of new and monumental works by Amy Sherald will be on display at the gallery in Monaco. Amy Sherald, one Accompanies the exhibition of the same name, which shows at Hauser &Wirth, London from 12 Oct – 23 Dec 2022. Her horizons were expanded at art school, where she recalls the excitement of discovering work by contemporary artists like Jenny Saville, Hank Willis Thomas, Eric Fischl, and Odd Nerdrum—“He was my guy in grad school, I wanted to be like him!”

Next up is academic Kevin Quashie (‘I quote his work often’, Sherald says later, crediting him as the inspiration for her greyscale skintones), who describes, in terms at once more personal and more abstract, the operations of desire, ideology and the aesthetic of what he calls ‘mere beauty’ in the artist’s work. Coates goes in for a more personal look at the artist in an inter-view that eventually, but too slowly, becomes a conversation. It’s biography that is the key to Sherald’s work here. We learn about Sherald’s heart transplant, the role of faith in her life and how important the experience of painting a portrait of Michelle Obama in 2017 was to her career and her sense of being a public figure afterwards. Collectively it’s a little confused. But the illustrations are great.Despite all the changes to her life, Sherald still makes herself available to younger artists in need of a mentor who can shed light on the inner workings of the art world and market. Her easy manner may be partly due to being raised in the south of the US. Or maybe it’s her avid embrace of non-New York City living, a puncturing of shallow requirements for being a “real” artist. Or it might be that Sherald’s just a “giver”, a role she says comes naturally but also one she’s been placed into during various family and personal emergencies. Hauser & Wirth Publishers. Newly commissioned texts include an art historical analysis of Sherald's work The World We Make', is a meditation on, as Sherald says, the fact that 'as we walk beyond what we have been Instead, Sherald offers her sitters the space to communicate their own, new narratives. In A God Blessed Land (Empire of Dirt) , a farmer looks down at us from up high on his tractor. The composition immediately recalls a long history of predominantly white land ownership being honored and recorded in painting and photography.

body of work, she continues this practice while confronting the Western canon through allusions to significant The effect is to give each subject a singular clarity of voice, as our focus zooms in on pose, gesture and other more idiosyncratic identity cues. portraiture, alluding to a reappropriation of this historically Western style of painting. A monumental work entitledSherald always hangs her huge portraits rather low, so that the subject's eye level is equal to that of the visitor. As Smith notes, "This creates the impression of meeting face to face, in an experience of mutual evaluation. With the paintings given plenty of room, they invite close, exclusive looking, a kind of communion." Schjeldahl argues that Sherald "revitalizes a long-languishing genre in painting by giving portraits worldly work to do and distinctive pleasures to impart." Describing Sherald's subjects, Schjeldahl adds: "They can seem mildly interested in how they are beheld - they wouldn't have bothered dressing well if they weren't - but with dispassionate self-possession, attitude-free."

A new monograph for the artist’s Hauser & Wirth show seeks to connect tradition and contemporary sensibility in her work – via Ta-Nehisi Coates and Michelle ObamaAs Sherald says, 'the works reflect a desire to record life as I see it and as I feel it. My eyes search for people who

Amy Sherald, Contemporary Art Museum St. Louis, Missouri, and Crystal Bridges Museum of American Art, Arkansas (2018); Amy Sherald, moniquemeloche LES, New York (2017); Off The Chain: American Art Unfettered, Second Street Gallery, Charlottesville, Virginia (2015). Amy Sherald Group Exhibitions include:Create a portrait of a close friend or family member using mediums such as photography, painting or drawing. What attitudes do you think are expressed through your portrait? What were you trying to capture when you created the portrait? Does the portrait reflect the complexities of the individual’s personality and identity? How so? showing a young child at the top of a slide, both asks us to look positively at future generations whilst Newly commissioned texts include an art historical analysis by Jenni Sorkin, a mediation on the aesthetics and politics of Sherald’s portraiture by Kevin Quashie, and a conversation between the artist and Ta-Nehisi Coates. are and who have the kind of light that provides the present and the future with hope.' The painting 'Kingdom'