Amy Sherald's works are simple—rather than being overwhelmed by eccentric and complex details, her paintings focus on the stories they tell. Sherald’s “American Sublime” exhibition at The Whitney takes us through her 50 portraits chronologically, making it easy to see her evolution as an artist.
Sherald is no stranger to capturing the spectacle, having completed portraits of former First Lady Michelle Obama (2017) and Breonna Taylor posthumously, who was unjustly killed by Louisville police (2020). The majority of her work, however, focuses on the personification of everyday Black Americans–stories that often go untold.
The concept of Americana is often considered one-dimensional, a way to display patriotism for the United States. It portrays an idealized image of our country that many do not experience. Sherald is able to redefine Americana through her work by showing the realities of Black America.
Perhaps her most apparent example of this is with For Love, and For Country (2022). Sherald takes the traditional American trope of a sailor returning from war—typically represented by a white heterosexual couple—and replaces it with two Black men. The portrait also serves as a commentary on the recent attacks from the Trump administration against LGBTQ individuals serving in the United States Military.
Humanization also plays a key role in Sherald’s work—what makes the portraits stand out is how each person is created to blend into society. The teenage boy’s striped hoodie and cartoon shirt in Innocent You, Innocent Me (2016) could be seen on any American teenager, making him personable, someone you’ve seen before. The ice cream he holds could indicate that he is indeed a child, perhaps a critique of the adultification of young Black men in America.
Sherald’s portraits are rarely seen smiling, but the mood of her work does not come off as grim; rather, it suggests the serious reality of the Black American experience.