Leah Mann
Leah Mann
The Art of Belonging: Amy Sherald and Calida Rawles Explore Art and Sisterhood
The Art of Belonging: Amy Sherald and Calida Rawles Explore Art and Sisterhood
The AUC Art History and Curatorial Studies Collective hosted its first distinguished lecture on the evening of Thursday, Sept. 3, featuring acclaimed contemporary artists Amy Sherald and Calida Rawles. The talk was moderated by Cheryl Finley, Walton Endowed Professor and Director of the AUC Art History and Curatorial Studies Collective.
Sherald and Rawles are two Spelman and Clark art sisters whose roots date back to their days in the AUC. Calida Rawles is a proud Spelman alumna whose solo museum exhibition, originally organized by the Pérez Art Museum Miami (PAMM), has now traveled to her alma mater's own museum at Spelman.
Titled "Away With the Tides," the exhibition confronts the tension of water as a space of both healing and pain for the Black community, in this case the historically Black neighborhood of Overtown, Miami. The exhibition marked a full circle moment for Rawles, who wasn't permitted to show at the museum during her college years due to the museum not allowing student exhibitions. She's also exhibited internationally at the Berlin Biennale, a major milestone in her global acclaim.
Amy Sherald's story is one of resilience turned into vision. After a heart transplant, she emerged with a renewed outlook grounded in two beliefs: "You can only make it as far as you think you can," and "You must sit in the feelings of success." That mindset thrusted her into her career when she was awarded the Pollock-Krasner Foundation Grant, a vote rightfully attributed to an individual with unshaken faith.
Not long after, she won the Outwin Boochever Portrait Competition, which cemented her place amongst the country's leading portraitists. Then she broke the internet by being selected by former first lady Michelle Obama to paint her portrait as an official commission for the National Portrait Gallery in Washington, D.C. That was a single commission that turned Sherald into a household name overnight.
Sherald and Rawles would not be the women they are today had it not been for the foundation built during their time at the AUC.
"It was an intimate, small department, but it felt like family. Wonderful teachers, I felt close to so many of them," Rawls said.
Despite these two women embarking on separate art journeys, they found time to uplift one another and maintain their friendship. Sherald recalled a time when she and Rawles would sneak into Giles Hall at Spelman College after hours to paint late into the night. Moments like this are a testament to their devotion to their craft and sisterhood. They could have chosen to work alone, but they always sought out each other's companionship and guidance.
Although they are now household names, during their time in graduate school, they were met with unexpected obstacles. For their master's programs, Sherald attended New York University, and Rawles attended the Maryland Institute College of Art.
"I feel like the rejection I got over and over, I got thick skin," said Rawles.
Both women expressed feeling a "culture shock," no longer existing and creating in a space that felt like home. They felt ostracized and oftentimes did not believe they would become the successful painters they are today.
"Getting that foundation and building your confidence was the best thing that happened to me. If you have a good foundation you can survive these moments," said Sherald.
There was no "Plan B," only their dream and how to manifest it into reality.
"Yeah the plan was to be rich and famous, and not work at Magic City," said Sherald, amusingly causing the audience to erupt with laughter.
Sherald and Rawles's unwavering resilience allows them to still create despite the changing landscape of art and technology with artificial intelligence (AI). Sherald continues to work analog and expressed her concern
"It's still kind of weird for me, I don't know how to engage it yet," she said.
In contrast, Rawles has an extensive photography team, utilizes computer monitors, her family, and graphic designers to help bring her paintings to life, expressing that she “wants to embrace technology.”
Even after years of cultivating their own separate practice, Sherald and Rawles's sisterhood continues to inspire their craft."
“You're there for each other, you're loving each other, you're supporting each other. It made it really sweet to have you there as I rise and me there as you rise," Sherald said to her sister.
Echoing this sentiment, Rawles drew on a time when she told Sherald she was working on a painting and had just purchased canvases for it. Never once have these women dimmed each other's light. They have stood in it together, recognizing the importance of protecting and cultivating Black artistry and sisterhood.
Editor’s Note: All quotations in this article were drawn from the Sept. 3 panel discussion hosted by the AUC Art History and Curatorial Studies Collective.
The AUC Art History and Curatorial Studies Collective hosted its first distinguished lecture on the evening of Thursday, Sept. 3, featuring acclaimed contemporary artists Amy Sherald and Calida Rawles. The talk was moderated by Cheryl Finley, Walton Endowed Professor and Director of the AUC Art History and Curatorial Studies Collective.
Sherald and Rawles are two Spelman and Clark art sisters whose roots date back to their days in the AUC. Calida Rawles is a proud Spelman alumna whose solo museum exhibition, originally organized by the Pérez Art Museum Miami (PAMM), has now traveled to her alma mater's own museum at Spelman.
Titled "Away With the Tides," the exhibition confronts the tension of water as a space of both healing and pain for the Black community, in this case the historically Black neighborhood of Overtown, Miami. The exhibition marked a full circle moment for Rawles, who wasn't permitted to show at the museum during her college years due to the museum not allowing student exhibitions. She's also exhibited internationally at the Berlin Biennale, a major milestone in her global acclaim.
Amy Sherald's story is one of resilience turned into vision. After a heart transplant, she emerged with a renewed outlook grounded in two beliefs: "You can only make it as far as you think you can," and "You must sit in the feelings of success." That mindset thrusted her into her career when she was awarded the Pollock-Krasner Foundation Grant, a vote rightfully attributed to an individual with unshaken faith.
Not long after, she won the Outwin Boochever Portrait Competition, which cemented her place amongst the country's leading portraitists. Then she broke the internet by being selected by former first lady Michelle Obama to paint her portrait as an official commission for the National Portrait Gallery in Washington, D.C. That was a single commission that turned Sherald into a household name overnight.
Sherald and Rawles would not be the women they are today had it not been for the foundation built during their time at the AUC.
"It was an intimate, small department, but it felt like family. Wonderful teachers, I felt close to so many of them," Rawls said.
Despite these two women embarking on separate art journeys, they found time to uplift one another and maintain their friendship. Sherald recalled a time when she and Rawles would sneak into Giles Hall at Spelman College after hours to paint late into the night. Moments like this are a testament to their devotion to their craft and sisterhood. They could have chosen to work alone, but they always sought out each other's companionship and guidance.
Although they are now household names, during their time in graduate school, they were met with unexpected obstacles. For their master's programs, Sherald attended New York University, and Rawles attended the Maryland Institute College of Art.
"I feel like the rejection I got over and over, I got thick skin," said Rawles.
Both women expressed feeling a "culture shock," no longer existing and creating in a space that felt like home. They felt ostracized and oftentimes did not believe they would become the successful painters they are today.
"Getting that foundation and building your confidence was the best thing that happened to me. If you have a good foundation you can survive these moments," said Sherald.
There was no "Plan B," only their dream and how to manifest it into reality.
"Yeah the plan was to be rich and famous, and not work at Magic City," said Sherald, amusingly causing the audience to erupt with laughter.
Sherald and Rawles's unwavering resilience allows them to still create despite the changing landscape of art and technology with artificial intelligence (AI). Sherald continues to work analog and expressed her concern
"It's still kind of weird for me, I don't know how to engage it yet," she said.
In contrast, Rawles has an extensive photography team, utilizes computer monitors, her family, and graphic designers to help bring her paintings to life, expressing that she “wants to embrace technology.”
Even after years of cultivating their own separate practice, Sherald and Rawles's sisterhood continues to inspire their craft."
“You're there for each other, you're loving each other, you're supporting each other. It made it really sweet to have you there as I rise and me there as you rise," Sherald said to her sister.
Echoing this sentiment, Rawles drew on a time when she told Sherald she was working on a painting and had just purchased canvases for it. Never once have these women dimmed each other's light. They have stood in it together, recognizing the importance of protecting and cultivating Black artistry and sisterhood.
Editor’s Note: All quotations in this article were drawn from the Sept. 3 panel discussion hosted by the AUC Art History and Curatorial Studies Collective.