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Amy Sherald Painted Breonna Taylor for the Cover of Vanity Fair’s September Issue, Guest Edited by Ta-Nehisi Coates | artnet News

Amy Sherald Painted Breonna Taylor for the Cover of Vanity Fair’s September Issue, Guest Edited by Ta-Nehisi Coates | artnet News

Today, Vanity Fair revealed the cover of its September issue: an elegant portrait of Breonna Taylor, painted by Amy Sherald. 

Taylor, who was shot by police officers in her own Louisville, Kentucky home this March, is shown in a swaying, aquamarine dress against a background of the same hue. She stands with her hand on her hip, her eyes fixed back at the viewer.

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Presenting Breonna Taylor for Vanity Fair’s September issue, “The Great Fire.” Five months have passed since police killed Breonna Taylor in her own home, a violent crime that our September issue guest editor Ta-Nehisi Coates ascribes to a belief in Black people as a disaster, as calamity. “I don’t know how else to comprehend the jackboots bashing in Breonna Taylor’s door and spraying her home with bullets, except the belief that they were fighting some Great Fire—demonic, unnatural, inhuman.” Coates chose the “The Great Fire” as the theme for the issue, which assembles activists, artists, and writers to offer a portrait of hope in a world where the possibility of a legitimate anti-racist majority is emerging for the first time in American history. “Something is happening,” writes @tanehisipcoates, “and I think to understand it, we must better understand the nature of this Great Fire.” For his cover story, Coates tells Breonna’s story through the words of her mother. Also in the issue: an oral history of the historic days after George Floyd’s death; a portfolio of creatives and visionaries who capture the spirit—and urgency—of the moment; director @ava DuVernay’s conversation with revolutionary Angela Davis; and much more. Read “The Great Fire” at the link in bio now. Painting by Amy Sherald (@asherald).

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“She sees you seeing her,” Sherald told Vanity Fair in a behind-the-cover feature. “The hand on the hip is not passive, her gaze is not passive. She looks strong!”

“I wanted this image to stand as a piece of inspiration to keep fighting for justice for her. When I look at the dress, it kind of reminds me of Lady Justice.”

Sherald employed a woman with similar physical features for the portrait, which is just her second commission after her official portrait of former First Lady Michelle Obama.

The details are carefully considered. Taylor’s dress color in the image is a nod to Taylor’s birthstone, while a gold cross necklace represents her faith. On the subject’s left hand is the wedding ring with which her boyfriend, Kenneth Walker, planned to propose.

“I made this portrait for her family,” said Sherald. “I mean, of course I made it for , but the whole time I was thinking about her family.”

A representative from Sherald’s gallery, Hauser & Wirth, noted that there are no current exhibition plans for the original painting.

Online, Sherald’s treatment was met with mixed reviews.

“The aestheticization of #BreonnaTaylor is unacceptable,” Studio Museum in Harlem curator Legacy Russell wrote on Twitter. “It is not radical to make her image decorative. There is a complex art/history re: decorative concealing violence. Are beautiful images dignity—or justice?”

In another tweet, Russel summed up: “We deserve more than a dignity campaign of the decorative!”

The cover accompanies a feature by Ta-Nehisi Coates—who also guest-edited the issue—made up of texts transcribed from an interview with Taylor’s mother, Tamika Palmer. Photographer LaToya Ruby Frazier illustrated the story with poignant, black-and-white shots of Palmer, Walker, and other figures in Taylor’s life such, as well as pictures of her would-be wedding ring.

Earlier this month, O: The Oprah Magazine also featured a portrait of Taylor painted by 24-year-old self taught Alexis Franklin. It was the first time in the publication’s history that Oprah wasn’t featured.




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