Kehinde Wiley by Beriet Moffitt https://padlet.com/bmoffitt17/r7ghs672lysf en-us 2017-01-20 14:22:44 UTC 2026-03-24 18:06:04 UTC hello@padlet.com CBS SUNDAY MORNING bmoffitt17 https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148364307 2017-01-20 14:29:30 UTC https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148364307 METHOD bmoffitt17 https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148364694 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 African American men and women.

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.”

]]> 2017-01-20 14:30:21 UTC https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148364694 Young Life bmoffitt17 https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148366829 I began with studying art back in LA as a young kid. I first went to art school when I was about 11 and went to big museums in Southern California. I grew up in South Central Los Angeles in the late 80’s and was very much a part of the environment that was driven by some of the defining elements of hip-hop: the violence, anti-social behavior, streets on fire. I was fortunate because my mother was very much focused on getting me, my twin brother, and other siblings out of the hood. On weekends I would go to art classes at a conservatory.]]> 2017-01-20 14:35:02 UTC https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148366829 Stained Glass bmoffitt17 https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148372689 Saint Adelaide, 2014]]> 2017-01-20 14:49:38 UTC https://padlet.com/bmoffitt17/r7ghs672lysf/wish/148372689