#SWIPE::: For those of y’all trippin off of the use of color / visual style in @ASherald’s official portrait of First Lady @MichelleObama, this is an opportunity to get familiar with her practice, artistic choices and the broader possibility that contextual factors are at play when considering fine art. Amy Sherald is well known for using a grayscale to paint skin tones as a way of challenging the concept of color-as-race. ************ “The subjects of Amy Sherald’s paintings have skin the color of charcoal ― an overcast hue that exists outside the spectrum of race as we often categorize it. The grey tone, made from a combination of black and Naples yellow, transforms Sherald’s models from humans to mythical beings, embodying racialized physical attributes while rejecting the primary signifier of race ― one’s flesh. ‘It was an aesthetic decision at first,’ Sherald explained to The Huffington Post. ‘I thought visually it looked fantastic.’ Only later did the decision illuminate a certain freedom. Painting figures with impossibly colored flesh allowed her to explore the stories that had never been told, with subjects ― both real and imagined and sometimes both ― who diverged from the overarching historical narrative of blackness. ‘These paintings originated as a creation of a fairytale,’ she explains in a statement online, ‘illustrating an alternate existence in response to a dominant narrative of black history.’ #myNPG #ArtisSubjective

ijessewilliamsさん(@ijessewilliams)が投稿した動画 -

ジェシー・ウィリアムズのインスタグラム(ijessewilliams) - 2月13日 03時04分


#SWIPE::: For those of y’all trippin off of the use of color / visual style in @ASherald’s official portrait of First Lady @ミシェル・オバマ, this is an opportunity to get familiar with her practice, artistic choices and the broader possibility that contextual factors are at play when considering fine art. Amy Sherald is well known for using a grayscale to paint skin tones as a way of challenging the concept of color-as-race. ************
“The subjects of Amy Sherald’s paintings have skin the color of charcoal ― an overcast hue that exists outside the spectrum of race as we often categorize it. The grey tone, made from a combination of black and Naples yellow, transforms Sherald’s models from humans to mythical beings, embodying racialized physical attributes while rejecting the primary signifier of race ― one’s flesh. ‘It was an aesthetic decision at first,’ Sherald explained to The Huffington Post. ‘I thought visually it looked fantastic.’ Only later did the decision illuminate a certain freedom. Painting figures with impossibly colored flesh allowed her to explore the stories that had never been told, with subjects ― both real and imagined and sometimes both ― who diverged from the overarching historical narrative of blackness. ‘These paintings originated as a creation of a fairytale,’ she explains in a statement online, ‘illustrating an alternate existence in response to a dominant narrative of black history.’ #myNPG #ArtisSubjective


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