Kehinde Wiley is a contemporary American portrait painter. His exceptional work features African Americans in a naturalistic manner most often set against a pattern of bright abstract patterns reminiscent of some of the wallpaper patterns used by European painters in the 19th Century. The portraits themselves are influenced by Renaissance and other classical portrait sources. And his paintings are monumental in size which lends a certain grandeur and intensity to the works.
His works have been featured in a number of major shows and retrospectives. I first really became aware of his work when I saw a retrospective of his work in Houston some years back. And the Milwaukee Art Museum has a prime example of his work! His most famous work however is his recent portrait of former President Barack Obama for the National Portrait Gallery at the Smithsonian. A portrait true to Wiley’s work but something amazing compared to the tradition of presidential portraits.
So it was a very pleasant surprise to find a major Kehinde Wiley painting and installation on the main floor of the Musee d’Orsay in Paris. The Musee d’Orsay is a major home of primarily French art from the impressionists through post-impressionists. So you find Rodin, Monet, Gauguin, Van Gogh, and others. But to see not only a living contemporary artist…but an American one at that…and in a prime location with a monumental piece…is simply astonishing.
The work is titled An Archaeology of Silence and features one of Wiley’s signature paintings…but also includes two monumental bronze sculptures as well…a medium that I wasn’t aware that Wiley worked in. But here are a few photos that I shot of the installation and you can see the incredible detail that went into this work. (what I didn’t do is shoot all three pieces in one frame, a regrettable oversight on my part)
And now I am going to attempt to type in the information from the wall placard rather than letting you strain your eyes reading my blurred photo of it:
For nearly 15 years, Kehinde Wiley (who was born in Los Angeles in 1977) has based his work around subverting identities and stereotypes. He has played a pioneering role in the historical rereading of effigies of heroes who were sometimes less than heroic. The artist emphasizes the arrogance of the erect pose, from full-length portraits to equestrian statues. He began by raising the profile of unknown members of oppressed communities of people of colour worldwide by depicting them in these dominant poses, often adopting famous compositions from the history of western painting and statuary.
The works exhibited here, which were unveiled at the Venice Biennale in the spring mark a new direction by showcasing anonymous recumbent figures in the manner of fallen heroes. By depicting his models as victims, but without pathos, Kehinde Wiley elevates them in their state of abandon, in an approach at odds with the conspicuous masculinity advocated by the American model. In the huge painting presented here, in close proximity to the marble figures in the museum which inspired him, the artist submerges the experience of violence in an irrational decorative space. The vulnerability elevated to the monumental scale resonates as an ode to youth and resilience.
I have documented a number of pop up sculptures in Lake Park that are visible from Lincoln Memorial Drive. As I’ve mentioned before they have become touchstones or landmarks for me as I travel from Bay View to the University of Wisconsin – Milwaukee campus. But in the late spring and summer they are very very hard to keep track of as the foliage surrounds them.
So it was with a great deal of excitement that I found a brand new one during my recent sojourns to campus. This one is on park property and easy to see. It is just immediately south of the gardens of the Villa Terrace Decorative Arts Museum. One of the other major installations is just immediately north of these same gardens, on private property, but clearly visible from the park…currently just a bit obscured by some of the luscious summer foliage. So here it is (and I apologize for the photos…they are washed out a bit by the mid-day summer sun):
and to get a better idea of their construction, here are some close ups of the components.
And in the meantime, it seems to me that two of the smaller original pieces have been removed. Whether by the artist, the county parks people, or a vandal I have no way of knowing. But here are the two that I think have now gone missing.
As fall starts to denude the trees and shrubs and puts the vines and undergrowth to sleep for the winter, we all need to watch for new additions to the unseen art in our midst.
and if you know who the artist is, I’d like to talk with them. They can remain anonymous if that’s their wish. Or if you see more around town, I’d like to be able to document them…so let me know about them, please: firstname.lastname@example.org
Since my discovery of a number of related public sculptures in Milwaukee’s Lake Park and my documentation of them here at An Intuitive Perspective, these sculptures have become touchstone landmarks for me as I travel from my home up along the lake front. I am disappointed when traffic volume requires all of my attention and I can’t spot them as I pass. First article from December 12, 2021 and Second from February 12, 2022.
So this past Monday, April 25, 2022, I was unbelieving when one of my favorites had been changed. So on my way home I had to check again and yes indeed, the sculpture had changed. Whether the change was completed by the original artist or another party, there is no way for me to know. I am leaning toward the originator and would hope that it hasn’t been ‘vandalized’ by someone else.
So what am I talking about? Well, here’s the original configuration of the sculpture, as I first encountered it.
As you can see the concrete discs are facing the park and street…but on Monday and on Wednesday April, 27, 2022 when I took the following photographs, we are now viewing them edgewise.
And of course sculpture is a three dimensional art form that should be experienced in the round…and setting these into a tree at the base of the bluff somewhat restricts viewing angles and maybe flattens out the sculpture. But turning the stones that ninety degrees now presents us with an entirely different sculpture and experience. I like it but I will admit to preferring the initial presentation.
So I will continue to enjoy my interactions with this wonderful pieces and see where we and they go from here.
And I am waiting for a warmer day to walk the lake front to see if there are other stealth hidden treasures in the park that I haven’t been able to discover from my car…whether there is more to find or not…it will be a remarkable experience nonetheless to explore Lake Park and environs on foot after too many years absence.
P.S. If anyone knows the artist, I would love to talk with them about their vision and practice.