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  • Provenance

    Sean Kelly Gallery, New York
    Acquired from the above by the present owner

  • Exhibited

    New York, Brooklyn Museum; Modern Art Museum of Fort Worth; Seattle Art Museum; Richmond, Virginia Museum of Fine Arts; Phoenix Art Museum; Toledo Museum of Art; Oklahoma City Museum of Art, Kehinde Wiley: A New Republic, February 20, 2015 - September 10, 2017, no. 34, pp. 106-107 (another example exhibited and illustrated, p. 106)

  • Artist Biography

    Kehinde Wiley

    Applying the language and devices of royal portraiture to unnamed archetypes of the Black American experience, Kehinde Wiley bestows the pride and prestige of history painting to groups that it has too often overlooked. Rather than depicting the European aristocracy, Wiley’s portraits d’apparats place African Americans against florid backdrops and atop rearing horses, retaining the pomp and opulence of his historical antecedents and situating Black men and women dressed in everyday clothing as the subjects of art historical aggrandization. Often the accoutrements of urban life lend themselves quite readily to historical genres of portraiture; Air Jordans and Timberland boots can be as appropriate to monarchist might as emerald and ermine. Wiley’s goal is twofold: by subverting outmoded forms of expression through the substitution of the sitter, the artist criticizes the historical neglect of adequate Black representation and glorifies undeservingly maligned representatives of modern American life, what he calls “the ability to create painting and destroy painting at once.”

    Wiley’s work has been the subject of universal acclaim. His work can be found in the collections of major institutions across the world, including the Los Angeles County Museum of Art and the Wadsworth Atheneum, Hartford. Wiley was also selected in 2017 to paint the official portrait of President Barack Obama, the first Black artist to be given such an honor. Recently, Wiley founded Black Rock, an artist residency in Dakar, Senegal, bringing an important artistic resource to the African continent.

     
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322

Cameroon Study

stamped with the artist's signature, number and date "Kehinde Wiley 3/3 c 2010" on the right turning edge
bronze with dark brown patina
28 x 15 1/2 x 11 1/2 in. (71.1 x 39.4 x 29.2 cm.)
Executed in 2010, this work is number 3 from an edition of 3 plus 1 artist's proof.

Estimate
$30,000 - 40,000 

Sold for $81,250

Contact Specialist
Rebekah Bowling
Head of Day Sale, Afternoon Session
New York
+ 1 212 940 1250
[email protected]

20th Century & Contemporary Art Day Sale - Afternoon Session

New York Auction 15 November 2017