Kehinde Wiley is one of the leading American artists to emerge in the last decade and he has been ingeniously reworking the grand portraiture traditions. Since ancient times the portrait has been tied to the representation of power, and in European courts and churches, artists and their patrons developed a complex repository of postures and poses and refined a symbolic language. This language, woven into all aspects of a portrait, described the sitter’s influence and power, virtue and character, or profession. In his consideration of portrait traditions, Wiley has been especially drawn to the grand aristocratic portraits of the 18th century.
The artist began his first series of portraits in the early 2000s during a residency at the Studio Museum in Harlem. He set out to photograph and recast assertive and self-empowered young men from the neighborhood in the style and manner of traditional history painting. Since then he has also painted rap and sports stars but for the most part his attention has focused on ordinary men of color in their everyday clothes. Trained at Yale in the 1990s, Wiley was steeped in the discussions concerning identity politics during this decade and he brings his personal insights and theoretical studies to his practice.
Wiley’s portraits are highly stylized and staged, and draw attention to the dialectic between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment.
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures.
Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed, allowing them to have a voice in the telling of their individual, unique story.
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October 6, 2016 | Phoenix College Bulpitt Auditorium
One day before Kehinde Wiley: A New Republic opens at Phoenix Art Museum, the artist will give a special engagement lecture on his career retrospective.
More info and tickets here.
Kehinde Wiley: A New Republic is organized by the Brooklyn Museum. Its Phoenix premiere is made possible through the generous support of PetSmart, with additional support provided by Contemporary Forum, Arizona Public Service (APS), UMB Bank, Joan Cremin and Haig Tchamitch, Meredith and Charlie von Arentschildt, Adam and Iris Singer, along with Gail and Steve Rineberg.
Admission is free for Phoenix Art Museum Members. Not a member yet? Join here!
This special engagement exhibition is offered at $5 for all ages, plus general admission (required). For a full breakdown of general admission prices, click here. See both special exhibitions (Emphatics: Avant-Garde Fashion 1963-2013 and Kehinde Wiley: A New Republic) for a discounted price of $8, in addition to general admission. This special engagement exhibition is offered to the general public for $5 for adults and $3 for youth aged 6-17 during free-access hours from 3-9 pm each Wednesday, from 6-10 pm on the First Fridays of each month and the second Sunday of each month from 12-5 pm. See both special exhibitions (Emphatics: Avant-Garde Fashion 1963-2013 and Kehinde Wiley: A New Republic) for a discounted price of $8 during the aforementioned free-access times.
Interested in coming as a group? For group sales information, click here.
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Exhibition Page: Kehinde Wiley, Portrait of Mary Hill, Lady Killigrew, 2013. Oil on canvas. Collections of Guillermo Nicolas and James Foster. ©Kehinde Wiley. (Photo: Stephen White, courtesy of Stephen Friedman Gallery)
Left: Kehinde Wiley, Anthony of Padua, 2013. Oil on canvas. Seattle Art Museum; gift of the Contemporary Collectors Forum. ©Kehinde Wiley. (Photo: Max Yawney, courtesy of Roberts & Tilton, Culver City, California)
Middle: Kehinde Wiley, Shantavia Beale II, 2012. Oil on canvas. Collection of Ana and Lenny Gravier. ©Kehinde Wiley. (Photo: Jason Wyche, courtesy of Sean Kelly, New York)
Right: Kehinde Wiley, The Two Sisters, 2012. Oil on linen. Collection of Pamela K. and William A. Royall, Jr. Courtesy of Sean Kelly, New York. ©Kehinde Wiley. (Photo: Jason Wyche, courtesy of Sean Kelly, New York)