Kehinde Wiley's art is now being showcased in multiple locations simultaneously

• Published On: 24 May 2023 at 13:29

Kehinde Wiley, an established artist, experienced a significant turning point in his career with the unveiling of his portrait of Barack Obama in 2018. The iconic painting, featuring Obama seated with crossed arms amidst vibrant foliage, brought about a notable change in Wiley's life.

 Reflecting on this transformative moment, Wiley humorously contemplates the convenience it brings. He imagines a scenario where he forgets his ID at the bank and confidently asserts his identity by referencing the Obama portrait, saying, "You know that portrait of Obama? I'm the artist behind it. I didn't bring my ID, so if you could just Google that…"

 However, while Wiley takes pride in this groundbreaking artwork—a representation of a Black president painted by a Black artist—he also wonders how long he will continue to be primarily associated with this particular context.

 Kehinde Wiley, now 46 years old, ponders whether he will ever create another work that carries the same weight and significance as the Obama portrait. He contemplates the desire to be recognized in various contexts beyond that singular achievement. Despite this, he acknowledges the immense privilege of being involved in such a remarkable project and playfully refers to himself, with a touch of self-deprecating humor, as if playing the world's smallest violin just for him.

 However, it appears that Wiley is determined to establish a broader legacy beyond that iconic portrait. His current artistic endeavors include exhibitions on both coasts of the United States, an upcoming exhibition in Paris, and an expanding artistic presence in Africa. This multifaceted presence signifies his active pursuit of making a lasting impact in diverse artistic arenas, cementing his presence and influence across multiple locations simultaneously.

 In recent months, Kehinde Wiley's artistic journey has taken him to various places and exhibitions. In March, he graced the U.S. premiere of "Kehinde Wiley: An Archaeology of Silence" at the de Young Museum in San Francisco. The exhibition showcased his impactful collection of large-scale paintings and sculptures that delve into the issue of anti-Black violence within a global framework. Recognizing the emotional intensity of the exhibition, the museum thoughtfully established dedicated spaces where visitors can take a break and gather themselves amidst the powerful display. The exhibition will continue to captivate audiences until October 15th, inviting contemplation and conversation.

 Simultaneously, Kehinde Wiley has expanded his artistic endeavors across various locations. Presently, at the Sean Kelly Gallery in New York, he has unveiled his latest exhibition titled "HAVANA," which will run until June 17th. This captivating display showcases the vibrant world of circus performers and carnival street dancers in Cuba.

 In the midst of his busy schedule, Wiley has also dedicated time to Africa, where he is actively involved in the construction of his second artist residency campus on the continent, Black Rock Nigeria, situated in Calabar. During his stay, he has engaged in a multitude of tasks, ranging from negotiating prices with local vendors to carefully selecting stones for the floors, ensuring a remarkable artistic space (his first residency campus is in Senegal).

 Furthermore, Wiley is immersed in the creation of a new portrait exhibition focusing on Black heads of state, set to be showcased at the prestigious Musée du Quai Branly in Paris. Scheduled for September, this forthcoming exhibition promises to be a captivating exploration of power, identity, and representation.

 With residences spread across Senegal, Nigeria, New York City, the Catskills, and deep connections to his hometown of Los Angeles, including his mother and twin brother, Kehinde Wiley is a man of many destinations. Pinning him down for an interview is no easy feat, given his extensive commitments. However, Wiley graciously shared his time and captivating anecdotes as he recently guided The Associated Press through the "HAVANA" exhibition. That evening, anyone peering into the gallery would have witnessed a bustling crowd of admirers, gathered for the opening reception, filling the airy space to capacity.

 Fresh from his travels to Ethiopia and Nigeria, Wiley describes the rhythm of his journey as a blend of work and exploration. He explains, "You'll find yourself on the road, immersed in a project, and suddenly you're in an incredible place. There might be a few days of downtime, followed by another adventure in some extraordinary corner of the world. Work and play intertwine seamlessly for me. I'm always eager for new experiences and constantly seeking them out."

 Wiley's projects often evolve and intertwine over the course of several years. His latest exhibition in Cuba is the result of two separate visits, one in 2015 and another in 2022.

 The exhibition showcases a range of new paintings, works on paper, and a captivating three-screen film downstairs, delving into the enchanting world of the "carnivalesque." On the day leading up to the opening, Wiley was still actively engaged in discussions about potentially changing the font used for the film's subtitles, demonstrating his meticulous attention to detail.

 During his initial visit in 2015, Wiley had the opportunity to explore the Escuela Nacional de Circo Cuba, a renowned circus school. The experience sparked his fascination with the concept of "not fully formed technicians," capturing the essence of imperfect yet captivating magic. On his subsequent visit, he connected with performers from Raices Profundas, a dance ensemble rooted in the Yoruba tradition and boasting nearly half a century of artistic heritage.

 Similar to the inclusion of significant flowers in Obama's portrait, the backgrounds of Wiley's Cuba paintings feature elements symbolic of African influence in the Americas, such as sugar cane, yams, cola nuts, and okra. These items contribute to the narrative of African presence throughout the region.

 Wiley's artistic process has garnered attention, as he often has studio assistants work on the backgrounds while he focuses on executing the central figures. However, there are moments when his enthusiasm for a particular figure leads him to work on it himself, with the team catching up later. With studios in various locations, he can navigate this flexibility more easily.

 Compared to his expansive exhibition in San Francisco, this gallery show offers a more intimate experience. While the San Francisco show captivates a significant audience, featuring portraits of young Black individuals positioned in moments of rest or, in some interpretations, death within settings reminiscent of famous Western artworks, this Cuba exhibition allows for a closer engagement. The audio track of the San Francisco show includes poignant commentary from Wanda Johnson, the mother of Oscar Grant, whose tragic killing by police at an Oakland BART station in 2009 deeply impacted the community.

 The commentary deeply resonated with museumgoer La Tanya Carmical, 66, from Castro Valley, who was particularly struck by the "tragedy in her voice." Carmical dedicated a Friday in March to visit the exhibition, spending four hours immersed in the art. One image that moved her profoundly depicted a man lying on rocks.

 "The positioning of his hands captured my attention," she shared. "I took a couple of pictures. And then there's Wiley's use of color—the beautifully vibrant skin tones and the lighting."

 The exhibition extends beyond addressing anti-Black violence solely in the United States. According to Abram Jackson, the director of interpretation at the de Young, it explores the global narrative of anti-Blackness. It transcends specific countries or regions, revealing the universal mistreatment and violence endured by Black individuals from the era of colonialism onwards.

 Models for this particular exhibition were sourced from Senegal, Jackson reveals. Wiley's approach to selecting models varies depending on the project, sometimes finding them on the streets, while in the case of Cuba, it required research and outreach efforts.

 When asked if he remembers all his models, Wiley chuckles and acknowledges the challenge. "That's a lot to ask," he remarks, standing amidst his Cuba portraits. However, he does recall certain individuals who left a lasting impression. He points to a street dancer in a yellow outfit and describes how she initially appeared timid but underwent a radical transformation once on stage. When a visitor comments on her expression appearing wary, Wiley notes the interplay between his direction and the unique responses of each person. Portraiture, in a way, unveils how individuals react to the same guidance.

 This discussion brings us back to Wiley's experience photographing Obama. As with his usual approach, the artist directed the former president during the shoot, instructing him to turn a certain way and look in specific directions. However, Obama soon grew impatient. Wiley recalls, "He's like, 'You know what? Stop. Let me take care of this.'" It was at that moment that Obama assumed control and a fluidity emerged in the photo shoot.

 Reflecting on the editing process, Wiley chuckles and admits, "Yeah, I should have just let him handle it!"