Amy Sherald finds her people
Amy Sherald’s ‘American Sublime’ Art Captures the Essence of Finding Her People
Amy Sherald finds her people, as demonstrated by Diana Beasley, a 12-year-old from Atlanta, who eagerly visited the High Museum of Art to experience her work. Diana arrived in a sequined pink crown, its message “BIRTHDAY GIRL” clearly visible, and wore braided hair with meticulous care. Her first exposure to Sherald’s art came through school, where she noted the painter’s unique ability to merge realism with a whimsical, cartoonish style. Diana’s favorite piece was the official portrait of former First Lady Michelle Obama, a work that perfectly reflects Sherald’s artistic vision of capturing the essence of Black identity.
Unlike conventional portraits, Sherald’s depiction of Michelle Obama features the former first lady gazing directly at the viewer, exuding confidence and presence. The skin tones, while not rendered in naturalistic brown, are presented in gray, a signature technique in Sherald’s oeuvre. The background—a soft baby blue—contrasts with the black-and-white ensemble adorned with vibrant geometric patterns. Diana described the image as embodying Obama’s determination, as if the former first lady “was fully committed to her role.” The portrait, displayed alongside seating benches for contemplation, became the centerpiece of the “American Sublime” exhibit’s Atlanta debut.
From Washington to Baltimore
Originally set to return to the National Portrait Gallery in 2022, Sherald’s exhibit took an unexpected turn. The Smithsonian had planned to feature her painting “Trans Forming Liberty,” which reimagines the Statue of Liberty with a Black transgender woman at its core, accompanied by a video of public reactions. This decision aimed to “contextualize the piece,” according to the museum. However, Sherald chose to relocate the entire exhibition to the Baltimore Museum of Art instead. The Trump administration’s criticism of the work—calling it “fundamentally strayed from the mission and spirit of our national museums”—highlighted the growing tension between artistic expression and political ideology.
As the “American Sublime” exhibit moved from San Francisco to Baltimore, it mirrored a broader cultural evolution. Sherald’s work, initially seen as a celebration of Black American life, became a form of resistance in the face of policies limiting LGBTQ rights. Sarah Roberts, the curator who brought the show to San Francisco, explained that the exhibit’s journey reflected the artist’s growing influence and the significance of her contribution to American art. The work now finds its place in a national institution, underscoring its relevance beyond regional boundaries.
A Cultural Mirror and Political Statement
The exhibit’s success in Baltimore, drawing over 80,000 visitors, showcased the power of Sherald’s art to connect with diverse audiences. This figure surpassed the attendance of the BMA’s previous most popular show, which had drawn 46,000 visitors. For Robyn Palmore-Amos, who attended the High Museum on the exhibit’s opening day, the experience was deeply personal. She noted that Sherald’s portraits evoke a sense of familiarity, as if the subjects could be her own family members. This emotional resonance is a testament to Sherald’s ability to make the everyday extraordinary.
“She’s portraying that we’re just as American as any other person who fe,” Palmore-Amos said. “The way she captures our stories makes us feel seen.”
The quote highlights how Sherald’s art finds her people by centering Black experiences in a nation often dominated by mainstream narratives. Her reinterpretation of Alfred Eisenstaedt’s iconic “V-J Day in Times Square” photograph, for instance, replaced the white nurse with two Black men sharing a kiss, each holding a sailor hat. This piece, now on display in Atlanta, invites viewers to reconsider the historical role of Black individuals in moments of national pride. By blending the familiar with the symbolic, Sherald’s work continues to challenge and redefine what it means to be American.
