American Sublime
I went back for a second look to see the Amy Sherald exhibition, American Sublime, at the Baltimore Museum of Art.
I hope all are staying warm on the east coast, watching the Olympics and avoiding (but aware of) the racist rhetoric coming from our current president. I wore my flag sweater in pride, protest and joy to go back to see this incredible show at the BMA last week. It’s weird wearing this sweater in public, but I refuse to let our flag be taken over. I am a child of the 70’s, and grew up with a red, white and blue decorated powder room in 1976. My mother wallpapered it herself and I’m so sad I don’t have a photo of it somewhere. Who takes a picture of the bathroom, on film? But it was an epic space with large Stars and Stripes donning the walls. I was raised on Red, White and Blue. I can’t let hate and fear take away what so many fought, broke their backs for and died to build this country. If you know me or have followed me for years, you know my feelings. I adore that my flower friends know how much I love red, white and blue and even made a flower arrangement thinking I’d come into the shop over the Fourth of July weekend. I wrote about it here.
I set the table this past week excited for the Olympics and empathize and appreciate our athletes boldly condemning the violence and hate coming from our shores.
When I first started my career in hospitality, my very first job was at an event firm in Washington, DC called WashingtonInc. Even their branding was red, white and blue. I remember our beloved leader, Ellen Proxmire, telling the story of the branding and how they took the idea of the blue and red band around the business cards from the Olympic’s committee stationery. I learned so much from my time at WInc. It was a much more gentle time in Washington and people who had different views could truly sit down to dinner and have civil conversations. I learned so much and to my mother’s horror was a card carrying Republican during the GW Bush years. Oh how I long for those debates and easier times.
Last week I wanted to go back and see Amy’s show, on my own, to really sit with the paintings, listen to the audio tours, and be with these monuments of American Realism.
Did you catch the Anderson Cooper 60 Minutes interview of Amy Sherald? If not please enjoy the full thirteen minute interview below. As Anderson says, her paintings need to be seen in person. He should know. He owns one! They are larger than life and the skill in which she paints them is mesmerizing. One day I plan to share more about the stories of our friendship with Amy, who we’ve known for nearly 17 years, but for now I wanted to share some insight into a few moments that struck me at this show and how it was designed at our beloved BMA. If you are unfamiliar with the story of why we have the show in town until April 5, 2026, read the details here.
Amy Sherald’s words resonated with so many and this quote means so much during this time in our country:
I am the definition of an American. I have to claim that patriotism, otherwise I’m just handing it over to somebody to define what it means to be American.
To say Eric and I are Amy Sherald groupies is an understatement. We’ve traveled to nearly all of her openings but missed the first opening of American Sublime at SFMoMA in California.
Last April we loved seeing our Baltimore friends in New York at the Whitney opening.
This triptych was a new piece made specifically for American Sublime. When Amy felt the show was going to be censored in DC, the Baltimore Museum of Art invited Amy to host it here in Baltimore. It was an enormous undertaking to get it organized in two months when most large exhibitions can take up to five years to plan. Not surprisingly, it is the most visited exhibition at this museum, breaking all attendance records.
A friend (and top reader!) noticed that these three paintings were switched around at the BMA vs. the show at the Whitney. Do you notice that the figure in green is now on the far right? I missed it back in April and went back to check it out on my visit last week. It makes sense. The previous set up would have had the figure in green looking into the corner of the room (at Anderson’s painting, Handsome), verses gazing at the guests as they first enter the show. The gaze has always been a very important part of these paintings. Most are hung at eye level. They aren’t performative, they are asking the viewer to be with them. And as Amy says in the interview, “They have work to do.” It’s such a powerful, subtle way to invite the viewer into something bigger than the art. Amy is so involved that she had the painting switched. Isn’t that cool?
This video shows the corner with the piece, Handsome, and the entrance for those museum study nerds to see the perspective when you walk in. When I was an intern at The Phillips Collection I remember getting to interview the exhibition designers and learn that these subtle changes transform the experience, and this switcheroo was too cool not to share.
I listened to the audio tours, and eavesdropped on the docent tours. It was hard not to get emotional and tear up at many moments, but this one especially, listening to Denzel Mitchell on the tour. And again below hearing Lady Liberty herself speak! It took everything in my power not to butt in and play docent. I do love talking about art.
We met Arewa in New York and shy as I am, ran up to her to introduce myself and say, “Oh, I know who you are!” Hearing her speak on the audio tour is so incredibly powerful and I encourage all to run and get tickets, come visit Baltimore and see this show before it ends in April. Tickets are $18 for non-members and I bought one a week in advance.
Truly some of the best memories of 2025 were celebrating with Amy at her two openings, dancing until our shins had splints, and our shirts dripped with sweat. Man we love you to bits Amy. Thank you for sharing your light , including us in this walk, and being bold as a true American.
Thank you, Nelle! I loved reading this and hearing your perspective on the show. I'm so glad I was able to experience it at the Whitney Museum last year!