Amy Sherald

Stanford University is the home of interdisciplinary thinking that catalyzes innovation. Artists on the Future, The Komal Shah and Gaurav Garg Artist Conversation Series pairs renowned artists and cultural thought leaders to talk about issues vital to our society. The latest installment is a conversation between figurative painters Amy Sherald and Calida Rawles, who reimagine the representation of Black lives and envision new spaces for Black healing.

The post Baltimore News: $1.25 Million for Derrick Adams’ Waverly Archives, Amy Sherald Establishes Grants, Salt Box Pride appeared first on BmoreArt.

Painter Amy Sherald has given $1 million to the University of Kentucky to establish two student grants named for Breonna Taylor. The money represents the proceeds Sherald obtained by the sale of her 2020 painting of Taylor, who was murdered by Louisville, Kentucky, police on March 13, 2020, after they illegally entered her apartment. The work, originally commissioned for Vanity Fair by author Ta-Nehisi Coates, who was guest-editing the magazine’s issue devoted to Black Lives Matter, was purchased jointly by the Smithsonian National Museum of African American History and Culture in Washington, DC, where it is currently on view, and the Speed Art Museum in Louisville. The painting was prominently displayed at the Speed in last year’s exhibition “Promise, Witness, Remembrance,” organized in Taylor’s honor. Following its sale, which the artist handled personally, Sherald founded a trust whose goal, she said, was “unblock[ing] the challenges historically faced by students pursuing the work of social justice and public service.”

Click here to read the full article. Artist Amy Sherald has given $1 million to the University of Louisville to establish two grant programs in Breonna Taylor’s name. The funds came from the sale of her ethereal portrait of Taylor, which first graced the cover of Vanity Fair. The painting was jointly acquired by the Smithsonian National Museum of African American History and Culture in Washington, D.C., and the Speed Art Museum in Louisville, Kentucky, and is now on view at the former institution. “Nothing can take away the injustice of Breonna Taylor’s death,” the university’s interim vice president for community engagement, Douglas...

HIGH MUSEUM OF ART PRESENTS “THE OBAMA PORTRAITS” TOUR FEATURING PORTRAITS BY ARTISTS KEHINDE WILEY AND AMY SHERALD. ATLANTA, August 25, 2021 — The High Museum of Art presents the portraits of former President Barack Obama and First Lady Michelle Obama by artists Kehinde Wiley and Amy Sherald, respectively, as part of “The Obama Portraits Tour,” organized by the Smithsonian’s National Portrait Gallery. The portraits will be on view Jan. 14 to March 20, 2022, in the High’s Stent Family Wing special exhibition galleries.

Black History Honors salutes Amy Sherald and is sponsored by Nissan. Artist, painter, Amy Sherald, her work has been called timeless. Amy is the first woman to win the Smithsonian Outwin Boochever competition. Her work made it all the way up to the white house. Amy Sherald, an African American...

“When I was a student at Spelman College, my painting instructor was Dr. Arturo Lindsay. He was Panamanian and had started an artist-residency program in this little coastal village called Portobelo, about 90 minutes from Panama City, for the students to visit. It gave us the opportunity to paint outside, to paint the greenery and the ocean, and to set up anywhere. We stayed with Sandra Eleta, an internationally renowned photographer who had a house in the village and was known locally as the Gran Bruja. She was an amazing storyteller. Over the course of my first 24 hours there, I fell in love with the place. It was only my second time on an airplane, and, as a Black woman, experiencing this Afro-Panamanian area was a powerful introduction to the African diaspora. When the Spaniards were transporting enslaved people to the area in the 17th and 18th centuries, they would dock in Portobelo overnight. When they took the enslaved off the boat, they would bring them to this dungeon, this hole that they'd dug, which had a small opening that let in light and air.

The Los Angeles County Museum of Art (LACMA) hosted its 10th annual Art+Film Gala on November 6, 2021, honoring artists Amy Sherald and Kehinde Wiley and filmmaker Steven Spielberg. Co-chaired by LACMA trustee Eva Chow and Leonardo DiCaprio, the event was attended by more than 650 prominent guests from the art, film, fashion, and entertainment industries, among others. This year’s event raised $5 million to support LACMA’s film initiatives, as well as future exhibitions, acquisitions, and programming. Returning once again as presenting sponsor of the Art+Film Gala, Gucci expanded its longstanding and generous partnership with the museum by supporting LACMA’s presentation of The Obama Portraits Tour and the companion exhibition Black American Portraits. Audi provided additional support for the gala for the third year.

For its 10th-anniversary Art + Film Gala this November, the Los Angeles County Museum of Art (LACMA) will honour the powerful work of Kehinde Wiley and Amy Sherald, whose ground-breaking art individually explore notions of race and Black heritage. Wiley and Sherald are the creators of the highly lauded Obama...

The Los Angeles County Museum of Art will honor contemporary artists Amy Sherald and Kehinde Wiley and filmmaker Steven Spielberg at its 2021 Art + Film Gala, the museum is expected to announce Wednesday. As LACMA’s premier fundraiser, the 10th annual event on Nov. 6 will bring together art and...

The Nov. 6 event, presented by Gucci, is once again being co-chaired by Leonardo DiCaprio and Eva Chow. Typically, LACMA’s Art+Film Gala shines a spotlight on each discipline by honoring a standout creative from each space, done in front of a well-heeled crowd of art, entertainment and philanthropy insiders. This year, however, the program is being expanded to hold space for a trio of honorees on Nov. 6: Steven Spielberg will share a stage with prominent artists Amy Sherald and Kehinde Wiley.

Amy Sherald, Kehinde Wiley to Be Honored at LACMA Gala. With their portraits of the Obamas currently travel across the U.S., painters Amy Sherald and Kehinde Wiley will be honored alongside filmmaker Steven Spielberg at the Los Angeles County Museum of Art‘s Art+Film Gala. The Art+Film Gala is one of the biggest museum-organized parties of its kind in the U.S. This year, it is slated to take place on November 6, one day before Sherald and Wiley’s Obama portraits travel to LACMA.

I stood in line for a couple of hours to see the Obama portraits six months after they went on display at the National Portrait Gallery in Washington. This was a few years ago. There were people in line nuzzling copies of the same paintings they were waiting in the 90-degree Beltway heat (which is 190 degrees with Beltway humidity) to stand before. The whole moment felt poised somewhere ...

Catch Sherald's show at the lauded gallery in DTLA's Art District while you still can. The exhibition ends on June 6th. A Midsummer Afternoon Dream by Amy SheraldCopyright: Amy Sherald. Source: hauserwirth.com.

Amy Sherald plumbs the multitudes of Black leisure in The Great American Fact, a series of arresting portraits that are currently on view at Hauser & Wirth Los Angeles. From a woman resting on a bicycle to two surfers readying for the water, the oil-based paintings observe moments of respite and pleasure at a monumental scale, sometimes spanning nearly nine feet across.

We live in between the lines; in between the cracks of black and white. That’s where the bonds are formed. Amy Sherald’s much anticipated exhibition entitled The Great American Fact at Hauser and Wirth does not disappoint. In the vast space of the gallery are five bold, ambitious, meticulously crafted paintings whose scale and narrative are visually compelling. Completed during the pandemic year of 2020, these works are paradoxically part of this politically charged moment but also seek to transcend it. These five paintings are an oasis of calm, serenity and quietude, portraying Black Americans in bucolic and fictionalized landscapes.

Walking into the galleries at Hauser & Wirth Los Angeles right now is like walking into summer. A new suite of just five paintings (three quite large) by Amy Sherald radiate from the broad clean walls, where her subjects pose with sunflowers and bicycles and flowing blue dresses, surf gear, muscle cars, kitten heels and sunshine. It’s a pageant of gloriously ordinary American life. All the people in the paintings are Black; all the simple blue-sky pleasures on offer are universal.

Phillips will inaugurate its new Park Avenue headquarters with a 20th century art evening sale in New York on June 23. Alongside works by Vija Celmins, Brice Marden, and Carmen Herrera, headlining the summer sale is Amy Sherald’s portrait It made sense…mostly in her mind (2011), which is expected to achieve a price of $500,000–$700,000.

This week on The Treatment, Elvis welcomes artist Amy Sherald, whose new exhibit “The Great American Fact” is currently on display at the Hauser & Wirth gallery in downtown Los Angeles. Sherald painted the official portrait of First Lady Michelle Obama and her portrait of Breonna Taylor was the cover of the September 2020 issue of Vanity Fair. Sherald tells The Treatment that her signature blue-green color was in part inspired by the colors she saw in the hospital awaiting a heart transplant. She says she paints what she wants to see in the world and wants her paintings to take up a lot of space. And, Sherald tells The Treatment why she and director Wes Anderson are kindred spirits.

Through June 6, 2021, Amy Sherald, one of America’s defining contemporary portraitists, will unveil new paintings in her first West Coast solo exhibition. On view at Hauser & Wirth’s Downtown Arts District complex in Los Angeles, ‘The Great American Fact’ presents five works produced in 2020 that extend the artist’s technical innovations and distinctive visual language. Sherald is acclaimed for paintings of Black Americans at leisure that achieve the authority of landmarks in the grand tradition of social portraiture – a tradition that for too long excluded the Black men, women, and families whose lives have been inextricable from the narrative of the American experience. Subverting the genre of portraiture and challenging accepted notions of American identity, Sherald attempts to restore a broader, fuller picture of humanity. She positions her subjects as ‘symbolic tools that shift perceptions of who we are as Americans, while transforming the walls of museum galleries and the canon of art history – American art history, to be more specific.’