Painter Amy Sherald is displaying new work at the Hauser & Wirth gallery in LA through June 6: The Great American Fact. One thing I really notice in her art now, after watching the excellent documentary Black Art: In the Absence of Light, is how at least one person in her paintings is looking directly at the viewer. Here’s Sherald talking about that in the documentary:
The eyes tell you what’s in the soul and, for me, the people that I paint, they’re no longer themselves in the painting. They are these archetypes that know they are present. These aren’t passive portraits — they’re maybe subversively confrontational, if you will — but it’s definitely a response to a lot of images I saw growing up where our gaze was always averted. Or thinking about the fact that you couldn’t look at a white person in the eye. So, this is my way of nodding my head at that narrative and empowering the image in a way. I like the paintings hung a little lower for that reason so when the viewer walks up, it’s a different conversation. You’re not looking up at it — it’s almost looking directly at you and I think that creates a different kind of sensation.
She also says of her subjects: “It’s important for me that they’re just Black people being Black” and I think that really comes through in this new work. (via colossal)
For the cover of Vanity Fair’s September 2020 issue, guest-edited by Ta-Nehisi Coates, Amy Sherald painted a stunning portrait of Breonna Taylor.
For more than 20 years, Amy Sherald has been putting the narratives of Black families and Black people to canvas. In 2016, she became the first woman and first African American to win the Outwin Boochever Portrait Competition, which led to her painting Michelle Obama for the National Portrait Gallery in 2018. That oil-on-linen portrait was her first commissioned work — until Breonna Taylor.
Taylor is an “American girl, she is a sister, a daughter, and a hard worker. Those are the kinds of people that I am drawn towards,” says Sherald, who is immunosuppressed and has been unable to participate in protests. She calls this portrait a contribution to the “moment and to activism—producing this image keeps Breonna alive forever.”
Sherald’s process typically begins with taking a picture of her subject. Painting Taylor, a person she had never met, who would never be able to sit for her, presented a unique challenge. Sherald took extraordinary care in reimagining Taylor, inflecting her portrait with symbols of the 26-year-old’s life. Sherald found a young woman with similar physical attributes, studied Taylor’s hairstyles and fashion choices, and drew inspiration from things she learned about the young woman — that she had been a frontline worker in the battle against COVID-19; that her boyfriend had been about to propose marriage; that she was self-possessed, brave, loving, loved.
See also Breonna Taylor on the Cover of Oprah Magazine.
Michelle Obama is coming out with a memoir this fall. It’s called Becoming, it’s out on November 13, 2018, and you can preorder it here.
In her memoir, a work of deep reflection and mesmerizing storytelling, Michelle Obama invites readers into her world, chronicling the experiences that have shaped her — from her childhood on the South Side of Chicago to her years as an executive balancing the demands of motherhood and work, to her time spent at the world’s most famous address. With unerring honesty and lively wit, she describes her triumphs and her disappointments, both public and private, telling her full story as she has lived it — in her own words and on her own terms. Warm, wise, and revelatory, Becoming is the deeply personal reckoning of a woman of soul and substance who has steadily defied expectations-and whose story inspires us to do the same.
The image below is Amy Sherald’s portrait of the former First Lady and would make an amazing book cover, no?
Update: The actual cover has been released (pictured at the top of this post), and I hereby respectfully amend my former statement. Sherald’s portrait would still make a good book cover, but in this case simpler is better. The photo perfectly captures the personality & style of the former First Lady, and the text treatment is deceptively clever. You can read the title as “Becoming” or “Becoming Michelle Obama”, which is cool but also plays off the tension that designers have to deal with in deciding whether to emphasize the title or the author on the cover. (For instance, with an author like Stephen King, you emphasize the author’s name while with a sensational title and less well known author, you highlight the title.) In this case, the best decision was to balance them equally — same font, same size, same color — and get some wordplay out of it too. Sneaky great cover. (via @lauraolin)
The Smithsonian’s National Portrait Gallery commissions paintings of each outgoing President and First Lady. The Obamas selected a pair of black artists, Kehinde Wiley and Amy Sherald, to paint their portraits, which were unveiled today. From Colossal:
Wiley’s depiction of President Obama features the artist’s signature style of richly-hued background patterns setting a vibrant symbolic environment for the portrait’s subject. President Obama is surrounded by a carefully selected variety of foliage: jasmine, which represents Hawaii; African blue lilies for his father’s Kenyan heritage; and Chicago’s official flower, the chrysanthemum. For Mrs. Obama’s portrait, Sherald engaged her distinctive combination of depicting skin tone in grayscale, offset by the sharply rendered full-color fabric of Mrs. Obama’s floor-length dress.
Even a cursory glance at other Presidential portraits shows how different the Obamas’ portraits are.
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