Amy Sherald Named to TIME100 Art List, Reflects on Artistic Integrity and Personal Trials
The acclaimed portraitist discusses her influences, career trajectory, and decision to withdraw a Smithsonian exhibition over artistic differences.
Artist Amy Sherald, known for her striking portraits of prominent Black Americans, has been recognized on the 2026 TIME100 Art List, acknowledging her significant influence on contemporary art. Her work, which often focuses on depicting Black individuals with a particular depth and historical consciousness, has garnered increasing acclaim.
Sherald credits an early encounter with Bo Bartlett's painting "Object Permanence" with inspiring her to focus on representing Black subjects in ways she felt were previously absent from art history. "Art history tells me that I'm elevating my people, but I'm not. That's just the story that's projected onto my storytelling. They're already there," Sherald stated.
Her career experienced a dramatic rise in recognition and financial success. Following a period of personal hardship, including a heart transplant at age 39 and the loss of her brother and father, Sherald's work began to command significant attention. In 2019, a year after the unveiling of her portrait of Michelle Obama, her painting "Innocent You, Innocent Me" sold for $350,000. This was followed by "The Bathers", which fetched $4.26 million at auction just 18 months later. Sherald has described the rapid increase in wealth and fame as challenging, noting public perception that success may not always be earned and the pressure to consistently produce at a high level.
Personal health crises, including her own heart transplant and a similar procedure undergone by her sister, have made Sherald more cautious in her personal life. However, these experiences have not deterred her artistic convictions. In 2025, Sherald withdrew her exhibition "American Sublime" from the Smithsonian's National Portrait Gallery due to concerns over the institution's reaction to her inclusion of a trans woman in the work "Trans Forming Liberty." She stated that deviating from her artistic narrative was not an option. The exhibition was subsequently hosted by the Baltimore Museum of Art, where it set attendance records.