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  • Provenance

    Roberts & Tilton, Los Angeles

  • Catalogue Essay

    Kehinde Wiley’s portraits of African American men collate modern culture with the influence of Old Masters. Incorporating a range of vernaculars culled from art historical references, Wiley’s work melds a fluid concept of modern culture, ranging from French Rococo to today’s urban landscape. By collapsing history and style into a unique contemporary vision, Wiley interrogates the notion of master painter, “making it at once critical and complicit.” Vividly colorful and often adorned with ornate gilded frames, Wiley’s large-scale figurative paintings, which are illuminated with a barrage of baroque or rococo decorative patterns, posit young black men, fashioned in urban attire, within the field of power reminiscent of Renaissance artists such as Tiepolo and Titian.
    (Excerpt from the Artist's Statement for, "RECOGNIZE! Hip Hop and Contemporary Portraiture," Smithsonian’s National Portrait Gallery Washington, D.C.,  February 8 - October 26, 2008)

  • 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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17

Fall

2009
Oil on canvas.
72 x 60 in. (182.9 x 152.4 cm).
Signed and dated "Kehinde Wiley 09" on the reverse.

Estimate
$50,000 - 70,000 

Sold for $104,500

Contact Specialist
Contact Bid Department +1 212 940 1228

Under the Influence

8 March 2011
New York