You’ve probably seen the photos. A young Black man, hair in twisted dreads, wearing distressed jeans and Nike high-tops, sits high atop a massive horse. He’s looking back over his shoulder. The pose is regal. It’s powerful. It’s also a direct shot at the history of monument-making in the American South. The Rumors of War statue isn't just a piece of bronze; it’s a physical argument about who deserves to be remembered in public spaces.
When Kehinde Wiley unveiled this massive work in Times Square back in 2019, it turned heads. People stopped mid-commute. Why? Because we aren't used to seeing "street" style immortalized in the same medium used for generals and emperors. Then it moved to its permanent home in Richmond, Virginia, just blocks away from where the monuments to the Confederacy used to stand. That's when the conversation got really loud.
The Story Behind the Bronze
Kehinde Wiley didn't just pull this image out of thin air. He was visiting Richmond for an exhibition at the Virginia Museum of Fine Arts (VMFA) and saw the monument to J.E.B. Stuart. If you aren't a history buff, Stuart was a Confederate general. His statue featured him in a heroic, "cavalier" pose. Wiley saw that and thought, "What if I replace the general with someone who looks like the people I paint?"
The Rumors of War statue is almost a mirror image of the Stuart monument. The horse's legs are in the same position. The rider's body is twisted in the same way. But the context is completely flipped. Instead of a uniform from a failed rebellion, the rider wears a hoodie and Nikes. It’s about visibility. It’s about taking the language of the oppressor—heroic equestrian sculpture—and using it to celebrate a demographic that was historically excluded from that very language.
Art is rarely just art. In this case, it’s a reclamation. Honestly, it’s kinda wild to see the scale of it in person. It’s 27 feet tall. That’s not a "small gesture." It’s a massive, bronze "I am here."
What Most People Get Wrong About the Meaning
Some folks think the Rumors of War statue is meant to be a specific person. It’s not. Wiley uses "anonymous" models—real people he meets on the street—to represent a broader community. The rider isn't a celebrity or a politician. He’s an everyday person elevated to the status of a hero. This is a recurring theme in Wiley's work, most famously seen in his portrait of Barack Obama, though the vibe here is much more aggressive and monumental.
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There’s also a common misconception that this was a "response" to the 2020 protests. It actually preceded them. Wiley conceived and cast the work well before the height of the Black Lives Matter movement that led to the removal of the Robert E. Lee statue on Monument Avenue. It wasn't a reaction to the statues coming down; it was a proactive statement made while they were still standing. That distinction matters because it shows the artist wasn't just following a trend. He was predicting a shift in the cultural landscape.
The title itself comes from the Bible. Matthew 24:6 mentions "wars and rumors of wars." It’s an apocalyptic reference. It suggests a state of tension, a feeling that something big is brewing. In the context of Richmond, a city that served as the capital of the Confederacy, that title feels incredibly heavy. It’s about the lingering trauma of the Civil War and the ongoing struggle for civil rights.
Why the Location in Richmond Matters
The VMFA is situated on Arthur Ashe Boulevard. For those who don't know, Arthur Ashe was a tennis legend and Richmond native. Renaming the street after him was a huge deal. Placing the Rumors of War statue right outside the museum, on that specific street, was a tactical move.
- It sits on the museum's front lawn.
- It faces the United Daughters of the Confederacy headquarters.
- It serves as a gateway to the city's historic district.
When the statue arrived, the Confederate monuments were still up. For a brief window of time, you could walk from Wiley’s work to the Lee monument. The contrast was jarring. You had the "Old South" represented by men who fought to preserve slavery, and the "New South" represented by a Black man in contemporary clothes. It was a visual clash of eras.
Eventually, the Confederate statues were hauled away. Today, Rumors of War stands as one of the few remaining equestrian monuments in that part of the city, but it carries a completely different energy. It doesn’t feel like a ghost. It feels like a future.
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Technical Details That Impact the Viewer
The statue was cast at UAP (Urban Art Projects). They are the heavy hitters in the world of large-scale public art. To get that level of detail—the texture of the denim, the laces on the shoes, the muscles of the horse—requires insane craftsmanship.
Bronze is heavy. It's permanent. It’s expensive. By choosing this material, Wiley is making a claim for permanence. This isn't a temporary installation or a mural that can be painted over. It’s a 15-ton statement. When you stand under it, you feel the weight. The patina—the color of the bronze—is dark and rich, catching the light in a way that makes the figure seem almost alive.
Public Reaction and Controversy
Not everyone loved it. That’s the nature of public art. Some critics argued it was too "derivative" because it mimics the Stuart statue so closely. Others felt it was a provocation. But honestly? That provocation is the point.
In Richmond, the reaction was surprisingly communal. On the day of the unveiling, it rained. Hard. But thousands of people showed up anyway. There were high school marching bands. There were local leaders. There was a sense of "finally." For a large portion of the city's population, the traditional monuments were a constant reminder of a painful past. Wiley’s work offered a different narrative.
How to See the Rumors of War Statue
If you’re planning a trip to see it, here’s the lowdown. It’s located at 200 N. Arthur Ashe Blvd, Richmond, VA.
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- Go at sunset. The way the light hits the bronze as the sun goes down is incredible.
- Walk around the whole thing. The perspective changes wildly depending on where you stand. From the back, the rider looks like he’s scouting the horizon. From the front, he looks like he’s leading a charge.
- Visit the VMFA inside. The museum is world-class and often has more of Wiley's work or related contemporary pieces. Plus, it's free (for the permanent collection).
The area around the statue is very walkable. You’re in the Museum District, which is full of great cafes and spots to sit and process what you’ve just seen. It’s not just a "quick photo op." It’s a place to linger.
The Global Context of Wiley's Work
Kehinde Wiley isn't just a Richmond phenomenon. He’s a global superstar. His "Black Rock" residency in Senegal and his exhibitions in London and Paris have made him one of the most influential artists of our time.
Rumors of War fits into a larger global conversation about "decolonizing" public spaces. From Bristol in the UK to Cape Town in South Africa, people are questioning who we put on pedestals. Wiley’s contribution to this is unique because he doesn't just pull things down; he builds something new. He uses the "Master’s tools" to build a house that looks very different from the one that came before.
Actionable Insights for Art Enthusiasts
If you want to truly appreciate what’s happening with the Rumors of War statue, don't just look at it as a standalone object.
- Compare the Photos: Look up a photo of the J.E.B. Stuart monument (which is now in storage) and pull it up on your phone while standing in front of Wiley's work. The anatomical similarities are intentional and fascinating.
- Research the "Equestrian Tradition": Understanding why horses were used in art for centuries—symbolizing control, power, and nobility—makes the "hoodie on a horse" image much more radical.
- Check the VMFA Calendar: They often hold talks and community events centered around the statue. Hearing local perspectives adds a layer of depth you won't get from a textbook.
- Support Local Richmond Art: The city has a vibrant mural scene that exploded around the same time the monuments were coming down. Take a street art tour to see how the spirit of Wiley’s work is reflected in the city's neighborhoods.
Basically, the Rumors of War statue is a landmark for a reason. It marks a turning point in how we think about heroes. It’s loud, it’s proud, and it’s not going anywhere. Whether you love it or find it controversial, you can't deny its presence. It forces you to look up. And in a world where we’re usually looking down at our phones, that’s a pretty significant achievement.