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Kehinde WileyPassing/Posing Paintings & Faux Chapel, suite of 18 prints Signed on bespoke box2004
2004
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About the Item
Kehinde Wiley
Passing/Posing, Paintings & Faux Chapel (suite of 18 separate prints), 2004
Portfolio of 18 Separate Color offset lithographs in original black paste board portfolio box with hand signed and numbered coat of arms bookplate
Hand signed and numbered 610/1000 by the artist in ink on the justification label on the portfolio box; the prints are not signed. (photos)
11 x 8.5 inches
This is a highly collectible limited edition box set with 18 exquisite individual color reproductions of Wiley's paintings from 2002-2004 published by Earth Enterprise, Inc. New York, All of the color offset lithographs are held in an original black paste board portfolio box.
Each work measures 11 inches (vertical) x 8.5 inches (horizontal), except one print is a gatefold splayed across two pages, measuring 11 inches (vertical) x 17 inches (horizontal).
The prints are not bound in the portfolio, so they can easily be separated and framed individually. They are not signed, but the portfolio box itself bears a custom designed book plate with Kehinde Wiley's coat of arms and printed name, under which bears his hand (ink) signature and the hand number 610/1000.
Measurements:
Portfolio Box:
12.25 x 9.25 x 1 inch
17 Single sheets offset lithographs:
11 x 8.5 inches
1 double sheet (gatefold) offset lithograph:
11 x 17 inches
Kehinde Wiley Biography
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, forcing ambiguity and provocative perplexity to pervade his imagery. 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.
Initially, Wiley’s portraits were based on photographs taken of young men found on the streets of Harlem. As his practice grew, his eye led him toward an international view, including models found in urban landscapes throughout the world--such as Senegal, Dakar and Rio de Janeiro, among others--accumulating to a vast body of work called, “The World Stage.” The models, dressed in their everyday clothing--most of which are based on the notion of far-reaching Western ideals of style--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 complicated socio-political histories relevant to the world, Wiley’s figurative paintings and sculptures “quote historical sources and position young black men within the field of power.” His heroic paintings evoke a modern style instilling a unique and contemporary manner, awakening complex issues that many would prefer remain mute.
An Economy of Grace, Wiley’s debut exhibition at Sean Kelly gallery, marked his first-ever series dedicated to female subjects. An award-winning documentary film about the process behind this exhibition was directed by Jeff Dupre and produced by Show of Force.
Kehinde Wiley holds a BFA from San Francisco Art Institute, an MFA from Yale University and an honorary doctorate from Rhode Island School of Design. In 2002, he became an Artist-in-Residence at the Studio Museum in Harlem. Wiley’s work has been the subject of exhibitions worldwide and is in the permanent collections of numerous museums, including the National Portrait Gallery, Washington D.C.; the Los Angeles County Museum of Art; the Oak Park Public Library, the Oklahoma City Museum of Art, The Hammer Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles; the Metropolitan Museum of Art, New York; the Studio Museum in Harlem; the Virginia Museum of Fine Arts, Richmond; the Denver Art Museum; the Saint Louis Art Museum; V&A East; the Walker Art Center, Minneapolis; the Yale University Art Gallery and the Yale Center for British Art; the High Museum, Atlanta; the Columbus Museum of Art; the Phoenix Art Museum; the Milwaukee Art Museum; the Jewish Museum, New York; and the Brooklyn Museum. The U.S. Department of State honored Wiley in 2015 with the Medal of Arts, celebrating his commitment to cultural diplomacy through the visual arts. In February 2018, Wiley’s portrait of Barack Obama was added to the permanent installation of presidential portraits in the Smithsonian’s National Portrait Gallery. In October of the same year, he was honored with a W.E.B. Du Bois medal for his significant contributions to African and African-American history in culture and his advocacy for intercultural understanding and human rights.
-Courtesy of Sean Kelly Gallery
- Creator:Kehinde Wiley (1977, American)
- Creation Year:2004
- Dimensions:Height: 11 in (27.94 cm)Width: 8.5 in (21.59 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745216100022
Kehinde Wiley
Named by Time magazine as one of the 100 most influential people of 2018, American painter Kehinde Wiley (b. 1977) is one of the most widely recognized artists of his generation, best known for re-creating Old Masters works with contemporary Black subjects.
Take, for instance, his large-scale masterpiece Napoleon Leading the Army over the Alps (2005): The painting is nearly identical in both composition and name to Jacques-Louis David’s Bonaparte Crossing the Alps (1800–1), but instead of the French general posed atop a rearing horse, it’s a modern-day Black man, dressed in fatigues and Timberland boots, against a decorative patterned backdrop. Through such paintings and sculptures, Wiley engages in a political act, acknowledging the omission of Black and other nonwhite figures from historical and cultural narratives — especially as seen through the lens of European portraiture — and introducing them as heroes in poses and positions of power.
Born in Los Angeles, California, Wiley discovered his talents as a photorealistic portrait painter as a child, refining them at the San Francisco Art Institute, where he earned his BFA, and at the Yale University School of Art, where he earned his MFA. His art draws from a range of influences; while his paintings are most associated with Old Master portraits, particularly in the Venitian tradition of Titian and Giovanni Battista Tiepolo, Wiley often sets his subjects in front of ornate patterned backgrounds that reference African textiles and Islamic architecture. In 2017, the artist was commissioned by President Barack Obama to paint his official portrait to hang in the National Portrait Gallery in Washington, D.C.
Wiley has garnered numerous accolades, including the U.S. Department of State Medal of Arts, the Brooklyn Museum Asher B. Durand Award for Artistic Achievement, the American Federation for Arts Cultural Leadership Award and the Pratt Legend Award. His works can be found in the collections of acclaimed institutions around the world, including the Brooklyn Museum of Art; the Museum of Contemporary Art, Los Angeles; Walker Art Center in Minneapolis; the Museum of Fine Arts, Boston; and the Zabludowicz Collection in London.
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