Above: from the series “The World Stage: Brazil” now showing at Roberts & Tilton in culver city CA till May 30th.

Can I just say Kehinde Wiley is the bomb. (also on the wiki here.)

Everything I have seen of his, has really hit the nail on the head as far as I am concerned.

He has managed to do something countless modern African American artist have sought to do, which is to use the language of the european cannon to illustrate the culture of the African Diaspora; without loosing the “auteur” in the process.

The paintings are conceptually effective in challenging the viewer from their typical reading of the subject matter (black men) and forces the viewer to question their common perceptions of the subjects.

The question:

Who are these men worthy of the praise and elevation traditionally given to “important men” (old white men)?

comes to mind when viewing these in person.

The context within the image, the decoration, the “HERO” lighting, etc, as well as the now typical museum setting where the paintings hang, powerfully challenge the typical art audience, as well as the public at large to question their ideas of race, culture and representation.

The context within the image, the decoration, the “HERO” lighting, etc, as well as the now typical museum setting where the paintings hang; all conspire to powerfully challenge the typical western art audience, asking them to question their ideas of race, culture and representation; and to laugh at the responses they find in themselves.

I really love this work, I have to admit that so much of the art I see these days leaves me empty, that seeing these make me very inspired.

From the new series “The World Stage: Brazil”
“O Cristo Redentor”, © Kehinde Wiley 2009

“ICE-T” © Kehinde Wiley 2005

“Triple Portrait of Charles I” © Kehinde Wiley 2007