Saint Denis 2012

Editor: We're looking at Kehinde Wiley's "Saint Denis," from 2012, done with acrylic paint. The young man portrayed against the patterned backdrop almost has a devotional feel. What's your interpretation of Wiley’s work here? Curator: Wiley is deeply engaged in recontextualizing historical portraiture through a contemporary, intersectional lens. The title "Saint Denis" immediately invokes religious iconography, specifically the martyred saint. But instead of a traditional depiction, we see a young Black man in contemporary clothing, appropriating and subverting the visual language of power and divinity. Editor: It's an interesting juxtaposition, the modern clothing with the classical pose. Curator: Precisely. The floral background, though beautiful, is deliberately flattened, pushing the figure forward. This calls attention to the figure's presence, reclaiming spaces that have historically excluded or marginalized Black bodies. Think about the historical absence of Black figures in Western art—Wiley directly confronts and challenges that absence. Does this speak to broader themes you recognize? Editor: Definitely the theme of representation, and disrupting traditional power structures. It makes me consider who gets to be seen and how. Curator: And who gets to be seen as sacred. By placing a Black man in the position of a saint, Wiley is making a potent statement about value, visibility, and the construction of identity. It asks us to confront our own biases and assumptions about art history and who belongs within its narrative. Editor: I hadn't considered that angle, of art history itself needing interrogation. Curator: Wiley's art becomes a powerful tool for that interrogation. He makes visible the invisible histories, challenges the canon, and ultimately contributes to a more inclusive and representative art world. Editor: I see it differently now, thank you.