I think that just the nature of art education in schools, it's about packs, you know? Like, we're young wolves running together, creating a consensus. And consensus is antithetical to the art process.
Kehinde WileyI think that I'm increasingly aware of the fact that in order to work towards any statement that's radically global or universal, you have to start in a place that's radically intimate and particular.
Kehinde WileyThere's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.
Kehinde WileyAfter high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.
Kehinde WileyI had an amazing instructor, Joseph Gotto , who, as a painter, spoke to me as it - he didn't condescend.
Kehinde WileyI think one of the things that I took from Mel [Bochner] specifically was his ability to look at oneself and one's relationship to the history of art and the practice of art at arm's length, the ability to sort of clinically and coldly remove oneself from the picture and to see it simply as a set of rules, habits, systems, moving parts.
Kehinde Wiley