St. Andrew
Artist
Kehinde Wiley
(American, b. 1977)
CultureAmerican,
African-American
Date2006
MediumOil and enamel on canvas in antiquated frame with gilded ornaments
Dimensions96 × 84 1/4 in. (243.8 × 214 cm)
Overall, Frame: 110 × 98 × 10 in. (279.4 × 248.9 × 25.4 cm)
Overall, Frame: 110 × 98 × 10 in. (279.4 × 248.9 × 25.4 cm)
Credit LineMuseum purchase with funds provided by Susan and David Goode, Meredith and Brother Rutter, Ashby Vail, Joseph T. Waldo and Patrick Waldo, Leah and Richard Waitzer, Fannie, Milton and Leslie Friedman Family Foundation, Martha Goode and Blair Mielnik, Oriana McKinnon, Penny and Peter Meredith, Mabel Burroughs Tyler Fund of the Hampton Roads Community Foundation, Rebecca and Tom Robinson, Dr. Henry A. Garrity, Mrs. Joseph C. Addington, Lynn Cobb and Warren Richard, Susan and Alan Donn, Karen and Matt Fine, Mr. and Mrs. Thomas Lane Stokes, Jr., Tim Griffith, Angelica and Henry Light, and Dr. Edward L. and Linda H. Lilly
Object number2014.15
Collections
On View
Chrysler Museum of Art, Gallery 205
The painting depicts a young African-American man dressed in hip-hop attire, complete with do-rag, ball cap, gaudy wrist watch, and spotless white Nike Air Force 1s. Gazing languidly out at the viewer, he straddles a mammoth X-shaped cross in imitation of Saint Andrew, the early Christian martyr saint who was executed on a saltire- or X-shaped cross. The figure is set against a vibrant green backdrop that evokes a stretch of densely patterned Baroque brocade. Some of the leafy pattern has freed itself from the background to encircle the cross and young man’s legs. The background, figure, and cartouches of the frame are dotted with tiny white motifs evoking sperm.
Label TextKehinde Wiley American, b. 1977 St. Andrew, 2006 Oil and enamel on canvas in antiquated frame with gilded ornaments A young black man in contemporary streetwear provocatively straddles the X-shaped cross on which he will die. The unusual cross is associated with St. Andrew, a disciple of Christ who was executed for refusing to renounce his faith. Kehinde Wiley upends the history of art and style by posing his contemporary St. Andrew against rich brocade that comes to life as it winds over the figure. The subject, painted in a powerful and dramatic Baroque style, contrasts with the flat background pattern. Wiley remixes historical styles to reimagine the role of African American culture in today’s society. Museum purchase with funds provided by Susan and David Goode, Meredith and Brother Rutter, Ashby Vail, Joseph T. Waldo and Patrick Waldo, Leah and Richard Waitzer, Fannie, Milton and Leslie Friedman Family Foundation, Martha Goode and Blair Mielnik, Oriana McKinnon, Penny and Peter Meredith, Mabel Burroughs Tyler Fund of the Hampton Roads Community Foundation, Rebecca and Tom Robinson, Dr. Henry A. Garrity, Mrs. Joseph C. Addington, Lynn Cobb and Warren Richard, Susan and Alan Donn, Karen and Matt Fine, Mr. and Mrs. Thomas Lane Stokes, Jr., Tim Griffith, Angelica and Henry Light, and Dr. Edward L. and Linda H. Lilly 2014.15 ProvenancePurchased from Sean Kelly Gallery, New York, NY, by Chrysler Museum of Art, December 2014.Exhibition History“Kehinde Wiley: A New Republic,” Brooklyn Museum, February 20 – May 24, 2015; Modern Art Museum of Fort Worth, September 20, 2015 – January 10, 2016; Seattle Art Museum, February 12 – May 8, 2016; Virginia Museum of Fine Arts, June 3 – September 5, 2016.Published ReferencesEugenie Tsai, ed., _Kehinde Wiley: A New Republic_ (New York: Brooklyn Museum in association with DelMonico Books and Prestel, 2015) 8, fig. 2. Robbie Gordy, "Kehinde Wiley: A New Republic: Brooklyn Museum, February 20 - May 24, 2015," _The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art_ 54 (2015): 22-23.
