It was something of a particularly beautiful and sunny Saturday
morning quickly evolving into an afternoon. My granddaughter and I were on a
side trip to the state capitol, Richmond to visit the Virginia Museum of Fine Art
(VMFA.) A work by art by a renowned contemporary artist had taken up residence
at the museum and we were anxious to view it in the flesh.
As we came within blocks of the museum we passed an empty twenty
foot tall defaced pedestal covered with graphitti and markings both offensive and
profound. The original inscription although very much in tack and still legible;
Stone Wall Jackson. General Jackson was so nick-named with it’s meaning being
the man, like a stone wall was immovable. Apparently this wasn’t altogether
true…the appearance to me was that the confederate general had move out because
his neighborhood had become intolerable due to the arrival of the new resident
to the area at the VMFA just within the next block. Kehinde Wiley’s magnificent
work “Rumors of War” features a young modern African-American man astride a
rearing war horse in his most regal ripped jeans, Nikes and dread locked hair
had invaded the neighborhood. Now existing as a permanent resident and thus an
“intolerable.” This could be the civilized solution, the secret to getting rid
of offensive historical statures that have overstayed their cultural relevance;
those dedicated to racist historical figures…voluntary relocation.
Wiley’s work was a personal reaction to his distaste of the
City of Richmond’s honoring of a disproportionate number of the American Civil
War and it’s confederate generals and soldiers. This was during a visit to the
city of Richmond’s Monument Avenue in 2016. He would express his thoughts in
this statement:
“I’m looking up at those things that
give me a sense of dread and fear. What does it feel like physically to walk a
public space and have your state, your country, your nation, say…this is what
we stand by?”
Kehinde Wiley
Wiley would react in kind with the methods he knew best.
Wiley created a work to symbolize freedom (for all) and a future of
representation and inclusion for all citizens; the work succeeds in a grand
fashion.
Wiley would react in kind with the methods he knew best.
Wiley created a work to symbolize freedom (for all) and a future of
representation and inclusion for all citizens; the work succeeds in a grand
fashion.
“Rumors of War” was first unveiled at New York’s Time Square
on September 27, 2018. Witnessed and applauded by an awed crowd of thousands
the statue was well received and accepted. It would go on in a few weeks to
Richmond and again welcomed by a huge gathering in December. Wiley had this to
say:
“…and today, we say yes to something
that looks like us. We say yes to inclusivity. We say yes to broader notions of
what it means to be an American.”
Kehinde Wiley
I first became aware of Wiley’s mastery of the arts from the
cover of “Art in America.” It happened to be the April 2005 issue. I walked into
Barnes & Noble to confront what I knew was attainable but as yet to not happen;
a main stream magazine to bravely feature an elegant, sophisticated, unapologetic
and handsome portrait of an African-American young man. I just stood at a slight distance for a
minute long eternity absorbing, cherishing and inwardly celebrating the “once
in a life time moment.” Then I picked up the magazine and opened the doorway to
a new existence, a new reality.
Not surprisingly Wiley (as is widely noted) went on to paint
the official Presidential Portrait of the nation’s first president of
African-American leanidge. In 2018 Time magazine selected Wiley as one of the
world’s 100 most Influential People. He was also prominently featured in the
landmark “30 Americans” exhibition at the Corcoran in Washington. In
conjunction with “30 Americans” he was honored with his own pool side fish-fry
at the Capitol Skyline Hotel and entertained by the Howard University Marching
Band and female troop of dancers. I was fortunate enough to attend, meet
Kehinde and enjoy the festivities with an overflow crowd. Within the process
Wiley has become a major participant in the global art economy, the world canon
and modern history.
Another accomplishment for Wiley is his earning of the Yale
University MFA; the art world “Golden Ticket” of sorts. He served as well in a
marvelous fashion as Harlem’s Studio Museum Artist-In-Residence where he
increased his knowledge, standings, influence and mentoring chops. While Wiley
grows in his artistic life and journey we are privy to and the benefactors of
his gifts and inspirations. His beauty is much appreciated in his giving and
his remarkable works.
And if at all possible travel to Richmond, Virginia…and see “Rumors of War” at VMFA along with masses of other beautiful and provocative works!
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Take your bows Kehinde! |
