Kehinde Wiley – A New Republic
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Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The works presented in Kehinde Wiley: A New Republic raise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Shantavia Beale II, 2012 Oil on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Anthony of Padua, 2013 Oil on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Arms of Nicolaas Ruterius, Bishop of Arras, 2014 Stained Glass. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Colonel Platoff on his Charger, 2008 Oil and Enamel on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Conspicuous Fraud Series #1 (Eminence), 2001 Oil on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Femme Piquee Par un Serpent, 2008, Oil on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Houdon Paul-Louis, 2011 Bronze with Polished Stone Base. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Leviathan Zodiac, 2011 Oil and Gold Enamel on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Napoleon Leading the Army Over the Alps, 2005 Oil and Enamel on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Saint Remi , 2014 Stained Glass. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Support the Rural Population and Serve 500 Million Peasants, 2007, Oil and Enamel on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The Sisters Zenaide and Charlotte Bonaparte, 2014 Oil on Linen. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
The Two Sisters, 2012 Oil on Linen. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Two Heroic Sisters of the Grassland, 2011 Oil on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
Kehinde Wiley
Willem van Heythuysen, 2005 Oil and Enamel on Canvas. Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives.The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures.Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed.The exhibition includes a selection of Wiley’s World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.This exhibition is made possible by the Henry Luce Foundation, the National Endowment for the Arts, and Grey Goose Vodka. Additional support is provided by Sotheby’s, Ana and Lenny Gravier, Sean Kelly Gallery, Stephen Friedman Gallery, John and Amy Phelan, Roberts & Tilton, and Pamela K. and William A. Royall, Jr.Kehinde Wiley: A New Republic will also travel to the Modern Art Museum of Fort Worth, Texas (20 September 2015 – 10 January 2016); the Seattle Art Museum, Washington (12 February – 8 May 2016); the Virginia Museum of Fine Arts, Richmond, VA (10 June – 11 September 2016); the Phoenix Art Museum, Arizona (7 October 2016 – 8 January 2017); the Toledo Museum of Art, Ohio (10 February – 14 May 2017); and the Oklahoma City Museum of Art (16 June – 10 September 2017). More
