The New York Times, Art & Design Section, January 28, 2015: “Kehinde Wiley Puts a Classical Spin on His Contemporary Subjects,” By Deborah Solomon
Kehinde Wiley began thinking about the stereotypes that shadow black men long before events in Ferguson, Mo., pushed the phrase “unarmed black man” back into the headlines and inaugurated a new wave of the civil rights movement…
Now 37, Mr. Wiley is one of the most celebrated painters of his generation. He is known for vibrant, photo-based portraits of young black men (and occasionally women) who are the opposite of scared — they gaze out at us coolly, their images mashed up with rococo-style frills and empowering poses culled from art history.
And as testament to the opposite of scared – bold, brave, cool, courageous, confident, encouraged – Wiley stands in front of his latest portrait of (ta-DA) Judith!!
I loved the first Judith by Wiley this first time I saw her, discussed in (obviously) Judith Falls in Love on March 29, 2013. This second Judith – actually Judith Beheading Holofernes – is part of Wiley’s first museum retrospective “A New Republic” at the Brooklyn Museum, opening February 20. It then travels to museums in Fort Worth, Seattle and Richmond, VA. So I know get to decide where I would most like to view this Judith as we travel the US of A. In which case, I can obtain the medium and dimensions to add to my specs.
But in the meantime, this is the best I can do. Judith dressed as a Capulet on a ground of orange nasturtiums and light blue fleur-de-lis – swinging the head of a very feminine Holofernes.
And holding a Very Pointy Knife. Which I don’t think is used for food preparation.
Thanks to oatmealgirl09 for bringing this to my attention!