New York, NY — Prominent artist Kehinde Wiley, renowned for his portrait of former President Barack Obama, is facing allegations of sexual assault from Ogechi Chieke, a fellow artist. The lawsuit, filed on February 28 in New York Supreme Court, arrives just under the wire of a legal loophole closure, targeting an alleged 2007 incident at a New York dining establishment.
This case marks the first judicial test of a growing list of accusations made primarily via social media against Wiley, with previous claims involving other individuals. Yet, unlike those earlier allegations shared on platforms like Instagram, Chieke’s charges are formalized in court documents that detail a distressing encounter which she claims led her to abandon her career in fine art due to the trauma experienced.
According to the filed lawsuit, the incident occurred when Chieke and Wiley were waiting for a table at a restaurant. It is claimed Wiley made unsolicited physical contact with Chieke, allegedly pressing his body against hers, groping her, and making explicit remarks. The shock of these actions, Chieke states, drove her to relocate from New York and pivot away from her professional artistic aspirations.
In response to the accusations, Wiley has categorically denied the incidents, asserting no prior acquaintance with Chieke. He described the lawsuit as a pursuit of financial gain at the expense of his reputation, maintaining his innocence and expressing intentions to vigorously defend himself against these claims.
The legal action by Chieke was enabled by a temporary amendment to New York’s Victims of Gender-Motivated Violence Protection Law. This amendment allowed individuals to file lawsuits regarding gender-based violence incidents that happened any time in the past, a provision that expired the day after Chieke’s filing.
Previously, Wiley’s conduct had been flagged by artists Joseph Awuah-Darko and Terrell Armistead, each alleging sexual assault on social media; claims Wiley disputed as describing consensual encounters. Despite not advancing to legal proceedings like Chieke’s, their accusations have been part of broader concerns that led several institutions to reconsider their affiliations and planned exhibitions with Wiley. Notably, the Minneapolis Institute of Art canceled a scheduled showcase of Wiley’s work, labeling the situation surrounding the artist as “unfortunate.”
The fallout from these allegations underscores a delicate balance in the art community, reflecting on how institutions handle claims of misconduct against prominent figures associated with them. The cases also bring to light the impact of social media as a platform for accusation and defense, reshaping public dialogues around personal and professional conduct in creative industries.
The unfolding legal battle will likely provide a crucial test of the veracity of the accusations against Wiley and the implications for his career should they be adjudicated as credible. As the case progresses, it may also define precedents for how accusations of serious misconduct are treated in high-profile artistic and cultural circles.
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