Week 4 - Kehinde Wiley and inter-textuality

LL Cool JKehinde Wiley, 2005

Kahinde Wiley is a Gay American based painter born in Los Angeles, who has an international reputation. Wiley lives and practices between Beijing and Brooklyn.
1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly.

According to Semiotics for Beginners(n.d.), "Intertextuality refers to far more than the 'influences' of writers on each other." the concept of intertextuality reminds us that each text exists in relation to others(AUT University,2011). Intertextuality is a  determine text with its reference, rewritten, absorption, expansion, or, in general, to transform the relationship between the other text.Any text is a intertextuality. In the text, it is different degree with all sorts of how many can identify the form of existence other text.
 2 Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

Ice T Kehinde Wiley, 2005

Wiley suggests that his paintings “quote historical sources and position young black men within that field of power.” Intertextuality is present in the sense that when we see his work we immediately think of the historic segregated society where it was the “white men” of the world who were in high positions as oppose to “black people.” Not only does Wiley make us think about the historical context but also about today’s society in general.
Kehinde Wiley’s portraits of African American men collate modern culture with the influence of Old Masters. Incorporating a range of vernaculars culled from art historical references, Wiley’s work melds a fluid concept of modern culture, ranging from French Rococo to today’s urban landscape. By collapsing history and style into a unique contemporary vision, Wiley interrogates the notion of master painter, “making it at once critical and complicit.” Vividly colorful and often adorned with ornate gilded frames, Wiley’s large-scale figurative paintings, which are illuminated with a barrage of baroque or rococo decorative patterns, posit young black men, fashioned in urban attire, within the field of power reminiscent of Renaissance artists such as Tiepolo and Titian(Recogpize,n.d.).


3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 46 and discuss how the work relates to this theme.

Grandmaster Flash and the Furious FiveKehinde Wiley, 2005

Wiley's work relates to theme pluralism as pluralism in art refers to the nature of artforms and artists as diverse. Wiley's work remind us of the cultural and ethnic diversity, people who have had the same rights, we are all equal ,There is no cultural segregation in the post-modern world. the cultural context of art is all encompassing in its respect for the art of the world's cultures. inclusion of individuals of differing ethnicities, genders, ideologies, abilities, ages, religions,economic status and educational levels is valued(AUT University,2011). 


4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview.

Kehinde Wiley’s very successful, he has created large, vibrant, highly patterned paintings of young African American men wearing the latest in hip hop street fashion. The theatrical poses and objects in the portraits are based on well-known images of powerful figures drawn from seventeenth- through nineteenth-century Western art. For all of his works all around the colour of our skin,  his work notice us what is real "equal" in this world, no matter what is your skins colour, we live in one world,  this is paceful world. Wiley‘s works  quote historical sources and position young black men within that field of power,and posit young black men, fashioned in urban attire, within the field of power to express advocating everyone is equal,and People no different insocial/cultural hierarchies ,  no colonisation, harmonious globalisation, no stereotypes and  the politics which not only govern a western worldview.



5. Add some reflective comments of your own, which may add more information that
you have read during your research.

Three GracesKehinde Wiley, 2005

Wiley, as the contemporary descendent of a long line of portraitists including Reynolds, Gainsborough, Titian, Ingres, and others, appropriates the signs and visual rhetoric of the heroic, powerful, opulent, majestic, and sublime in his representations of young, urban, black men. The subjects and stylistic references for his paintings are juxtaposed inversions of each other, forcing ambiguity and provocative perplexity to pervade his imagery. By applying the visual vocabulary and conventions of glorification, history, wealth, power, and prestige to subject matter drawn from the urban fabric in which he is embedded, Wiley presents his young men as both heroic and pathetic, aestheticized and reified, autonomous and manipulated.
Wiley’s paintings often blur the boundaries between traditional and contemporary modes of representation. Wiley’s portrayal of masculinity is filtered through these poses of power and spirituality. His figurative paintings "quote historical sources and position young black men within that field of power.” In this manner, Wiley’s paintings fuse history and style in a unique and contemporary manner(artnet,n.d.).




References:
                       Semiotics for Beginners.(n.d.).Retrieved October 4,2003, from
 http://www.aber.ac.uk/media/Documents/S4B/sem09.html
                       AUT University. (2011). Academic Literacies in Visual Communications 2: Resource Book. New Zealand, Auckland: Lyceum Press
                       Recogpize.(n.d.).Retrieved from http://www.npg.si.edu/exhibit/recognize/paintings.html 
                       artnet.(n.d.).Retrieved from http://www.artnet.com/awc/kehinde-wiley.html