The work of Kehinde Wiley.
“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 Mumbai, 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.”