Mizrah 2011

Editor: We're looking at Kehinde Wiley's "Mizrah" from 2011, an acrylic painting with… a lot going on! I’m immediately struck by the juxtaposition of the contemporary figure against this backdrop that feels both vibrant and historical. What's your take on this dazzling combination? Curator: Dazzling indeed! Wiley, for me, is like a magpie, gathering shiny bits from art history and remixing them into something that sparkles anew. Here, he’s playing with the visual language of Orientalism and portraiture, those regal compositions of old, but starring figures plucked straight from the streets. Do you notice how the figure’s casual attire contrasts with the ornate background, almost as if challenging the very notion of who gets to be ‘royal’ or ‘important’ enough to be depicted in this way? Editor: Yes, absolutely! It’s as though he’s democratizing portraiture. But I am interested in the symbols depicted here, what's your take on them? Curator: I believe that the floral elements, lions and crowns hint to historical decorations present in Mizrah plaques, artistic objects used in Jewish homes. And Wiley often inserts flora, patterns, and colors associated with the sitter's heritage, and the cultural blending it reveals becomes, in my humble opinion, his unique signature. It’s like he is rewriting narratives. Do you get the sense that it questions our assumptions about identity and representation? Editor: Definitely. I came expecting to analyze the painting and I am leaving thinking about what I can analyze in myself. Thanks! Curator: It's like stepping into a vibrant, thought-provoking conversation. A delicious swirl of observations. Thank *you*.