They also often explore relations to power and the self. “T he contemporary revitalization of figure painting in general and portraiture specifically is happening as artists from a range of backgrounds paint poetic and complex portraits that slow down our looking, draw us in to empathize and to consider identity as a construction. Specifically, portraits. She reflected on the recent presidential portrait reveal and spoke on the significance of this particular moment in portraiture. The February reveal of the portraits prompted a sweeping conversation about the artists, their subjects, and this moment in portraiture.ĭana Clancy, Associate Professor of Painting at CFA, spends a lot of time thinking about faces. Amy Sherald, another painter who portrays African-Americans in simple, stylized, colorful fields, captured Michelle Obama’s likeness in a captivating, glamorous portrait in grey against a cool blue background. Barack Obama selected for his portrait Kehinde Wiley, a painter whose stunning portraits of contemporary black individuals reflect the elaborate artistic traditions of high-status, aristocratic portraiture. The Smithsonian National Portrait Gallery unveiled the latest additions to their collections: portraits of President Barack Obama and former First Lady Michelle Obama, eliciting buzz across news outlets and social media. Artists and alumni from the CFA community naturally had some thoughts on the Smithsonian’s latest additions. How often is the national conversation focused on art and artists? Perhaps the latest blockbuster film or surprise album release captures the attention of millions, but the acquisition of two portraits sparking a nation-wide conversation? A rare phenomenon.
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