Showiak-ExhibitionEssay.docx

1
Mika Showiak
Professor Charles Goolsby
Society: Art in Social Change1
09 November 2022
“Race” Against Time
Jacob Lawrence, Kehinde Wiley, and Faith Ringgold are three African American
artists who challenged the racial norms of society and spread awareness on the social
issues of racism, gender inequality, and oppression against African American individuals
and groups. Their artwork reflects historical events and people that changed the lives of
the black community, as well as focused on the principles of personal and societal
identity through the eyes and outlook of an African American in America. Each hailing
from Harlem in their childhoods, their view of race relations in America transcends
generations from the same perspective; but only goes to show that the stigma and
oppression still remains, perhaps just in a more contemporary view.
Jacob Lawrence, born in 1917 and raised in Harlem, New York, was an inspiration to
many artists that came after him. In 1941, he was the first African American artist to have
work displayed in The Museum of Modern Art in New York, breaking racial barriers
while segregation was in full force.1
Lawrence’s work was vivid and colorful but was
1
“Jacob Lawrence.” 2017. The Museum of Modern Art. MoMA. 2017.
https://www.moma.org/artists/3418.

2
also storytelling in nature. He painted events such as the crossing of the Edmund Pettus
Bridge and the migration North of freed slaves with the assistance of Harriet Tubman.
His art was subtle in its protest but blatant in his suggestion of inequality.
Kehinde Wiley, born in 1977 and raised in Harlem, New York, is currently a sought-
after artist whose work is being displayed across the world including galleries in London
and Plymouth as well as the U.S. Embassy in the Dominican Republic.2
Since Wiley was
selected by former President Barack Obama in 2018 to paint his official portrait for the
Smithsonian National Portrait Gallery, Wiley’s interpretation of the task made him both
controversial and renowned.3
The President’s portrait was abstract and somewhat
feminine. Instead of the conventional shoulder-up view on a bland background like the
other portraits in the Gallery, Wiley chose a full-body depiction, with Obama sitting in a
chair fully surrounded by flora. Those who know Wiley’s work would not be surprised.
Wiley’s work is photorealism in style with densely patterned backgrounds. It is meant to
question society’s attitudes toward race, gender, and religion. He often depicts his
modern street-clad subjects as historical figures such as Napoleon and Louis XVI. He
has intertwined traditional Christian portrayals of saints in stained glass with images of
homosexual black males. According to a biography written by The Art Story, it was
important for Wiley, as a gay black man, to present black male bodies as objects of desire
__________________________________________________
2
“Kehinde Wiley Commissioned US Embassy in the Dominican Republic – U.S. Department of State.”
n.d. Accessed October 30, 2022. https://art.state.gov/portfolio/new-kehinde-wiley-painting-
commissioned-for-us-embassy-in-the-dominican-republic/.
3
“Opinion | Seph Rodney: Americans Don’t Know How to Engage with Art Anymore.” n.d. NBC News.
https://www.nbcnews.com/think/opinion/kehinde-wiley-s-obama-portrait-controversy-shows-
americans-don-t-ncna849156.

3
and vulnerability as opposed to aggression and violence.4
In his own words, Kehinde
Wiley describes the motivation behind his unique art: “I want to create paintings that are
mysterious and snarky, but I also want to make paintings that are sincere and able to
change the world.”5
Faith Ringgold, born in 1930 in Harlem, New York, is known for her work
representing the Civil Rights Movement from a black female perspective. She combines
artistic passion with personal experience, much like her main inspiration Jacob
Lawrence.6
While Lawrence was subtle in his reference to racial tensions, Ringgold is
anything but. Ringgold’s signature style is described as abstract figuration, with sharp
graphic and conceptual contrasts, flat planes of color edged in black.7
Her work is
dedicated to addressing social and political inequality in America and is often illustrated
in tense interracial scenes. Her paintings “depict people torn between peace and violence,
ambivalence and anger” as said by Ellen Tani in Art News.8
In her expansive career that
_________________________________________________
4
The Art Story. 2018. “Kehinde Wiley.” The Art Story. 2018. https://www.theartstory.org/artist/wiley-
kehinde/.
5
Wiley, Kehinde. 2019. “Kehinde Wiley Studio | Brooklyn, NY.” Kehindewiley.com. 2019.
https://kehindewiley.com/.
6
Artincontext. 2021. “Faith Ringgold - an Exploration of the Artistic Life of Faith Ringgold.”
Artincontext.org. March 3, 2021. https://artincontext.org/faith-ringgold/.
7
Kennicott, Philip. 2021. “Review | Faith Ringgold Is an Artist, an Activist and a Prophet. But That’s Only
Scratching the Surface.” Accessed November 5, 2022.
https://www.washingtonpost.com/entertainment/museums/glenstone-exhibit-faith-
ringgold/2021/03/30/daa7c9fe-9186-11eb-bb49-5cb2a95f4cec_story.html.
8
Tani, Ellen. 2021. “State of the Union: Faith Ringgold at Glenstone.” ARTnews.com. May 4, 2021.
https://www.artnews.com/art-in-america/aia-reviews/faith-ringgold-american-flags-confront-
nation-violent-histories-1234591547/.

4
has lasted more than 60 years, her most renown collection is her American People Series
(1963-1967). The collection is made up of 20 individual works and made quite an
impression when publicized as it used shocking images and graphic depictions to
confront prejudice, ethnic tension, and political unrest.9
In the collection’s final piece,
Die, a mural 12’ x 6’ in size, was exhibited at entrance of the Spectrum Gallery in
Manhattan where it made a huge, and not-so-positive impact on patrons – one woman in
particular was seen immediately returning to the elevator mere seconds after seeing the
life-size portrayal of gore.10
While the forceful scenes of movement, aggression and fear
effectively communicated issues of racial barriers and social tensions in the 1960s,
Ringgold understood that she had to pivot with the times and forgo the confrontational
imagery of prejudice. 11
In the 1980s, Ringgold moved on to quilting and produced
several storytelling works such as the Street Story Quilt and Who’s Afraid of Aunt
Jemima that provide positive role models and strong women to reimagine the hurtful
racial stereotypes.12
This trio of artists, each with their roots in Harlem, shared a common goal of bringing
the racial inequality in America to the forefront of people’s minds and not letting society
_______________________________
9
“Faith Ringgold | Biography, Art, Quilts, & Facts.” n.d. Encyclopedia Britannica.
https://www.britannica.com/biography/Faith-Ringgold.
10
Davies, Froyle. 2020. “The Impact of the Political Paintings of Faith Ringgold.” Medium. September 6,
2020. https://medium.com/george-st-gallery/the-impact-of-the-political-paintings-of-faith-
ringgold-5e6774d6e948.
11
“Into the Heart of US Race Issues through the American People Series.” 2021. Arts Help. June 6, 2021.
https://www.artshelp.com/into-the-heart-of-us-race-issues-through-the-american-people-series/.
12
“Faith Ringgold | Street Story Quilt.” n.d. The Metropolitan Museum of Art.
https://www.metmuseum.org/art/collection/search/485416.

5
be ambivalent or oblivious to the lack of justice going on around them. These
generational artists - a Harlem Renaissance over the past 60 years – have shown that
black culture deserves its place in history. Black culture is not something to be feared.
Black culture is protecting human rights; experiencing joy regardless of race, gender or
sexuality; and the willingness to openly communicate issues of racial barriers, stereotypes
and social tensions. From the Black Panthers to the Black Lives Matter movement, the
objectives of Jacob Lawrence, Kehinde Wiley and Faith Ringgold have been getting
increased attention and will find a way to carry on until Americans can “all just get
along”.13
_________________________________________________
13
The Learning Network. 2012. “May 1, 1992 | Rodney King Asks, ‘Can We All Get Along?’” The
Learning Network. May 1, 2012.
https://archive.nytimes.com/learning.blogs.nytimes.com/2012/05/01/may-1-1992-victim-rodney-
kings-asks-can-we-all-get-along/.

6
Jacob Lawrence
(Atlantic City, New Jersey 1917 – 2000 Seattle, Washington)
Escape
1967
Brush and ink, pen and ink, crayon, and pencil on paper
Dimensions: 22 x 29
1
⁄2
inches
The Sara Roby Foundation Collection, 2014
Lawrence’s Escape is a throwback to his Life of Harriet Tubman collection, a series of 31
paintings which he completed in 1939.1
Lawrence focused on the life and service of
Harriet Tubman for many decades and through many paintings. Escape was created in
1967 – the same year he authored a children’s book titled Harriet and the Promised
Land. The vibrancy of Escape is in Lawrence’s signature style – abstract color blocks
with distorted or featureless portrayals of African Americans. According to the Phillips
Gallery in New York, Escape is a depiction of Tubman helping slaves migrate north.2
_________________________________________________
1
“Jacob Lawrence: The Harriet Tubman Series | Buffalo AKG Art Museum.” n.d. Buffaloakg.org.
Accessed October 29, 2022. https://buffaloakg.org/art/exhibitions/jacob-lawrence-harriet-tubman-
series.
2
Jacob Lawrence - 20th Century & Contemporary Art Day Sale - Morning Session New York Tuesday,
November 14, 2017” n.d.

7
Jacob Lawrence
Confrontation on the Bridge
1975
Screenprint on paper
Dimensions: 20 x 26 inches
Gift of Faye Davidson and Robert Davidson, Jr.
Rights and Reproduction: © The Jacob and Gwendolyn Knight Lawrence Foundation,
Seattle / Artists Rights Society (ARS), New York
“I do not look upon the story of the Blacks in America as a separate experience to the
American culture but as a part of the American heritage and experience as a whole,” the
artist Jacob Lawrence said in 1943.1
When Jacob Lawrence was hired to paint a
celebratory painting of America’s bicentennial in 1776, he produced Confrontation on the
Bridge. The painting portrays the march across the Edmund Pettus Bridge from Selma to
Montgomery, Alabama protesting the denial of voting rights to African Americans.2
Lawrence painted a snarling dog on the bridge symbolizing the ruthless beatings the
unarmed protesters faced at the hands of police. Although the work is well into the
second half of Lawrence’s career, the style has not changed at all. The use of bold colors
on rich backgrounds is an attribute that is seemingly within his signature style.
_________________________________________________
1
“Jacob Lawrence.” 2017. The Museum of Modern Art. MoMA. 2017.
https://www.moma.org/artists/3418.
2
Anonymous. 2018. “Confrontation on the Bridge.” Cleveland Museum of Art. October 31, 2018.
https://www.clevelandart.org/art/1994.17.

8
Jacob Lawrence
The Library
1960
Tempera on fiberboard
Dimensions: 24 x 29
7
⁄8
inches
Gift of S.C. Johnson & Son, Inc.
While Jacob Lawrence did not complete high school, he spent countless hours in the
public library teaching himself African American history. He scoured books to learn
about the monumental people and events that shaped his culture and used this knowledge
in his paintings.1
The Library is a reminiscent look at this time of his life. The crowded
room of African American readers brings to the mind’s forefront that in 1960, when The
Library was painted, segregation was in full force. According to the Smithsonian
American Art Museum, the library Lawrence painted looks very similar to the
Schomburg Center for Research in Black Culture in Harlem – home to the first
substantial collection of African American writings and art was exhibited in 1925.2
_________________________________________________
1
Smithsonian American Art Museum. 2016. “Jacob Lawrence.” Smithsonian American Art Museum.
2016. https://americanart.si.edu/artist/jacob-lawrence-2828.
2
Lawrence, Jacob. 2019. “The Library.” Smithsonian American Art Museum. 2019.
https://americanart.si.edu/artwork/library-14376.

9
Jacob Lawrence
Dreams No. 2
1965
Tempera on fiberboard
Dimensions: 35
3
⁄4
x 24 inches
Gift of the Sara Roby Foundation
While Jacob Lawrence has painted numerous depictions of the African American
struggle in America, he has also included into his repertoire a focus or homage to life in
Harlem, where he grew up.1
In his painting, Dreams No. 2, the woman is lazily gazing
out windows that show scenes of happiness and joy – a bridal couple and a woman with a
bouquet of flowers. While staying true to his abstract and vivid signature style, this
painting adds more visible techniques of curves and swirls in his brushstrokes, giving a
dream-like quality to the work.
_________________________________________________
1
“Harriet Tubman, Frederick Douglass and Jacob Lawrence: Analytical Essay.” n.d. Edubirdie. Accessed
October 29, 2022. https://www.edubirdie.com/examples/harriet-tubman-frederick-douglass-and-
jacob-lawrence-analytical-essay.

10
Kehinde Wiley
(Los Angeles, CA 1977 – Present Brooklyn, New York)
Saint John the Baptist
2014
22k gold leaf and oil paint on wood panel with metal
Dimensions: 40 × 24 × 4 1/8 inches (overall – framed)
Gift of The Martin Z. Margulies Foundation, Miami, FL.
Rights and Reproduction: © Kehinde Wiley
This painting of Kehinde Wiley’s partner, Craig Fletcher, is based on Leonardo da
Vinci’s Saint John the Baptist.1
The use of his real-life lover as the standing subject lends
a striking comparison to some critics’ analysis of da Vinci’s original figure of St. John as
a hermaphrodite - showing both masculine and feminine attributes.2
While Wiley’s art
often pushes the boundaries of conventional social norms, Saint John the Baptist is a
rather bold statement of pride in being a gay black man. The thought of combining direct
reference to Christianity with modern, queer life is controversial, yet groundbreaking.
_________________________________________________
1
“Saint John the Baptist.” n.d. Smithsonian Institution. Accessed October 30, 2022.
https://www.si.edu/object/saint-john-baptist:nmaahc_2017.105.
2
CAU. 2016. “Leonardo Da Vinci – St. John the Baptist Analysis | CAU.” Classical Arts Universe.
September 4, 2016. https://classicalartsuniverse.com/leonardo-da-vinci-st-john-the-baptist-
analysis/.

11
Kehinde Wiley
Kanye West
2015
Bronze
Dimensions: 23 1/5 × 18 9/10 × 13 inches
Kehinde Wiley’s bronze bust of musical genius Kanye West is a layered depiction of
controversy, pushing social boundaries, black power, and a respect for retelling history.
Ashleigh Barice, a curator at The Box Gallery in Plymouth, Great Britain wrote that hip-
hop music notoriously uses samplings of others’ “beats, lyrics and vocals” in a recycled
format to produce new work. She states that “one of the most masterful samplers and
producers” is Kanye West and therefore, Wiley sees similarity within himself and West
with the goal of “repurposing historically relevant elements of the culture” into their
mediums.1
If one agrees with Ms. Barice’s comparison, Wiley’s tribute to Kanye West
can also be interpreted as a tribute to himself – an artist producing controversial,
powerful art with roots in historical and cultural influences.
_________________________________________________
1
“The Box | Kanye, 2015 by Kehinde Wiley.” n.d. The Box Plymouth. Accessed October 30, 2022.
https://www.theboxplymouth.com/blog/art/kanye-west-kehinde-wiley.

12
Kehinde Wiley
Saint Adelaide
2014
Stained glass
Dimensions: 96 x 43.5 inches
Kehinde Wiley’s free-standing, stained glass Saint Adelaide was the first piece of Wiley’s
art in this medium to be displayed in a museum collection. It was purchased by The Ely
Cathedral’s Stained-Glass Museum in Cambridgeshire, Great Britain for permanent
display.1
Wiley is known for his contemporary way of mimicking historical depictions of
saints with the use of modern black men, mostly from Harlem, where he was raised. Saint
Adelaide is no exception. This work, and his others in the stained-glass medium, were
inspired by the 19th
century French artist Jean-Auguste-Dominique Ingres who designed
the glass windows of the Royal Chapel of Saint Ferdinand in Paris.2
Jasmine Allen,
curator and director of the Stained Class Museum, said that Wiley’s representations
“enables us to explore and question attitudes towards race, gender and religion in stained
glass.”3
_________________________________________________
1
“Saint Adelaide - ELYGM:2021.1 the Stained-Glass Museum, Ely.” n.d. Stainedglassmuseum.com.
Accessed October 30, 2022.
https://stainedglassmuseum.com/catshow.php?func=show&seq=0&collno=ELYGM%3A2021.1.
2
Packard, Cassie. 2021. “Stained Glass Portrait by Kehinde Wiley Lights up a UK Cathedral.”
Hyperallergic. June 3, 2021. https://hyperallergic.com/650326/stained-glass-portrait-by-kehinde-
wiley-lights-up-a-uk-cathedral/.
3
“Museum Reopens with Portrait by World-Famous Artist.” n.d. Ely Standard. Accessed October 30,
2022. https://www.elystandard.co.uk/news/22743926.museum-reopens-portrait-world-famous-
artist/.

13
Kehinde Wiley
Casey Riley
2013
Oil on canvas
Kehinde Wiley’s 2013 Collection of Selected Works breaks the social conformity of what
a typical young, black male is supposed to be – feared, violent, and angry. Casey Riley, a
portrait of a young man from Harlem, is dressed in all black with no expression on his
face. On any other background, this man could be interpreted with the preconceived
stereotypes that much of the mainstream media portrays – aggressive, drug-dealing
gangsters.1
Instead, Wiley paints his model on a pastel background, intertwined with
flowers and vines, softening the portrayal and challenging those typecasts. Alexandra
Duncan, in her article “Kehinde Wiley Artist Overview and Analysis” wrote that Wiley’s
signature style is his naturalistic, brightly colored portraits with dramatic flowery
backgrounds.2
Casey Riley fits that description perfectly.
_________________________________________________
1
“How the Media Portrays Black Males | Cassie Adams.” n.d. Sites.psu.edu.
https://sites.psu.edu/cea5241/2016/07/24/how-the-media-portrays-black-males/comment-page-1/.
2
Duncan, Alexandra. 2018. “Kehinde Wiley.” The Art Story. 2018.
https://www.theartstory.org/artist/wiley-kehinde/.

14
Faith Ringgold
(New York, New York 1930 – Present, Englewood, New Jersey)
The American People Series #20: Die
1967
Oil on canvas
Inspired by Picasso’s 1937 Guernica – an interpretation of his emotional response to the
Spanish civil war’s senseless violence,1
Faith Ringgold painted Die – the last and largest
of her paintings. Die is Ringgold’s emotional response to the 1960’s race riots. Die is a
vision of the brutality and intensity that took place between the races, invoking fear and
anxiety in the children watching all around them.2
It is interesting that Ringgold layers
the violence among all of the participants and does not depict one race over another.
Instead, she portrays a “collective blindness” to how the race riots will affect the next
generation.3
_________________________________________________
1
Alicja Zelazko. 2018. “Guernica | Description, History, & Facts.” In Encyclopædia Britannica.
https://www.britannica.com/topic/Guernica-by-Picasso.
2
3
“One on One: Faith Ringgold’s Die | Magazine | MoMA.” n.d. The Museum of Modern Art.
https://www.moma.org/magazine/articles/343.

15
Faith Ringgold
The American People Series #18: The Flag is Bleeding
1967
Oil on canvas
Faith Ringgold’s painting, The Flag is Bleeding, is a powerful statement of race relations
in 1960’s America. Known for her graphic visuals of the violence of the times, The Flag
is Bleeding also portrays the deterioration of democracy albeit it in more subtle tones.
When Ringgold paints the American flag, it is often distorted, which could be interpreted
as representing the pulling of society in different directions. In 1970, at “The People’s
Flag Show” in New York City, Ringgold was arrested for flag desecration1
while
exhibiting The Flag is Bleeding due to the “bleeding” of the stripes and the inclusion of a
black stripe at the bottom. In October 2021, Ringgold visited the Glenstone Museum
(Potomac, Maryland) in advance of her exhibition. During the tour, when asked about her
consistent contortion of the flag in her works, she responded: “We thought of the
American flag as our symbol of freedom, but we were losing our freedoms in the 60s. All
the blood laying all over the sidewalk. Nothing about it in the papers. I mean silence, like
it didn’t happen.”2
_________________________________________________
1
2
Valentine, Victoria. 2021. “National Gallery of Art Acquires Faith Ringgold’s ‘Flag Is Bleeding’
Painting: May Be Museum’s ‘Most Important Purchase of a Single Work of Contemporary Art’
since 1976.” https://www.culturetype.com/2021/10/24/national-gallery-of-art-acquires-faith-
ringgolds-flag-is-bleeding-painting-may-be-museums-most-important-purchase-of-a-single-work-
of-contemporary-art-since-1976

16
Faith Ringgold
The American People Series #19: US Postage
Commemorating the Advent of Black Power
1967
Oil on canvas
Faith Ringgold, with her painting US Postage Commemorating the Advent of Black
Power, is playing games with one’s eyes and mind. Her portrayal of a postage stamp
includes hints of subliminal messaging along with her notorious in-your-face attention to
race inequality in America. Philip Kennicott, in his Washington Post review of
Ringgold’s work, described the painting as “a grid of faces, some Black, the others
mostly White. The words ‘Black Power’ are inscribed diagonally across the grid, clearly
legible. But the grid itself is structured by the words ‘White Power,’ with the letters
distended and connected, and rendered in white, and thus almost impossible to read
unless you are looking for them.”1
This play on visuals gives insight to what Ringgold
feels is the lack of visibility of African Americans in America.2
_________________________________________________
1
2

17
Faith Ringgold
The American People Series #4: The Civil Rights Triangle
1963
Oil on canvas
Faith Ringgold never shied away from showing power situations between races in
America. In her painting The Civil Rights Triangle, she depicts a pyramid of middle-class
looking men, four black men on the bottom and one white man on top. The painting
suggests that the civil rights movement may have been not only white-approved, but also
white-controlled.1
As only the fourth in her American People Series, her civil rights and
black power activism was still subtle in The Civil Rights Triangle - unlike later paintings
in the series illustrating horrific scenes of violence and unrest. The figures in The Civil
Rights Triangle look like they are almost at peace and understanding of their lot in life.
_________________________________________________
1
Cotter, Holland. 2010. “An Era’s Injustices Fuel an Artist’s Activist Works” The New York Times.
https://www.nytimes.com/2010/12/10/arts/design/10ringgold.html.

18
Bibliography
Alicja Zelazko. 2018. “Guernica | Description, History, & Facts.” In Encyclopædia Britannica.
https://www.britannica.com/topic/Guernica-by-Picasso.
Anonymous. 2018. “Confrontation on the Bridge.” Cleveland Museum of Art. October 31, 2018.
https://www.clevelandart.org/art/1994.17.
Artincontext. 2021. “Faith Ringgold - an Exploration of the Artistic Life of Faith Ringgold.”
Artincontext.org. March 3, 2021. https://artincontext.org/faith-ringgold/.
CAU. 2016. “Leonardo Da Vinci – St. John the Baptist Analysis | CAU.” Classical Arts Universe.
September 4, 2016. https://classicalartsuniverse.com/leonardo-da-vinci-st-john-the-baptist-
analysis/.
Cotter, Holland. 2010. “An Era’s Injustices Fuel an Artist’s Activist Works” The New York Times.
https://www.nytimes.com/2010/12/10/arts/design/10ringgold.html.
Davies, Froyle. 2020. “The Impact of the Political Paintings of Faith Ringgold.” Medium. September 6,
2020. https://medium.com/george-st-gallery/the-impact-of-the-political-paintings-of-faith-
ringgold-5e6774d6e948.
Duncan, Alexandra. 2018. “Kehinde Wiley.” The Art Story. 2018. https://www.theartstory.org/artist/wiley-
kehinde/.
“Faith Ringgold | Biography, Art, Quilts, & Facts.” n.d. Encyclopedia Britannica.
https://www.britannica.com/biography/Faith-Ringgold.
“Faith Ringgold | Street Story Quilt.” n.d. The Metropolitan Museum of Art.
https://www.metmuseum.org/art/collection/search/485416.
“Harriet Tubman, Frederick Douglass and Jacob Lawrence: Analytical Essay.” n.d. Edubirdie. Accessed
October 29, 2022. https://www.edubirdie.com/examples/harriet-tubman-frederick-douglass-and-
jacob-lawrence-analytical-essay.
“How the Media Portrays Black Males | Cassie Adams.” n.d. Sites.psu.edu.
https://sites.psu.edu/cea5241/2016/07/24/how-the-media-portrays-black-males/comment-page-1/.
“Jacob Lawrence - 20th Century & Contemporary Art Day Sale - Morning Session New York Tuesday,
November 14, 2017.” n.d. Phillips. Accessed October 29, 2022.
https://www.phillips.com/detail/JACOB-LAWRENCE/NY010817/194.
“Jacob Lawrence: The Harriet Tubman Series | Buffalo AKG Art Museum.” n.d. Buffaloakg.org. Accessed
October 29, 2022. https://buffaloakg.org/art/exhibitions/jacob-lawrence-harriet-tubman-series.
“Jacob Lawrence.” 2017. The Museum of Modern Art. MoMA. 2017. https://www.moma.org/artists/3418.

19
“Kehinde Wiley Commissioned US Embassy in the Dominican Republic – U.S. Department of State.” n.d.
Accessed October 30, 2022. https://art.state.gov/portfolio/new-kehinde-wiley-painting-
commissioned-for-us-embassy-in-the-dominican-republic/.
“Museum Reopens with Portrait by World-Famous Artist.” n.d. Ely Standard. Accessed October 30, 2022.
https://www.elystandard.co.uk/news/22743926.museum-reopens-portrait-world-famous-artist/.
“One on One: Faith Ringgold’s Die | Magazine | MoMA.” n.d. The Museum of Modern Art.
https://www.moma.org/magazine/articles/343.
“Opinion | Seph Rodney: Americans Don’t Know How to Engage with Art Anymore.” n.d. NBC News.
https://www.nbcnews.com/think/opinion/kehinde-wiley-s-obama-portrait-controversy-shows-
americans-don-t-ncna849156.
Packard, Cassie. 2021. “Stained Glass Portrait by Kehinde Wiley Lights up a UK Cathedral.”
Hyperallergic. June 3, 2021. https://hyperallergic.com/650326/stained-glass-portrait-by-kehinde-
wiley-lights-up-a-uk-cathedral/.
“
Saint Adelaide - ELYGM:2021.1 the Stained Glass Museum, Ely.” n.d. Stainedglassmuseum.com.
Accessed October 30, 2022.
https://stainedglassmuseum.com/catshow.php?func=show&seq=0&collno=ELYGM%3A2021.1.
“Saint John the Baptist.” n.d. Smithsonian Institution. Accessed October 30, 2022.
https://www.si.edu/object/saint-john-baptist:nmaahc_2017.105.
The Art Story. 2018. “Kehinde Wiley.” The Art Story. 2018. https://www.theartstory.org/artist/wiley-
kehinde/.
“The Box | Kanye, 2015 by Kehinde Wiley.” n.d. The Box Plymouth. Accessed October 30, 2022.
https://www.theboxplymouth.com/blog/art/kanye-west-kehinde-wiley.
Valentine, Victoria. 2021. “National Gallery of Art Acquires Faith Ringgold’s ‘Flag Is Bleeding’ Painting:
May Be Museum’s ‘Most Important Purchase of a Single Work of Contemporary Art’ since
1976.” https://www.culturetype.com/2021/10/24/national-gallery-of-art-acquires-faith-ringgolds-
flag-is-bleeding-painting-may-be-museums-most-important-purchase-of-a-single-work-of-
contemporary-art-since-1976.

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