Kehinde Wiley – Lamentation
Please update your browser to access Creative Exchange Agency.
Kehinde Wiley
The exhibition features a previously unseen series of ten monumental works, in the form of stained glass windows and paintings, showcased at the heart of the museum’s permanent collections. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
The exhibition features a previously unseen series of ten monumental works, in the form of stained glass windows and paintings, showcased at the heart of the museum’s permanent collections. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
The exhibition features a previously unseen series of ten monumental works, in the form of stained glass windows and paintings, showcased at the heart of the museum’s permanent collections. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Portrait of Anne Cynthia Petit VII, 2014 Oil on Linen. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Christ After Lady Macbeth II, 2016 Oil on Canvas. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Christ After Lady Macbeth I, 2016 Oil on Canvas. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
The Lamentation, 2016 Oil on Canvas. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
The Virgin and Child Enthroned, 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Sancta Maria Mater Dei,ANCTA MARIA MATER DEI , 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Madonna and Child, 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
St. Mary, 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Mary, Comforter of the Afflicted I, 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
Kehinde Wiley
Mary, Comforter of the Afflicted II, 2016 Stained Glass in an Aluminum Frame. Kehinde Wiley draws on the tradition of classical painting masters such as Titian, Van Dyck, Ingres and David to create portraits drenched in colour and abounding in adornment. The subjects are young black and mixed-race people, anonymous models encountered during ad-hoc street castings. The result is a collision where art history and popular culture come face to face.The artist eroticizes the invisible, those traditionally excluded from representations of power, endowing them with hero status. His work takes the vocabulary of power and prestige in a new direction, oscillating between politically-charged critique and an avowed fascination with the luxury and bombast of our society’s symbols. More
