Amy Sherald: Portraying American Stories in Grayscale
Amy Sherald’s exhibition “American Sublime” at the Whitney Museum of American Art invites viewers to see her portraits in a different light. Sherald, known for her use of grayscale in depicting Black figures, challenges viewers to look beyond race and focus on the individuality of her subjects.
Sherald’s choice to use grisaille, a painting technique that originated in the late Medieval period, adds depth and structure to her portraits. By painting her subjects in shades of gray, she forces viewers to pay attention to the brushwork and composition of the image rather than just the skin color of the individuals portrayed.
However, some critics question whether Sherald’s grayscale technique limits the richness and depth of her subjects. In her portrait of Michelle Obama, for example, Sherald’s use of grayscale flattens the former first lady’s features, focusing more on her dress rather than her facial expressions. Critics argue that this approach reduces her subjects to templates rather than fully realized individuals.
Despite these criticisms, Sherald’s work has resonated with Black audiences who see themselves represented in her paintings. The exhibition has drawn a diverse crowd, with many Black visitors taking pictures with Sherald’s figures as if they were family members. Sherald’s portraits serve as a form of representation for Black Americans in a society that often overlooks their contributions to American culture.
In a political climate where the arts are under threat, Sherald’s commitment to depicting Black Americans is more important than ever. She recently canceled an exhibition at the Smithsonian Institution’s National Portrait Gallery over concerns of censorship. Sherald’s work challenges the dominant narrative of American history that often erases the stories of people of color.
Through her portraits, Sherald aims to tell American stories that include and celebrate Black people. Her painting of Breonna Taylor, for example, captures the young woman’s essence in a way that goes beyond her tragic death. Sherald’s deliberate styling of Taylor as a magazine cover model highlights the humanity and beauty of her subject, challenging viewers to see beyond the headlines and stereotypes.
Overall, Sherald’s use of grayscale may limit the visual richness of her subjects, but her commitment to representing Black Americans in the art world is commendable. Her portraits serve as a reminder of the diversity and complexity of American identity, challenging viewers to see beyond race and appreciate the individuality of each person portrayed.
