Kehinde Wiley, born on February 28, 1977, in Los Angeles, is a renowned American portrait painter celebrated for his vibrant and naturalistic depictions of Black individuals, often drawing inspiration from Old Master paintings. Based in New York City, Wiley gained widespread recognition in 2017 when he was commissioned to paint former President Barack Obama's portrait for the Smithsonian National Portrait Gallery. His work, which explores themes of identity, power, and status, particularly in relation to African-American men, has been exhibited in major venues such as the Columbus Museum of Art. In 2018, Wiley was named one of Time magazine's 100 Most Influential People.
Artist Biography: Kehinde Wiley
Kehinde Wiley, born in Los Angeles in 1977, is an influential American portrait painter celebrated for his bold reimaginings of traditional portraiture, infused with themes of race, identity, and power. Wiley's father, Isaiah D. Obot, hails from Nigeria, while his mother, Freddie Mae Wiley, raised Kehinde and his five siblings on her own in South Central Los Angeles. From an early age, Wiley's mother encouraged his artistic talents, enrolling him in after-school art programs to keep him away from the streets. At age 11, Wiley and his twin brother spent time at an art conservatory near St. Petersburg, Russia, where his passion for portraiture was sparked. Wiley pursued formal education in the arts, earning a BFA from the San Francisco Art Institute in 1999 and an MFA from Yale University in 2001. During his time at Yale, Wiley developed a deep understanding of classical European portraiture, which he later combined with his own vision to depict Black figures in powerful, regal poses traditionally reserved for nobility.
His career took off during a residency at the Studio Museum in Harlem, where he began painting portraits of young Black men he encountered on the streets. Wiley’s work juxtaposes contemporary subjects with the grandeur and symbolism of classical portraiture, reinterpreting works by Old Masters with a modern twist. His subjects, often dressed in streetwear, challenge traditional representations of power and status. Wiley's artistic acclaim reached new heights in 2018 when he was commissioned to paint the official portrait of President Barack Obama for the Smithsonian National Portrait Gallery. The portrait, depicting Obama seated amid lush, symbolic foliage, further solidified Wiley's place in contemporary art history. Throughout his career, Wiley has continued to push the boundaries of portraiture, using his work to elevate Black individuals and their stories on a global scale.
Iconic Artworks
The artist's oeuvre is marked by a profound engagement with history, identity, and classical art references, most notably seen in his Passing/Posing series (2001–2003), where figures reminiscent of Renaissance religious imagery are reinterpreted in contemporary, racially charged contexts, such as Passing/Posing Go (2003), a massive five-panel work housed at the Brooklyn Museum. His Rumors of War series (2005–2007) delves into iconic Western equestrian portraits, with pieces like Napoleon Leading the Army over the Alps (2005) and Equestrian Portrait of the Count-Duke Olivares (2005) reimagining the original works by Jacques-Louis David and Diego Velázquez, challenging notions of power and legacy. The Scenic series (2006) draws heavily from the works of Hans Holbein and Anthony van Dyck, as seen in paintings like St. Andrew and Charles I and Henrietta Maria, skillfully blending classical compositions with a modern lens. His later works, such as those from The World Stage series (2008), spotlight cultural figures from Lagos, Dakar, and Brazil, like Benin Mother and Child (2008) and Jonaton Schimitt Barcellos (2008), celebrating global narratives while confronting colonial histories.
Rumors of War series
Kehinde Wiley's Rumors of War, presented by Deitch Projects, is an ambitious painting installation that reexamines the legacy of equestrian portraiture. Known for his ability to disrupt the traditional boundaries of art history, Wiley transforms classic Old Master equestrian portraits by inserting contemporary African-American sitters into the iconic compositions. The series comprises four larger-than-life canvases, each over nine feet tall, framed in gilded, ornate frames that echo the grandeur of their historical predecessors. Drawing inspiration from works by Velázquez, Le Brun, David, and Rubens, Wiley meticulously reproduces the grandeur of their compositions—complete with muscular horses, flowing fabrics, and serene landscapes. However, the real twist comes in the figures that occupy these traditional settings. Rather than royal or military leaders in opulent attire, Wiley's riders wear street clothes, Nike sneakers, and modern accessories. This juxtaposition of the old and the new challenges conventional ideas of power and authority while emphasizing the ways in which portraiture has long reflected social hierarchies.
The four historical sources for Wiley's series are: Velázquez’s Equestrian Portrait of the Count Duke Olivares (1636), Le Brun’s The Chancellor Seguier on Horseback (1661), David’s Napoleon Leading His Army over the Alps (1805), and Rubens' Equestrian Portrait of the Duke of Lerma (1603). By reworking these monumental portraits with present-day black sitters, Wiley critiques the exclusion of people of color from historical narratives of power. His intention is clear: to interrogate the aestheticization of power and masculinity, questioning the racial biases embedded in the history of portraiture. Wiley’s approach highlights the subtleties of how power is expressed through art. In traditional portraiture, minor details such as gloves, animals, or positioning on horseback signaled the subject’s social status and authority. Wiley retains these classical motifs but reinvents them in a way that suggests a new kind of heroism—one that centers African-American individuals and places them in a context historically denied to them. His choice of sitters, often young men he encountered on 125th Street in Harlem, adds a layer of authenticity and relevance. Dressed in their everyday clothes, these men assume poses that could be mistaken for contemporary hip-hop postures, seamlessly blending into the historical scenes. The contrast between their modern attire and the regal compositions underscores the dissonance between past and present, ultimately questioning the roles and representations of power. Wiley’s figures inhabit what he describes as “a charged non-space outside of time,” where past and present collide in a surreal yet striking tableau.
Exhibition History
His early exhibitions began in 2002 with "Kehinde Wiley" at Real Art Ways in Hartford, CT, followed by "Passing/Posing" at the Rhona Hoffman Gallery in Chicago. The following year, Wiley presented "Pictures at an Exhibition" at Roberts & Tilton in Los Angeles and "Faux/Real" at Deitch Projects in New York. His 2004 exhibitions included "Easter Realness" at Rhona Hoffman Gallery and "Passing/Posing: The Paintings of Kehinde Wiley" at The Brooklyn Museum of Art. 2005 saw "Bound - Kehinde Wiley Paintings" at Franklin Art Works in Minneapolis and "White" at Conner Contemporary in Washington, D.C., before Wiley’s acclaimed "Rumors of War" at Deitch Projects. Subsequent years featured notable shows such as "Kehinde Wiley: Columbus" at the Columbus Museum of Art in 2006, "The World Stage—China" at the John Michael Kohler Arts Center in 2007, and "The World Stage: Africa" at ArtSpace in 2009. Wiley’s work continued to gain prominence with "Black Light" at Deitch Projects in 2009 and "Legends of Unity | World Cup 2010 | PUMA" in various global locations. The following decade included "Kehinde Wiley: Selected Works" at the Savannah College of Art and Design Museum of Art in 2011, "Kehinde Wiley/The World Stage: Israel" at The Jewish Museum in 2012, and "Kehinde Wiley: Memling" at Phoenix Art Museum in 2013. The major retrospective "Kehinde Wiley: A New Republic" toured from the Brooklyn Museum in 2015 through various institutions, including the Modern Art Museum of Fort Worth and the Virginia Museum of Fine Arts, concluding in 2017. More recent exhibitions include "Kehinde Wiley" at the St. Louis Museum of Art in 2018-2019 and the ongoing "Kehinde Wiley: An Archaeology of Silence" at the Museum of Fine Arts Houston from 2023 to 2024.
Kehinde Wiley’s career is a compelling narrative of artistic innovation and cultural reflection. Born in Los Angeles on February 28, 1977, Wiley has emerged as a prominent figure in contemporary portraiture, known for his vibrant reinterpretations of classical themes infused with contemporary African-American perspectives. From his early solo exhibitions, such as "Kehinde Wiley" at Real Art Ways and "Passing/Posing" at Rhona Hoffman Gallery in 2002, Wiley's work has consistently challenged and expanded the boundaries of traditional portraiture. His breakthrough came with the series "Faux/Real" at Deitch Projects in 2003, followed by the impactful "Rumors of War" in 2005, which boldly reimagined historical equestrian portraits with modern African-American sitters. This innovative approach continued with exhibitions like "Kehinde Wiley: Columbus" and "The World Stage" series, showcasing his unique blend of classical techniques and contemporary themes. Wiley's prominence was further cemented with the 2018 commission to paint former President Barack Obama’s portrait, a significant milestone that highlighted his role in reshaping the portrayal of power and identity. As recognized by his inclusion in Time magazine’s 100 Most Influential People in 2018, Wiley’s art remains a profound exploration of race, history, and authority. His exhibitions, culminating in the major retrospective "Kehinde Wiley: A New Republic" and the ongoing "Kehinde Wiley: An Archaeology of Silence," underscore his enduring impact and commitment to redefining portraiture for a new era.
Selena Mattei
