Kehinde Wiley (b. 1977, US) is best known for his monumental portraits that feature African American sitters in the settings of European paintings from the fourteenth to the eighteenth centuries. In 2017, he was commissioned to paint the portrait of former president Barack Obama for the Smithsonian National Portrait Gallery, a work that received wide critical acclaim. As a gay Black man, Wiley has deliberately repositioned Black male bodies, challenging societal stereotypes of violence or aggression with images emphasizing their vulnerability and sensuality.
Launched in 2020, the Kehinde Wiley Shop began as a partnership between Kehinde Wiley and Black Rock Senegal to create limited-edition apparel and merchandise featuring a selection of the artist’s personal favorite compositions from his archive that would support Black Rock Senegal, the non-profit artist-in-residence program founded by Wiley in Dakar, Senegal in 2019. Conceived, curated, and created for those who desire art and color in their lives, this collection offers a new opportunity to engage with Wiley’s bold and beautiful paintings while supporting Black Rock’s mission: to bring together artists, thinkers and innovators from around the world; to offer a platform for these artists to engage in cross-cultural and multi-disciplinary creative processes; and to build new global discourses about Africa and the African-Diaspora.
$88.00This limited edition tote bag features Kehinde Wiley's 2021 painting titled Portrait of Aissatou Dialo Gueye II, which is from the new body of work that Kehinde developed during the period of COVID-19 in 2020. Kehinde spent this time in quarantine at Black Rock Sénégal, the artist compound and residency program he opened in 2019 on the coast of Dakar, Sénégal. In the absence of any ability to follow his traditional streetcasting methods, which enable him to find models at random on the streets of New York and many other international cities around the world, Kehinde decided to focus on the people and friends of people immediately surrounding him in Dakar. As Kehinde describes them, "What follows are a series of portraits that I might consider friends and family of Black Rock."
$18.95This shield-shaped patch features Kehinde Wiley’s 2005 painting Napoleon Leading the Army over the Alps, reimagined from Jacques Louis-David’s equestrian portrait, Napoleon Crossing the Alps. Wiley’s composition is nearly identical to its 1801 counterpart, replacing the original background of Great St. Bernard Pass with an ornate monogram one, which protrudes around the equestrian into the foreground. Enrobed in camouflage and Timberland boots, the model is surrounded by sperm cells floating throughout the canvas, homoerotically satirizing the perpetuated masculine might that lives within the traditional practice of equestrian portraiture.
$18.95This shield-shaped patch features Kehinde Wiley’s 2012 painting Shantavia Bealle II. The painting features the model of the same name, with her elaborately coiffed hair nearly mirroring the size of her torso. The significance of hair as a cultural signifier and symbol of continuity within the Black experience is emphasized by the use of hair as an important decorative and unifying element throughout a number of Wiley’s paintings and sculptures. Black hair has been a key theme within Wiley’s oeuvre throughout his career, most notably in his 2001 Conspicuous Fraud series.
This shield-shaped patch features Kehinde Wiley’s 2016 painting Tomb of Pope Alexander VII Study I. A monochromatic floral background protrudes around the model and into the foreground. The subject is looking away from the viewer, in comparison to most of Wiley’s oeuvre meets the gaze between subject and onlooker.
Measures 3.25" x 4"
Dye-sublimation with purple merrowed borders and iron-on backing.
<br>Net proceeds from your purchase support the artist-in-residence program Black Rock Sénégal, founded by Wiley in 2019.
$140.00The Blue Boy candle is titled after Kehinde Wiley's painting, A Portrait of a Young Gentleman (2021), created as a contemporary response to Thomas Gainsborough's iconic Blue Boy portrait (1770). This limited edition candle is inspired by the manner in which Wiley's painting reimagines Gainsboroughs young, white subject as a Black, Senegalese surfer, and replaces the original moody, wooded landscape with a vibrant floral backdrop. The scent is comprised of a poignant blend of cedar wood, incense, Siberian Fir and black pepper.
$140.00The Grace Candle is titled after Kehinde Wiley's exhibition An Economy of Grace, the artist's first-ever series dedicated to female subjects which celebrates the strength and beauty of Black femininity. This limited edition candle is inspired by Wiley's portrait Dacia Carter II (2012) which features model Dacia Carter against a backdrop of rich greenery and luscious pink flowers. It offers an exquisite blend of woody, green fig fragrance that has been mixed with a base of cedar wood and pink peppercorn to produce a complex and harmonious scent.
$39.95This deck of cards features Dacia Carter II (2012) by Kehinde Wiley. The painting was part of his exhibition An Economy of Grace, the artist's first-ever series dedicated to female subjects which celebrates the strength and beauty of Black femininity. This standard deck of playing cards highlights model Dacia Carter, against a backdrop of rich greenery and luscious pink flowers.
$39.95This deck of cards features A Portrait of a Young Gentleman, (2021) by Kehinde Wiley, which was created as a contemporary response to Thomas Gainsborough's iconic Blue Boy portrait (1770). This set of playing cards is inspired by the manner in which Wiley's painting reimagines Gainsborough's young, white subject as a Black, Senegalese surfer and replaces the original moody, wooded landscape with a vibrant, floral backdrop.
Presenting Kehinde Wiley’s hotly anticipated response to a legendary Gainsborough portrait.
This volume presents A Portrait of a Young Gentleman, a new portrait by Kehinde Wiley (born 1977), commissioned to mark the centennial of the acquisition of Blue Boy by Henry and Arabella Huntington. The Huntington Library, Art Museum, and Botanical Gardens places Wiley's painting in conversation with Thomas Gainsborough's 18th-century masterpiece. A deep connection exists between the museum’s most famous painting and the artist who is known for creating one of the most beloved presidential portraits of our time. A native of Los Angeles, Wiley has often spoken about his childhood visits to the Huntington’s British portrait gallery and how they inspired him to become an artist.
Richly illustrated with portraits by Wiley and by 18th-century masters such as Gainsborough, Joshua Reynolds and Thomas Hudson, this book offers insight into the evolving history of portraiture and the representation of power. An essay by Malik Gaines, Associate Professor of Performance Studies at New York University’s Tisch School of the Arts, investigates Wiley’s postmodern strategy of inserting Black subjects into canonical European settings. An essay by fashion historian Kimberly Chrisman-Campbell situates Wiley’s work within the traditions and trappings of 18th-century grand manner portraiture.
By Kehinde Wiley; edited by Melinda McCurdy
Published by The Huntington Library, Art Museum, and Botanical Gardens, 2022
7.75 x 0.5 x 10 inches
$40.00The latest in the World Stage series of portraits by Kehinde Wiley (born 1977), this volume presents 13 new paintings, the result of the artist's trip to Haiti―a nation that is often presented as a place of chronic poverty, corruption, and deprivation. In Haiti Wiley actively went looking for beauty, staging pageants to cast his portrait subjects and advertising with open calls on the radio and posters put up in the streets of Jacmel, Jalouise, and Port-au-Prince. Wiley worked within the tradition of pageant culture native to the Caribbean but also subverted it, choosing his winners at random. The paintings draw on the artistic traditions of France and Spain (the colonial rulers of Haiti before the Haitian Revolution), as well as Haiti's varied religious traditions and local crafts, creating a composite portrait of contemporary Haiti through its people, history, and culture.
The latest installment in Wiley’s series imposes the language of old master portraiture onto the ethnicities and ethnic iconography most excluded from Western art.Kehinde Wiley’s acclaimed World Stage series inserts into the language of old master portraiture the very ethnicities and ethnic iconography that western art has most excluded from it, or that western art has portrayed solely in colonial terms. Among the countries and continents he has previously depicted in this ambitious traveling epic are Brazil, Africa, China, India, and Sri Lanka. The rhetoric of Wiley’s paintings is powerful in its compositional candor, color palette, and playfulness with constructions of visual meaning; as Paul D. Miller (DJ Spooky) notes, “Wiley’s canvas surfaces are a mirror reflection of America’s unceasing search for new meanings from the ruins of the Old World of Europe and Africa.” This volume includes a selection of new World Stage portraits, focusing on contemporary youth from Jewish-Ethiopian-Israeli, Jewish-Israeli, and Arab-Israeli communities.