Three Boys 2013

Editor: Kehinde Wiley's "Three Boys," a mixed-media piece from 2013, really jumps out with its bold patterns and the figures almost blending into the background. How do you interpret Wiley’s choice to place these contemporary figures within such ornate, traditional settings? Curator: The genius of Wiley lies in his ability to engage with art history and power dynamics. By placing young Black men, often styled in contemporary streetwear, within traditionally European portrait settings—think back to 18th and 19th-century aristocratic portraiture—he directly challenges the historical exclusion of Black figures from the artistic canon and institutions that showcase and validate art. Editor: So it’s a reclamation of sorts? Is it questioning who gets to be seen, and how? Curator: Precisely. Consider how the vibrant floral patterns operate. They reference classical decorative motifs, but also African textiles, creating a complex layering of cultural signifiers. Think about how museums have historically displayed and interpreted these types of portraits. Wiley is forcing us to confront the established narratives and consider whose stories have been deemed worthy of representation in those spaces. Who controlled the visual narrative? Editor: That makes so much sense. The museum itself becomes part of the artwork's meaning, influencing our understanding. Curator: Exactly! Wiley is making a statement about visibility, power, and the museum’s role in perpetuating or dismantling historical inequities. His work forces the institutions and its public to re-evaluate what and who is worthy of a frame, in a social and political context. Editor: I see it now. It's not just about the aesthetic, but about disrupting the historical narrative and questioning the museum’s role. Thanks, I will keep this in mind from now on.