There's something really cool about taking oily coloured paste and pushing it around with these hairy sticks and making something that looks like you. That's the magic of painting.
The performance of black American identity feels very different from actually living in a black body. There's a dissonance between inside and outside.
Interpretation
What this quote means
The quote highlights the gap between the public perception of Black American identity and the personal experience of being Black.
Kehinde Wiley's quote expresses the complex relationship between societal expectations and personal identity within the Black American experience. It emphasizes the dissonance, or disconnect, that can exist between how people perceive the identity of Black Americans and the reality of living as a Black individual, suggesting that external performance does not always align with internal truths. This observation invites deeper reflection on identity, representation, and the lived experiences of marginalized communities.
Themes
In practice
Example use cases
In a discussion on racial identity at a community forum.
More from Kehinde Wiley
All quotes →This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.
What is portraiture? It's choice. It's the ability to position your body in the world for the world to celebrate you on your own terms.
The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming. It doesn't get any better than that.
Painting is about the world that we live in. Black men live in the world. My choice is to include them.
What I try to do is defy expectations in terms of boundaries, whether it is high or low art, pop culture, or fine-art culture. My work is about reconciling myriad cultural influences and bringing them into one picture.
Similar quotes
When the evening was over, Anne could not be amused…nor could she help fearing, on more serious reflection, that, like many other great moralists and preachers, she had been eloquent on a point in which her own conduct would ill bear examination.
In that moment Ged understood the singing of the bird, and the language of the water falling in the basin of the fountain, and the shape of the clouds, and the beginning and end of the wind that stirred the leaves; it seemed to him that he himself was a word spoken by the sunlight.
The modern habit of doing ceremonial things unceremoniously is no proof of humility; rather it proves the offender's inability to forget himself in the rite, and his readiness to spoil for every one else the proper pleasure of ritual.
The apathy of the people is enough to make every statue leap from its pedestal and hasten the resurrection of the dead.
What I wanted to get at is the value difference between pornographic playing-cards when you're a kid, and pornographic playing-cards when you're older. It's that when you're a kid you use the cards as a substitute for a real experience, and when you're older you use real experience as a substitute for the fantasy.
It's easier for the former masters to put aside the masks that hid their humanity than for the former slaves to recognise the faces underneath. Or to trust that this is not a new mask these are wearing.