When you visit the exhibition Holding Ground: Artists’ Books for the National Museum of Women in the Arts, on view through October 20, take a moment to explore a painting newly nestled amid the intricate and inspiring artists’ books. Examine the figure’s posture, facial expression, attire, and surroundings. What strikes you? How would you describe the colors that you see? How might this person be feeling? What questions would you pose if you could?
![In this painted portrait, a woman with dark skin tone rendered in grayscale stands with her arms by her side, looking straight at the viewer. She is set against a blue background speckled with red, watery drips. She wears a short-sleeved polka-dot blouse with a bow at the collar and a white skirt.](https://nmwa.org/wp-content/uploads/2024/08/Sherald_AT_blog.png)
Something Borrowed
The painting, on loan to NMWA through September, is Well Prepared and Maladjusted (2008), by Amy Sherald (b. 1973). Sherald considers it a pivotal work in her career, and it began with a chance encounter. When Sherald met her subject, the artist was working in Baltimore, and the model was a curatorial intern at the city’s Walters Art Museum. Drawn to her height, hairstyle, and overall look, Sherald chose to depict the woman in the outfit she was wearing that day. According to Sherald, “She was 6’3” and had on this polka-dot outfit from a second-hand store . . . I saw my story in her.” While Sherald painted, a poet wrote about her work as part of a program through the Studio Museum in Harlem. Once they were both done, Sherald found the perfect title for the painting from the poem’s lines.
While at NMWA, Well Prepared and Maladjusted joins Sherald’s They Call Me Redbone, but I’d Rather Be Strawberry Shortcake (2009), a 2012 acquisition currently on view in the museum’s collection galleries. Would it surprise you to know both artworks were inspired by the same woman?
The paintings began with color photographs taken by Sherald, who documented the model in various costumes. When translating the image to painting, the artist included two of her hallmark techniques: she painted the skin in shades of gray, and she removed the background, which focuses viewers’ attention on the figure by eliminating references to time and space. Sherald is often asked, “why gray?,” and she acknowledges that her answer to the question has transformed over the years. In part, it is a reflection on the history of photography. For Sherald, the invention of the camera and the accessibility of black-and-white photography represent a turning point: Black people could create their own images and control their stories widely for the first time.
Well Prepared and Maladjusted shares key qualities with Sherald’s more recent work, but her artistic evolution is clear in subtle shifts, such as a move away from the textured backgrounds seen here toward flatter planes of color. Still, the core of her work remains the same. Sherald has said, “My mission as an artist really hasn’t changed, to put more complex stories of Black life in the forefront of people’s minds and on the walls of museums. I think that’s what I want to continue to do . . . take up space and reclaim time.”