3: A cutting-edge selection of today's most exciting artists. Taschen. p. 512. ISBN   9783836505116.
  47. ↑ Cunningham, Vinson (October 22, 2018). "Kehinde Wiley on Painting Masculinity and Blackness, from President Obama to the People of Ferguson". The New Yorker.
  48. ↑ Kennicott, Philip (February 12, 2018). "The Obamas' portraits are not what you'd expect and that's why they're great". The Washington Post.
  49. ↑ Clemans, Gayle. "Kehinde Wiley, Napoleon Leading the Army over the Alps". smarthistory.org. Retrieved February 13, 2018.
  50. ↑ Quito, Anne (April 3, 2015). "The painter who remixes classical European art with black urban youth". Quartz. Retrieved February 13, 2018.
  51. ↑ Smith, Roberta (September 4, 2008). "A Hot Conceptualist Finds the Secret of Skin". The New York Times. Retrieved February 13, 2018.
  52. ↑ Mason, Wyatt (April 10, 2013). "How Kehinde Wiley Makes A Masterpiece". GQ . Retrieved September 3, 2020.
  53. ↑ "Judith and Holofernes". North Carolina Museum of Art. June 7, 2018. Retrieved June 18, 2020.
  54. ↑ Solomon, Deborah (January 28, 2015). "Kehinde Wiley Puts a Classical Spin on His Contemporary Subjects". New York Times. Retrieved June 18, 2020.
  55. ↑ Howe, Brian (March 7, 2018). "What the Recent Backlash Against Kehinde Wiley's Work at NCMA Gets Wrong About Art's Past and Present". Indy Week. Retrieved September 3, 2020.
  56. ↑ Robinson, Walter (May 8, 2014). "The "Black Eye" and the Postmodernist Art World". Indy Week. Retrieved September 5, 2020.
  57. 1 2 3 4 5 6 Sanders, Sophie. (2013). Spirited Pattern and Decoration in Contemporary Black Atlantic Art (Thesis). Temple University.
  58. 1 2 3 A., Shareef, Shahrazad (2010). The power of décor : Kehinde Wiley's interventions into the construction of black masculine identity. OCLC   876900599.{{cite book}}: CS1 maint: multiple names: authors list (link)
  59. 1 2 Okoro, Enuma (January 28, 2022). "Artist Kehinde Wiley: 'I wanted to interrupt the history of these paintings'". The Financial Times Limited.
  60. ↑ "Art: Kehinde Wiley" Archived March 15, 2010, at the Wayback Machine , USA Network. Retrieved October 13, 2010.
  61. ↑ "PUMA commissions Contemporary Artist Kehinde Wiley to create portraits of African Football Players to Celebrate World Cup 2010 Campaign" Archived August 2, 2010, at the Wayback Machine , PUMA Creative, January 2010. Retrieved October 13, 2010.
  62. ↑ "Equestrian Portrait of the Count-Duke Olivares (captioned image)". Harper's. Vol. 320, no. 1, 919. April 2010. p. 17. Retrieved August 15, 2011.(subscription required)
  63. ↑ "Painting: Kehinde Wiley", National Portrait Gallery: Recognize! Hip Hop and Contemporary Portraiture. Retrieved October 13, 2010.
  64. 1 2 3 Marshall, Alex (May 19, 2024). "Kehinde Wiley Denies Accusation of Sexual Assault by Artist". The New York Times . Archived from the original on May 20, 2024. Retrieved May 20, 2024.
  65. 1 2 3 Chung, Stephy; Mowbray, Nicole (May 21, 2024). "Artist Kehinde Wiley denies accusations of sexual assault". CNN . Archived from the original on May 21, 2024. Retrieved May 21, 2024.
  66. 1 2 3 Scribner, Herb; Kingsberry, Janay (May 20, 2024). "Kehinde Wiley denies accusations of sexual assault from fellow artist". The Washington Post . Archived from the original on May 20, 2024. Retrieved May 21, 2024.
  67. ↑ Eler, Alicia (June 14, 2024). "Minneapolis Institute of Art declines Kehinde Wiley show after artist is accused of sexual assault". Star Tribune . Archived from the original on June 16, 2024. Retrieved June 16, 2024.
  68. 1 2 3 Marshall, Alex; Pogrebin, Robin (June 13, 2024). "Museum Calls Off Kehinde Wiley Show, Citing Assault Allegations". The New York Times . Archived from the original on June 15, 2024. Retrieved June 16, 2024.
  69. ↑ Rosa, Amanda (June 21, 2024). "Miami flagship art museum cancels Kehinde Wiley show after sexual-assault allegations". Miami Herald . Archived from the original on June 22, 2024. Retrieved June 26, 2024.
  70. 1 2 3 Greenberger, Alex (June 10, 2024). "Kehinde Wiley Denies New Allegations of Sexual Assault from Two People". ARTnews . Archived from the original on June 14, 2024. Retrieved June 16, 2024.
  71. ↑ Boucher, Brian (June 13, 2024). "Planned Kehinde Wiley Exhibitions Canceled and Delayed in Wake of Assault Allegations". Artnet . Archived from the original on June 13, 2024. Retrieved June 16, 2024.
  72. ↑ Schrader, Adam (June 24, 2024). "Anti-Censorship Coalition Criticizes Cancellation of Kehinde Wiley Shows". Artnet . Archived from the original on June 26, 2024. Retrieved June 26, 2024.
  73. ↑ Sutton, Benjamin (June 25, 2024). "Cancelling Kehinde Wiley shows 'does a disservice to the audiences', anti-censorship group claims". The Art Newspaper . Archived from the original on June 26, 2024. Retrieved June 26, 2024.
  74. ↑ Solomon, Deborah (January 28, 2015). "Kehinde Wiley Puts a Classical Spin on His Contemporary Subjects". The New York Times.
  75. ↑ Butterworth, Benjamin (October 20, 2017). "Barack Obama picks gay artist Kehinde Wiley to do his official portrait". PinkNews . Retrieved February 12, 2018.
  76. ↑ Jackson, Brian Keith (April 2019), Kehinde Wiley's Art Annex New York .
  77. ↑ www.bibliopolis.com. "Kehinde Wiley 23 November 2002-12 January 2003 by Kehinde WILEY on JONATHAN A. HILL, BOOKSELLER, INC". JONATHAN A. HILL, BOOKSELLER, INC. Retrieved December 29, 2022.
  78. ↑ Stowe, Stacey (November 24, 2002). "ART; Embracing the Offbeat In a Corner of Hartford". The New York Times. ISSN   0362-4331 . Retrieved December 29, 2022.
  79. 1 2 3 4 5 6 7 8 Wiley, Kehinde. "Kehinde Wiley" (PDF). Kehinde Wiley Studio.
  80. ↑ "Kehinde Wiley / The World Stage: Israel". The Jewish Museum.
  81. ↑ "Kehinde Wiley: A New Republic February 20–May 24, 2015". www.brooklynmuseum.org. Retrieved June 22, 2017.
  82. ↑ Cocoves, Athena (February 2017). "Kehinde Wiley's twin desires: Clearing space and building a new republic at the Toledo Museum of Art". Toledo City Paper. Retrieved June 22, 2017.
  83. ↑ "Kehinde Wiley: Saint Louis" . Retrieved December 26, 2018.
  84. ↑ "Kehinde Wiley: An Archaeology of Silence" . Retrieved February 19, 2024.
  85. ↑ "Portrait of Simon George II by Kehinde Wiley". crockerart.org.
  86. ↑ "Kehinde Wiley". thejewishmuseum.org.
  87. ↑ "Untitled (Hand Study 1)". collections.lacma.org.
  88. ↑ "Works – Kehinde Wiley – Artists". collection.themodern.org.
  89. ↑ "PAMM Fund for Black Art". BLK Art House. February 9, 2022. Archived from the original on April 11, 2023. Retrieved April 11, 2023.
  90. ↑ "Kehinde Wiley, Alexander the Great, 2005". sfmoma.org.
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