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At the fantastic Amy Sherald I caught recently, the curator giving the tour said the artist had the same goal: to show the beauty of Black people existing for ourselves.

Did I mention how much I LOVED this exhibit? 🤩🤩🤩

#AMYSHERALD #BMA #EXHIBIT #BALTIMORE #DMV #Blacksky

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This painting marked a turning point for American artist Amy Sherald in 2018, just after the national attention surrounding her portrait of Michelle Obama. It was the first work she made after that historic commission and one of the first in which her imagined world opened into a full landscape. Sherald said she had wanted for years to place figures in an open field, and the rocket arrived as a symbol of “unlimited potential,” but also as something coded in American culture as white and male. Here, she reclaims that symbolic space. 

Two young Black women stand barefoot in a wide field of dry yellow grass, seen mostly from behind as they hold hands. The woman at right turns her head back toward us, with a calm, direct, slightly questioning gaze. The other looks forward toward a rocket launch in the distance. Sherald paints both figures in her signature grayscale rather than naturalistic skin color, while their clothing carries vivid life. The woman on the left wears a white shirt with a high-waisted blue skirt. The other wears a striped dress in bright bands of pink, orange, yellow, and green, with a white bow at her hair. At the far left, a rocket lifts into the sky, its plume running almost like a vertical white scar or beacon beside them. The horizon sits low, making the sky feel immense and the figures quietly monumental.

The two sitters were not celebrities but women Sherald met through a Baltimore school community, one a teacher and one a graduate, which matters. Everyday Black life, not spectacle, is the center of the picture. Their joined hands suggest solidarity, intimacy, and shared witness. The title stretches between machinery and mystery as well as between earthly limits and mental freedom. Sherald turns the “spaces in between” into a zone of dreaming, self-possession, and possibility for an image of Black womanhood not under scrutiny, but already sovereign.

This painting marked a turning point for American artist Amy Sherald in 2018, just after the national attention surrounding her portrait of Michelle Obama. It was the first work she made after that historic commission and one of the first in which her imagined world opened into a full landscape. Sherald said she had wanted for years to place figures in an open field, and the rocket arrived as a symbol of “unlimited potential,” but also as something coded in American culture as white and male. Here, she reclaims that symbolic space. Two young Black women stand barefoot in a wide field of dry yellow grass, seen mostly from behind as they hold hands. The woman at right turns her head back toward us, with a calm, direct, slightly questioning gaze. The other looks forward toward a rocket launch in the distance. Sherald paints both figures in her signature grayscale rather than naturalistic skin color, while their clothing carries vivid life. The woman on the left wears a white shirt with a high-waisted blue skirt. The other wears a striped dress in bright bands of pink, orange, yellow, and green, with a white bow at her hair. At the far left, a rocket lifts into the sky, its plume running almost like a vertical white scar or beacon beside them. The horizon sits low, making the sky feel immense and the figures quietly monumental. The two sitters were not celebrities but women Sherald met through a Baltimore school community, one a teacher and one a graduate, which matters. Everyday Black life, not spectacle, is the center of the picture. Their joined hands suggest solidarity, intimacy, and shared witness. The title stretches between machinery and mystery as well as between earthly limits and mental freedom. Sherald turns the “spaces in between” into a zone of dreaming, self-possession, and possibility for an image of Black womanhood not under scrutiny, but already sovereign.

"Planes, rockets, and the spaces in between" by Amy Sherald (American) - Oil on canvas / 2018 - Baltimore Museum of Art (Baltimore, Maryland) #WomenInArt #WomensArt #WomanArtist #AmySherald #Sherald #BaltimoreMuseumOfArt #artBMA #BMA #art #artText #BlackArt #AmericanArt #BlackArtist #WomenArtists

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Need to highlight my visit to the #AmySherald exhibit at the Baltimore Museum of Art over the weekend

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Any Sherald, "A Midsummer Afternoon Dream, 2021," private collection; photo: San Francisco Museum of Modern Art. #amysherald #blackhistory #blackculture #africanamerican #americanart #modernart #art #arte #paintings #museum #artgallery

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Pastel and acrylic painting shows green woman with blue hair braided around her head. She has purple eyes and wears golden glasses. The background is salmon colored.

Pastel and acrylic painting shows green woman with blue hair braided around her head. She has purple eyes and wears golden glasses. The background is salmon colored.

Portrait of Amy Sherald. Born in 1973, Sherald is an American painter best known for her vivid, life-size portraits of African-Americans. She notably did the official portrait of Michele Obama. #art #artsky #painting #painter #traditionalart #humanart #amysherald

She’s a great painter.

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A triptych of three elongated panels with a rounded top and flat bottom, similar to the shape of a cathedral window. Each panel features an individual inside a small, white rectangular structure, the size of an outhouse, raised up on white stilt legs. Each individual leans out of a window onto a small ledge. The people on the left and center seem to look off into the distance and the person on the right raises her hand above her brow in the way that one does to shield eyes from glare when looking into the distance. 

Each of the small houses is topped with a brown pointed roof with a weather vane at the peak. The one on the left is in the shape of a sword fish, the middle is a whale and the one on the left is a dolphin. There is only blue sky behind each structure. Each individual has dark skin, rendered in charcoal gray and wears colorful clothing.

A triptych of three elongated panels with a rounded top and flat bottom, similar to the shape of a cathedral window. Each panel features an individual inside a small, white rectangular structure, the size of an outhouse, raised up on white stilt legs. Each individual leans out of a window onto a small ledge. The people on the left and center seem to look off into the distance and the person on the right raises her hand above her brow in the way that one does to shield eyes from glare when looking into the distance. Each of the small houses is topped with a brown pointed roof with a weather vane at the peak. The one on the left is in the shape of a sword fish, the middle is a whale and the one on the left is a dolphin. There is only blue sky behind each structure. Each individual has dark skin, rendered in charcoal gray and wears colorful clothing.

#AmySherald "American Sublime" is moving to the High Museum of Art in Atlanta in May. The imagery in this triptych is giving me a lot to consider! high.org/exhibition/amy-sherald-a... #Art #BlackArt #painting #OilPainting

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Amy Sherald Sees the Beauty in Everyday Americans Her portraits are currently on display in a solo exhibition that she says represents what America is, was, and could be

"I'm an American storyteller, and these are my stories too"-Amy Sherald
Experience the power of Amy Sherald's portraits in the book Amy Sherald: American Sublime.
#AmySherald #womenoftheyear #americanartist #portraiture #artbooks

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Current mood.
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#barackobama #michelleobama #nationalportraitgallery #kehindewiley #amysherald #artmatters #portrait

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Trans Forming Liberty
2024

Trans Forming Liberty 2024

Post image For Love, and for Country
2022

For Love, and for Country 2022

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I got to see the Amy Sherald: American Sublime exhibition at the Baltimore Museum of Art. It was a <insert intense adjectives here> experience. Here are 2 that stood out to me. I didn't get a pic of American Grit, the one that had me crying in the gallery.
#art #painting #Baltimore #amysherald

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#blackhistorymonth icon: #AmySherald is an American painter who focuses on black images and uses grisaille to illustrate skin tones. Known for painting the official portrait of former Michelle Obama. #fyp #blackhistory

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My son & I went to see the American Sublime exhibit at the Baltimore Museum of Art. Very thought provoking! I loved all the paintings, but especially Amy Sherald’s painting of Alice holding a Pentax K1000 which was also my first camera. #AmySherald #BMA #AmericanSublime #ArtMatters

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A photograph of a man looking at the large painting on an otherwise blank typical gallery setting. The painting itself is a little at an angle and perhaps it wasn’t in retrospect appropriate to photograph it that way. Featuring a black man proudly standing in a relaxed way on the step of a John Deer tractor in its traditional green. Against a bluest of blue skies. The man observing it stands in a relaxed pose, hands in pockets I’m assuming in thought. The accompanying prose of the exhibition described the story telling, the influence of American Realism and the depiction of Black Americans and the complexity of American identity. Her work is genuinely fascinating. Notable that the work isn’t in fact framed at all.

A photograph of a man looking at the large painting on an otherwise blank typical gallery setting. The painting itself is a little at an angle and perhaps it wasn’t in retrospect appropriate to photograph it that way. Featuring a black man proudly standing in a relaxed way on the step of a John Deer tractor in its traditional green. Against a bluest of blue skies. The man observing it stands in a relaxed pose, hands in pockets I’m assuming in thought. The accompanying prose of the exhibition described the story telling, the influence of American Realism and the depiction of Black Americans and the complexity of American identity. Her work is genuinely fascinating. Notable that the work isn’t in fact framed at all.

A God Blessed Land (Empire of Dirt) by Amy Sherald 2022 as part of the American Sublime Exhibition (2025) at The Whitney whitney.org/exhibitions/...

#AlphabetChallenge #WeekFForFramed #Photography #Fotografia #EastCoastKin #Art #AmySherald

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My mom and me on her 74th birthday on 27 June 2025 in front of the Michelle Obama portrait at the Amy Sherald: American Sublime exhibition at the Whitney Museum in NYC. So that’s four heroes represented in one shot: My mom, Michelle Obama, Amy Sherald — and me! I am also one of my heroes. I am dope af.

My mom and me on her 74th birthday on 27 June 2025 in front of the Michelle Obama portrait at the Amy Sherald: American Sublime exhibition at the Whitney Museum in NYC. So that’s four heroes represented in one shot: My mom, Michelle Obama, Amy Sherald — and me! I am also one of my heroes. I am dope af.

“Some are born great, some achieve greatness, and some have greatness thrust upon them.”

#TwelfthNight
#ShakespeareSunday
#MichelleObama
#BlackSky
#BlackHistoryMonth #BHM
#AmySherald #AmericanSublime
#ArtSky #BlackArt #BlackArtSky
#BlackArtMatters
#RepresentationMatters
❤️🖌️💚🙏🏾🖼️🖤✊🏾🎨

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Amy Sherald - American Sublime at the Baltimore Museum of Art
#art #modernart #baltimoremuseumofart #amysherald #transformingliberty

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Artist Amy Sherald: The 60 Minutes Interview
Artist Amy Sherald: The 60 Minutes Interview YouTube video by 60 Minutes

youtu.be/KcKNiEIVx1A?... #60Minutes #AmySherald

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Her exhibition, American Sublime, celebrates identity, strength, and storytelling through color, emotion, and grace, a homecoming that honors both the artist and the city that shaped her. 🎨

www.washingtoninformer.com/amy-sherald-...

#AmySherald #AmericanSublime #BaltimoreArt #BMA #BlackArtists

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Amy Sherald reimagines Black subjects in settings historically reserved for affluent WASPs. Kehinde Wiley places Obama surrounded by lilies against classical tradition. My essay on a synthesis of both artist :
krishinasnani.substack.com/p/american-s...
#AmySherald #KehindeWiley #BlackArt

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After Smithsonian controversy, Amy Sherald opens to fanfare in Baltimore Baltimoreans flocked to opening day of “American Sublime,” the exhibition Amy Sherald removed from the National Portrait Gallery this summer.

Amy Sherald's show opens at the Baltimore Museum of Art. It was supposed to be at the Smithsonian until it caught the eye of the White House censor.

#museums #art #Blackart #censorship #Maryland #culture #fineart #AmySherald

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www.newyorker.com/culture/cove...

#AmySherald - #AmySheraldArt - #LGBTQIA - #LGBT - #TrumpSux 🔥

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Sherald and Mrs. Obama chose the dress, designed by Michelle Smith for the Milly label, that is integral to this portrait. Smith had designed the dress to reference Modern Art, but its pattern also recalls the boldly geometric quilts hand-made by the former slaves of Gee’s Bend, Alabama. Sherald’s art celebrates and elevates African American culture and black identity. Her portraits use greyscale in place of natural skin tones as a nod to early photographs. Mrs. Obama is a highly accomplished woman. She is a lawyer, writer and, as the first African American First Lady of the United States, a vocal advocate for healthy families, service members and girls’ educational opportunities. Sherald’s portrait of the First Lady is timeless and elegant. In person, this portrait is monumental and powerful.

Sherald and Mrs. Obama chose the dress, designed by Michelle Smith for the Milly label, that is integral to this portrait. Smith had designed the dress to reference Modern Art, but its pattern also recalls the boldly geometric quilts hand-made by the former slaves of Gee’s Bend, Alabama. Sherald’s art celebrates and elevates African American culture and black identity. Her portraits use greyscale in place of natural skin tones as a nod to early photographs. Mrs. Obama is a highly accomplished woman. She is a lawyer, writer and, as the first African American First Lady of the United States, a vocal advocate for healthy families, service members and girls’ educational opportunities. Sherald’s portrait of the First Lady is timeless and elegant. In person, this portrait is monumental and powerful.

October's theme: Fabulous Gowns in Art
AMY SHERALD (born 1973), “First Lady Michelle Obama”, 2018. National Portrait Gallery, Washington DC.
#arthistory #art #MichelleObama #AmySherald #portrait

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This is such a great interview. #art #painting #AmySherald

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Check the most recent edition of @theatlanticpr.bsky.social with a three-four page, inside cover, spread of #AmySherald magnificence. #BlackArtistry

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Artist Amy Sherald: The 60 Minutes Interview
Artist Amy Sherald: The 60 Minutes Interview YouTube video by 60 Minutes

www.youtube.com/watch?v=KcKN...
Artist Amy Sherald: The 60 Minutes Interview
#amysherald #art #artworld #blackamericans #realism
#breonnataylor #americansublime #bobartlett #inspiration
#americanrealism #triathlon #hearttransplant #KristinLinSmith #Love

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‘I Don’t Think There’s Anybody More Patriotic Than A Black Person’: Artist Amy Sherald Declares Amid Smithsonian Censorship Scandal When Amy Sherald, the artist who painted Michelle Obama’s iconic portrait, pulled her blockbuster American Sublime retrospective from the Smithsonian this summer,… The post ‘I Don’t Think There’s Anybody More Patriotic Than A Black Person’: Artist Amy Sherald Declares Amid Smithsonian Censorship Scandal appeared first on Shine My Crown.

‘I Don’t Think There’s Anybody More Patriotic Than A Black Person’: Artist Amy Sherald Declares Amid Smithsonian Censorship Scandal: When Amy Sherald, the artist who painted Michelle Obama’s iconic portrait, pulled her blockbuster… #AmySherald #Smithsonian #Censorship #AmericanArt #BlackArtists

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Painter Amy Sherald on her remarkable career, her work, and why she canceled her Smithsonian exhibition American Realist portraitist Amy Sherald showed Anderson Cooper her evocative "Ecclesia (The Meeting of Inheritance and Horizons)," a triptych that is much larger in scale than earlier paintings.

#Painter #AmySherald on her remarkable career, her work, and why she canceled her #Smithsonian exhibition
60-minutes-overtime
By #AndersonCooper, #GrahamMessick, #AlexOrtiz
Updated on: October 19, 2025 / 7:01 PM EDT / CBS News
www.cbsnews.com/news/portrai...

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#AmySherald: I don't think there's anybody more patriotic than a black person.

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@60minutes.bsky.social at least the stories about #AmySherald and the #whistleblower were good... but I'm going to get sick of any trump regime stories real quick...

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A tall Black woman stands against a vivid, turquoise-blue ground mottled with faint, watery red drips. American artist Amy Sherald renders her skin in nuanced grays of soft charcoal, pewter, and silver so that tonal shifts depict her cheekbones, brows, and hands. Her gaze meets ours directly, steady and calm. She wears a short-sleeved, pink blouse scattered with small white polka dots and tied with a large bow at the collar, paired with a plain white skirt. Her bare arms rest alongside her body. Her short natural hair forms a simple silhouette. The composition gives primacy to presence, poise, and style.

Painted soon after Sherald completed her training in Baltimore, this work marks the emergence of key strategies that would define her practice. She had encountered the sitter, a curatorial intern at the Walters Art Museum, and was struck by her height, hairstyle, and thrifted polka-dot outfit: “I saw my story in her,” Sherald recalls. Photographing the model and then translating the likeness to paint, she eliminated place to focus on personhood. The grayscale skin is a deliberate nod to the history of black-and-white photography and self-representation. Sherald refuses to let color stand in for race, inviting viewers to read character, not stereotype. 

The title, lifted from a poem, functions like one of Sherald’s “small poems,” offering a runway into the painting’s psychology: a subject who is impeccably composed yet out of step with rigid social expectations. The speckled blue ground, with its faint reddish drips, signals an earlier phase in Sherald’s evolution, before she moved toward flatter planes of color; nevertheless, the essentials are here: stylish self-presentation, quiet authority, and a reparative re-centering of Black life. Sherald has said her mission is “to put more complex stories of Black life in the forefront of people’s minds and on the walls of museums…to take up space and reclaim time.”

A tall Black woman stands against a vivid, turquoise-blue ground mottled with faint, watery red drips. American artist Amy Sherald renders her skin in nuanced grays of soft charcoal, pewter, and silver so that tonal shifts depict her cheekbones, brows, and hands. Her gaze meets ours directly, steady and calm. She wears a short-sleeved, pink blouse scattered with small white polka dots and tied with a large bow at the collar, paired with a plain white skirt. Her bare arms rest alongside her body. Her short natural hair forms a simple silhouette. The composition gives primacy to presence, poise, and style. Painted soon after Sherald completed her training in Baltimore, this work marks the emergence of key strategies that would define her practice. She had encountered the sitter, a curatorial intern at the Walters Art Museum, and was struck by her height, hairstyle, and thrifted polka-dot outfit: “I saw my story in her,” Sherald recalls. Photographing the model and then translating the likeness to paint, she eliminated place to focus on personhood. The grayscale skin is a deliberate nod to the history of black-and-white photography and self-representation. Sherald refuses to let color stand in for race, inviting viewers to read character, not stereotype. The title, lifted from a poem, functions like one of Sherald’s “small poems,” offering a runway into the painting’s psychology: a subject who is impeccably composed yet out of step with rigid social expectations. The speckled blue ground, with its faint reddish drips, signals an earlier phase in Sherald’s evolution, before she moved toward flatter planes of color; nevertheless, the essentials are here: stylish self-presentation, quiet authority, and a reparative re-centering of Black life. Sherald has said her mission is “to put more complex stories of Black life in the forefront of people’s minds and on the walls of museums…to take up space and reclaim time.”

“Well Prepared and Maladjusted” by Amy Sherald (American) – Oil on canvas / 2008 – Whitney Museum of American Art (New York) #WomenInArt #WomenPaintingWomen #WomenArtists #art #artText #artwork #WomensArt #AfricanAmericanArt #AfricanAmericanArtist #WhitneyMuseumofAmericanArt #AmySherald #Sherald

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#Art: For Love, and for Country (2022)
#Artist: #AmySherald (b. 1973)
#ArtMovement: #Realism #Portraiture #Contemporary #QueerArt
Field: #Painting

#DailyArt #TalkArt #Artsy
#ArtPost #FineArt

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HRC national dinner honors southern artist Amy Sherald - QnotesCarolinas.com At HRC’s National Dinner, artist Amy Sherald received the Ally for Equality Award for centering LGBTQ+ lives in her acclaimed work.

LGBTQ+ NEWS - The acclaimed artist was recognized for advocacy and artwork amplifying LGBTQ+ visibility. Read more at link👇

buff.ly/ANnVkGk

#HRC #AmySherald #LGBTQArt #NationalDinner #Equality #TransRights #QueerVoices #LGBTQNews

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