Amy Sherald is an artist renowned for her unique approach to portraiture, particularly in how she navigates the complexities of race and identity through her work. Her exhibition has sparked conversations that often reveal the underlying tensions associated with the "white gaze." The term refers to the societal tendency to view the world through a white lens, influencing how people of color are perceived and represented. This essay will explore Sherald's artistic technique and the implications of her work in the context of the white gaze, drawing on a personal experience that underscores these themes.

To Tell Her Story You Must Walk in Her Shoes (2022).

While attending the Amy Sherald exhibition at the San Francisco Museum of Modern Art, I experienced a thought-provoking interaction with an older white woman that highlighted the complex themes of colorism and representation within the realm of art. Without introducing herself or exchanging pleasantries, she approached me, her expression filled with judgment and confusion. The first words she spoke, while examining the hue of my bare hand, were, “May I ask you something? You are a woman of color to some extent. What is your opinion on her portrayal of skin tones?” Initially taken aback by her phrasing, I needed a moment to collect myself and respond thoughtfully. “Are you referring to the grayscale?” I inquired. “Yes,” she replied, her tone somewhat frantic. “I believe that black individuals should be depicted in black; the gray is unappealing.” She continued to voice her dissatisfaction with Sherald's representation of skin tones. Her comments were striking, revealing a limited perspective on racial identity and the nuances of colorism. Not only was she critical of Amy’s artistry, but she also made assumptions about my skin tone and its relation to my identity as a black person, suggesting that my lighter complexion somehow made me black “to some extent.” This interaction could have easily escalated had I not chosen to respond with a sense of higher awareness. Acknowledging that the woman was at least seventy-five years old, I was determined not to let this encounter mar the enjoyable day I had planned at the museum. Despite my initial shock, I opted to engage her, understanding that art often provokes challenging yet essential discussions. I kept my response concise: “Amy uses gray for skin tones to encourage viewers to focus on the humanity of her subjects.” I also gestured toward a nearby video room where a short documentary about Amy was being screened, providing further context about her work. In response, the woman rolled her eyes and bluntly stated, “Well, the people are black, and the gray looks awful.” The interaction prompted me to reflect on the persistent feeling of exclusion that many of us experience in such spaces. I questioned whether her reaction would have been as intense if Amy Sherald were a white artist creating portraits of gray individuals. This contemplation deepened my appreciation for my work within the art community and reinforced my commitment to advocating for Black and Brown artists. Ultimately, it seemed that this woman was less than pleased with the presence of a Black female artist occupying the entire fourth floor of the museum, showcasing fifty portraits of Black individuals.

The concept of the white gaze is crucial in understanding this interaction. It denotes how the default perspective in society is often that of white individuals, leading people of color to navigate their identities and expressions with an awareness of how they will be received by a predominantly white audience. This power dynamic establishes whiteness as the norm, rendering other racial identities as secondary or in need of justification. In this context, Sherald's work becomes a powerful commentary on these dynamics, challenging the viewer to confront their own perceptions and biases.

A Mid-summer Afternoon Dream, 2021

As Soft As She Is, 2022

Sherald's decision to paint her subjects in grayscale is a deliberate choice that complicates the traditional understanding of race and color. In her interviews, she articulates a desire to present her characters as multifaceted individuals, transcending the limitations often imposed by color. By employing grayscale, she removes the immediate associations tied to skin tone and invites viewers to engage with the humanity of her subjects rather than reducing them to mere representations of race. This technique serves as a form of resistance against the color-as-race paradigm, allowing Black figures to occupy space within the historically white portraiture tradition.

In this way, Sherald's art not only challenges the viewer's perceptions but also reclaims agency for her subjects. By focusing on the inner lives and emotions of her characters, she elevates their existence beyond societal stereotypes and expectations. This approach fosters a deeper connection between the viewer and the artwork, encouraging empathy and understanding.

Photo by Olivia Lifungula, Courtesy Hauser & Wirth

The encounter with the older woman at the museum prompted me to once again reflect on the state of humanity as we approach 2025. While I have many white friends and colleagues who are actively engaged in forward-thinking discussions, there remains an urgent need for open dialogue about race, representation, and the intricacies of colorism. Sherald's work is a crucial contribution to this discourse, emphasizing the necessity of acknowledging and dismantling the preconceived notions that arise from viewing art through outdated frameworks.

 During a recent conversation between Amy and one of my favorite authors, Ta-Nehisi Coates, Amy articulated her mission-

“It is about letting go of looking at people looking at me.”

For me, this signifies that as a Black person in these spaces, the emphasis should be on our inner experiences and perspectives rather than external judgments. Focusing on our interiority allows for a deeper exploration of identity and authenticity, fostering a richer understanding of ourselves and our narratives within the art world and beyond.

Amy Sherald: American Sublime

San Francisco Museum of Modern Art

November 16, 2024–March 9, 2025

Whitney Museum New York 

April 9 2025- August 2025

The Smithsonian’s National Portrait Gallery

September 19, 2025 - February 22, 2026