Kehinde Wiley - Contemporary Art Part I New York Wednesday, May 13, 2009 | Phillips

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  • Provenance


    Roberts & Tilton, Los Angeles

  • Exhibited


    Los Angeles, Roberts & Tilton, Kehinde Wiley, October 11 – November 8, 2003

  • Literature


    E.Wood, “Acerbic Beauty,” Artnet Magazine, October, 2003; H. Myers, “Scenes far, far out of Tiepolo,” The Los Angeles Times, November 7, 2003, p. E21

  • Catalogue Essay


    "There is a multiplicity of any number of periods, artists, ideas, any number of political and moral allegiances in my work, and that’s the point. I think it’s always important not to shut the work down to any sense of high-art audience versus black-people-in-the-street audience. I’m not interested in having to choose between being real and being heady. I’m trying to be true to an essence of urgency, to replicate sensations and ideas visually, to bring to the table not only my own desires but things that point to the larger evolution of culture, art, and art history," (C. Kim “Faux Real: Interview with Kehinde Wiley,” Black Romantic, New York, 2002, p. 54).

  • 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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43

Female Prophet Anne, Samuel’s Mother

2003

Oil on canvas in artist’s wooden frame.

82 1/4 x 71 3/4 in. (208.3 x 182.2 cm).

Signed and dated “KehindeWiley 03” on the reverse.

Estimate
$40,000 - 60,000 

Sold for $52,500

Contemporary Art Part I

14 May 2009, 7pm
New York