Filled with reproductions of Kehinde Wiley’s bold, colorful, and monumental work, this book encompasses the artist’s various series of paintings as well as his sculptural work—which boldly explore ideas about race, power, and tradition. Celebrated for his classically styled paintings that depict African American men in heroic poses, Kehinde Wiley is among the expanding ranks of prominent black artists—such as Sanford Biggers, Yinka Shonibare, Mickalene Thomas, and Lynette Yiadom-Boakye—who are reworking art history and questioning its depictions of people of color. Co-published with the Brooklyn Museum of Art for the major touring retrospective, this volume surveys Wiley’s career from 2001 to the present. It includes early portraits of the men Wiley observed on Harlem’s streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings by Titian, van Dyke, Manet, and others, in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies, and baseball caps. Also included is a generous selection from Wiley’s ongoing World Stage project; several of his enormous Down paintings; striking male portrait busts in bronze; and examples from the artist’s new series of stained glass windows. Accompanying the illustrations are essays that introduce readers to the arc of Wiley’s career, its critical reception, and ongoing evolution.

The problems of African expatriates in England. Albert and Kehinde Okolo have lived in London for 18 years. When Albert announces they are returning to Nigeria, Kehinde opposes him because Nigeria is a foreign country to their children. It is the start of a marriage crisis.

‘Lucid, fluent and compelling’ – Observer ‘We need writers like Andrews ... These are truths we need to be hearing’ – New Statesman Back to Black traces the long and eminent history of Black radical politics. Born out of resistance to slavery and colonialism, its rich past encompasses figures such as Marcus Garvey, Angela Davis, the Black Panthers and the Black Lives Matter activists of today. At its core it argues that racism is inexorably embedded in the fabric of society, and that it can never be overcome unless by enacting change outside of this suffocating system. Yet this Black radicalism has been diluted and moderated over time; wilfully misrepresented and caricatured by others; divested of its legacy, potency, and force. Kehinde Andrews explores the true roots of this tradition and connects the dots to today’s struggles by showing what a renewed politics of Black radicalism might look like in the 21st century.

Portraits of young African American St. Louis men and women whose poses are derived from paintings (and, in one case, sculpture) in the St. Louis Art Museum's collection.

"This book is published in conjunction with the exhibition Kehinde Wiley: a portrait of a young gentleman, organized by the Huntington Library, Art Museum, and Botanical Gardens. Malik Gaines investigates the artist's post-modern strategy of inserting Black subjects into canonical European settings. Kimberly Chrisman-Campbell situates Wiley's work within the traditions and trappings of grand manner eighteenth-century portraiture"--

A damning exploration of the many ways in which the effects and logic of anti-black colonialism continue to inform our modern world. Colonialism and imperialism are often thought to be distant memories, whether they're glorified in Britain's collective nostalgia or taught as a sin of the past in history classes. This idea is bolstered by the emergence of India, China, Argentina and other non-western nations as leading world powers. Multiculturalism, immigration and globalization have led traditionalists to fear that the west is in decline and that white people are rapidly being left behind; progressives and reactionaries alike espouse the belief that we live in a post-racial society. But imperialism, as Kehinde Andrews argues, is alive and well. It's just taken a new form: one in which the U.S. and not Europe is at the center of Western dominion, and imperial power looks more like racial capitalism than the expansion of colonial holdings. The International Monetary Fund, World Bank, World Trade Organization and even the United Nations are only some of these modern mechanisms of Western imperialism. Yet these imperialist logics and tactics are not limited to just the west or to white people, as in the neocolonial relationship between China and Africa. Diving deep into the concepts of racial capitalism and racial patriarchy, Andrews adds nuance and context to these often over-simplified narratives, challenging the right and the left in equal measure. Andrews takes the reader from genocide to slavery to colonialism, deftly explaining the histories of these phenomena, how their justifications are linked, and how they continue to shape our world to this day. The New Age of Empire is a damning indictment of white-centered ideologies from Marxism to neoliberalism, and a reminder that our histories are never really over.

Filled with reproductions of Kehinde Wiley’s bold, colorful, and monumental work, this book encompasses the artist’s various series of paintings as well as his sculptural work—which boldly explore ideas about race, power, and tradition.

Kehinde Wiley painted President Obama's official portrait and this is an early book from him documenting his extraordinary talents. "For most of Kehinde Wiley's very successful career, he has created large, vibrant, highly patterned paintings of young African American men wearing the latest in hip hop street fashion. The theatrical poses and objects in the portraits are based on well-known images of powerful figures drawn from seventeenth- through nineteenth-century Western art. Pictorially, Wiley gives the authority of those historical sitters to his twenty-first-century subjects." -National Portrait Gallery "My intention is to craft a world picture that isn't involved in political correctives or visions of utopia. It's more of a perpetual play with the language of desire and power." -Kehinde Wiley "Wiley inserts black males into a painting tradition that has typically omitted them or relegated them to peripheral positions. At the same time, he critiques contemporary portrayals of black masculinity itself.... He systematically takes a 'pedestrian' encounter with African-American men, elevates it to heroic scale, and reveals-through subtle formal alterations-that postures of power can sometimes be seen as just that, a pose." -Art in America Los Angeles native and New York-based visual artist Kehinde Wiley has firmly situated himself within art history's portrait painting tradition. As a contemporary descendent of a long line of portraitists-including Reynolds, Gainsborough, Titian, Ingres, and others-Wiley engages the signs and visual rhetoric of the heroic, powerful, majestic, and sublime in his representation of urban black and brown men found throughout the world. By applying the visual vocabulary and conventions of glorification, wealth, prestige, and history to subject matter drawn from the urban fabric, Wiley makes his subjects and their stylistic references juxtaposed inversions of each other, imbuing his images with ambiguity and provocative perplexity. In Black Light, his first monograph, Wiley's larger-than-life figures disturb and interrupt tropes of portrait painting, often blurring the boundaries between traditional and contemporary modes of representation and the critical portrayal of masculinity and physicality as it pertains to the view of black and brown young men. The models are dressed in their everyday clothing, most of which is based on far-reaching Western ideals of style, and are asked to assume poses found in paintings or sculptures representative of the history of their surroundings. This juxtaposition of the "old" inherited by the "new"-who often have no visual inheritance of which to speak-immediately provides a discourse that is at once visceral and cerebral in scope. Without shying away from the socio-political histories relevant to the subjects, Wiley's heroic images exhibit a unique modern style that awakens complex issues which many would prefer remain mute.

✅ Nigerian Twins: Taiwo and Kehinde are girl-boy twins. They do everything together, especially in the morning. Follow them as they brush their teeth, make their beds, and so much more 👬🏾 ✅ English & Yoruba: Written in both English and Yoruba geared towards entertaining while teaching the basics of this beautiful Nigerian language 📗 ✅ Learn Yoruba: Adults and children can both benefit from this book 🇳🇬 ✅ Vocabulary Pages: The back of the book includes related vocabulary with its translation and proper pronunciation, making it an invaluable tool for developing language skills 🕮 ✅ Building Confidence: Was a pleasure making book 1 (of the series) knowing how much it can benefit you or your child, building confidence whilst gearing towards learning and understanding Yoruba 👍 ✅ Gift/Personal use: Great as a gift too! 🎁

Born in Los Angeles to a Yoruba father from Nigeria - absent from his youth and whom he would not find in Africa until adulthood - and an African-American mother, Kehinde Wiley holds a Bachelor of Fine Arts from the San Francisco Art Institute (1999) and a Master of Fine Arts from Yale University (2001); he lives and works in Brooklyn, New York. His style is characterized by the desire to put the black man back at the heart of history. Thus, like a DJ who remixes and samples the great classics of music, Kehinde Wiley takes up great classics from the history of art which he recomposes with African-American characters imbued with hip-hop culture. Sensitive from his beginnings to the stakes of power and their transposition to the canons of art, he protested against the consequences of the absence of the black body in paintings' museum collections and the demotion of blacks as slaves or servants. He then embarked on the representation of young African-American men - initially from the Brooklyn and Harlem districts - by representing them in rewarding postures. Exhibition: Centre d' Art La Malmaison, Cannes, France (10.07.-01.11.2020)