Kehinde Wiley's Rumors of War

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!     

Take your bows Kehinde!

   

Henry O Tanner: His Life, Times, Art and Fame

 Among America’s and the world’s most accomplished academic artists of the nineteenth and early twentieth century resplendently reside the works of Henry Ossawa Tanner. His paintings works on every level; composition, dramatic and distinctive lighting, attention to anatomy, textures and form. 

They are naturalistic, traditional, and technical feats of wonder. His master-works are tributes to his influences while remaining original. Every painting of the mature Tanner possesses his distinctive, incomparable, robust yet poetic style. Equally evident to the eye of the trained and the studied as well as to the untrained…the man was brilliant! He speaks to the ages.

Tanner was the son of an “African Methodist Episcopalian” minister, a scholar and an expatriate. He moved to France (the center of the art world at the time) in his effort to distance himself from the pervading inequalities of race and the intolerances he faced in the America he knew. He would produce the masterpieces we know to be his greatest in France. It was in France that he was to become unburdened and reach his maximum pinnacles of success and creativity.   

Ultimately it is the work that transcends and speaks to our times and undoubtedly into the future. Tanner; in his lifetime, was considered by many to be the fore most living painter of biblical themes and events. He had a marvelous knack and ability to reinterpret passages from the Bible in new and exciting ways while retaining a reverence rivaling the great masters of eras previous to himself.   “The Annunciation” and “The Raising of Lazarus” are among the works that speak to us as paintings of conviction and dedication as much and in ways equal to many sermons.    

The Genre paintings Tanner produced were startling! The subjects often featured African-Americans but were not exclusively or restrictively so. “The Banjo Lesson” and “The Thankful Poor” are simply stand-outs and almost iconic in stature. They speak to his depth of spirit and have inspired generations. Tanner; this son of Philadelphia, represents his most American of cities so well and so splendidly.

Henry O Tanner’s portfolio ranged from the biblical to portraiture, from landscape to anatomical studies and photography.  He studied and worked passionately as every committed artist has through all of history. With his uncanny sense of greatness and devotion, it was his wife that was his greatest inspiration. She modeled for a number of his most powerful works including “The Annunciation.” She is eloquently and lovingly depicted here.