Amy Sherald: American Sublime

Apr 9–Aug 10, 2025


Exhibition works

5 total
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Two people in sailor hats share a kiss against a blue background. One wears a striped shirt and yellow pants, the other a white shirt and jeans.
Two people in sailor hats share a kiss against a blue background. One wears a striped shirt and yellow pants, the other a white shirt and jeans.

Amy Sherald, For Love, and for Country, 2022. Oil on linen, 123 1/4 × 93 1/8 × 2 1/2 in. (313 × 236.5 × 6.4 cm). San Francisco Museum of Modern Art, purchase, by exchange, through a gift of Helen and Charles Schwab. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde

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Sherald often draws on imagery—a beauty queen, a sailor returning from war, a farmer, a white picket fence—that symbolizes American identity and history. Simultaneously acknowledging and critical of the sustained resonance of such national myths and related ideas of freedom, beauty, and success, her work addresses the absence of Black people from these defining stories and invites reflection on their misrepresentations and omissions, both past and present. The title of this exhibition, American Sublime, hints at this complexity. It invokes Elizabeth Alexander’s 2005 poetry collection of the same title, which considers centuries of African American creativity, history, and culture. At the same time, it nods to Sherald’s interest in the philosophical concept of the sublime—or being overcome by emotion in the face of art or the natural world. As her paintings demonstrate, this same emotional groundswell can be summoned by the American people, in all their range and beauty.

The tender embrace shown here conjures V-J Day in Times Square, the iconic 1945 photograph by Alfred Eisenstaedt of a male sailor kissing a woman. Published in Life magazine, that image embodies the spirit of celebration felt at the end of World War II. In restaging the kiss with a Black gay couple, Sherald reflects on the Black soldiers who returned from the war to a still segregated society, and advocates for a more nuanced understanding of masculinity.

Man in overalls sitting on a green John Deere 820 tractor in a grassy field under a clear blue sky.
Man in overalls sitting on a green John Deere 820 tractor in a grassy field under a clear blue sky.

Amy Sherald, A God Blessed Land (Empire of Dirt), 2022. Oil on linen, 96 1/8 × 130 1/8 × 2 1/2 in. (244.1 × 330.2 × 6.35 cm.) Courtesy the Tymure Collection. © Amy Sherald. Photograph by Joseph Hyde

A God Blessed Land (Empire of Dirt), 2022

Person with pink hair in a blue dress holds a torch with orange flowers, standing against a light pink background.
Person with pink hair in a blue dress holds a torch with orange flowers, standing against a light pink background.

Amy Sherald, Trans Forming Liberty, 2024. Oil on linen, 123 × 76 1/2 × 2 1/2in. (312.4 × 194.3 × 6.35 cm). Courtesy the artist and Hauser and Wirth. © Amy Sherald. Photograph by Kevin Bulluck

Trans Forming Liberty, 2024

Two people holding hands in a field, one in a colorful dress, the other in a white shirt and skirt, watching a rocket launch.
Two people holding hands in a field, one in a colorful dress, the other in a white shirt and skirt, watching a rocket launch.

Amy Sherald, Planes, Rockets, and the Spaces in Between, 2018. Oil on canvas, 100 x 67 x 2.5 in. (254 x 170.1 x 6.35 cm). Baltimore Museum of Art, Purchase with exchange funds from the Pearlstone Family Fund and partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde

Planes, Rockets, and the Spaces in Between, 2018

This painting represents a turning point in Sherald’s work, as evidenced by the near-human scale of the figures and the complexity of the composition. Here, the artist’s view has expanded to include a detailed landscape and two figures, one who seems to be fully aware of the viewer and one who is mesmerized by a rocket taking off in the distance. Since the “space race” of the late 1950s, gathering to watch a rocket launch either in person or on television has become an American pastime and a source of great pride in one of the nation’s most aspirational endeavors.

A woman in a flowing turquoise dress stands confidently against a matching background, with one hand on her hip and a slight smile.
A woman in a flowing turquoise dress stands confidently against a matching background, with one hand on her hip and a slight smile.

Amy Sherald, Breonna Taylor, 2020. Oil on linen, 54 × 43 × 2 1/2 in. (137.2 × 109.2 × 6.4 cm). The Smithsonian National Museum of African American History and Culture, purchase made possible by a gift from Kate Capshaw and Steven Spielberg/The Hearthland Foundation and the Speed Art Museum, Louisville, KY, purchase made possible by a gift from the Ford Foundation. © Amy Sherald. Photograph by Joseph Hyde

Breonna Taylor, 2020

Breonna Taylor was a twenty-six-year-old emergency room technician who was killed in March 2020 by police officers from the Louisville Metro Police Department (LMPD) who forced entry into her home. Her tragic death highlighted the disproportionate levels of police violence enacted against Black Americans.

Vanity Fair magazine commissioned Sherald to create this portrait of Taylor for its September 2020 issue. In preparation, Sherald met with Taylor’s mother, Tamika Palmer, to learn about the person her daughter had been. Drawing on these conversations, Sherald took care to incorporate several symbolic references to Taylor’s life and interests. These include the dress she wears in the painting, which Sherald commissioned from Jasmine Elder, a Black female designer, and the engagement ring on her finger, representative of the love between Taylor and her partner, Kenneth Walker, and the future that was taken from them. Sherald has stated that she made this work to “codify that historical moment, and in honor of all the lives that were lost—specifically, the Black women we lost to police brutality.”



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