At least one artist wants his work back from the Trump administration

Kehinde Wiley, who painted Barack Obama for the National Portrait Gallery, has offered to buy back his work from the U.S. embassy in the Dominican Republic.

At least one artist wants his work back from the Trump administration

The Trump administration’s quest to denigrate the art that doesn’t flatter its mission (or that those involved simply don’t understand) isn’t limited to the Kennedy Center. This past summer, a painting by the artist Kehinde Wiley—who even casual enjoyers of art may recognize for his painting of President Obama that hangs in the National Portrait Gallery—was mocked by State Department officials who referred to it as “aesthetically terrifying.” The painting, titled “Young Artists After Siamesas 1960,” was commissioned by the State Department in 2013. Now, however, the current admin calls it “very woke” and claimed it depicted a “lesbian picnic,” according to The New York Times. It has been taken down from the embassy and, last month, the department suggested selling the painting.

Well, if they’re selling, Wiley might be buying. In a new story in the Times, Wiley says,  “If the administration is not particularly interested in the work, bring it home. Let me have it.” He adds, “It was a really successful painting and it is a shame it was so little understood.” As for why Wiley thinks he’s being singled out by the administration, he says, “I just happen to be the guy who painted Obama. That is the elephant in the living room.” (A State Department spokesperson eventually claimed that the painting may have been taken down because of 2024 claims of sexual assault by the artist, which he has denied.) Wiley also suggests the characterization of the painting was potentially homophobic and adds, “It says a lot about panic and fear, and about creating a specific type of narrative surrounding queer people and people of color.” He has written a letter formally asking for the opportunity to buy the painting back, and hopefully he gets it before it’s treated like a sculpture outside of a once-esteemed performing arts institution. 

 
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