The Wonder of Amy Sherald

Ordinary Black life is extraordinary in the artist’s first major mid-career museum survey. 

By Rebecca Carroll

Last month, The New Yorker featured a breathtaking portrait on its cover by celebrated Black American artist Amy Sherald. First painted in 2014 and titled “Miss Everything (Unsuppressed Deliverance),” the portrait of a young Black woman wearing a bright red hat is the same piece Sherald later submitted in a competition at the National Portrait Gallery. She won the competition, which caught the attention of former First Lady Michelle Obama, who then personally chose Sherald to paint her portrait for the National Portrait Gallery—making the Georgia native the first Black woman artist to be selected for an official presidential portrait. The Obama painting changed the entire trajectory of Sherald’s career, and since then her figurative grayscale portraits have been shown in public and private collections around the world. 

Now, Sherald is having her first major museum survey at The Whitney Museum of American Art, called American Sublime, a title borrowed from the poet Elizabeth Alexander’s book of the same name. I’ve known and admired Sherald for years, and I was thrilled to sit down with her to talk about her work in this truly transcendent exhibition.

Amy Sherald, Miss Everything (Unsuppressed Deliverance), 2014. Oil on canvas, 54 × 43 × 2 1/2 in. (137.16 × 109.22 × 6.35 cm). Private Collection. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde

Rebecca Carroll: The last time we saw each other in person was pre-Michelle Obama portrait, when we randomly ran into each other on the street in Brooklyn. And here we are today to discuss your first solo exhibition at The Whitney. How are you feeling? 

Amy Sherald: I told a friend last week, “I don’t know, I just feel emotional.” And she’s like, “Well, you’re getting used to belonging to the world, and not just to yourself.” Hearing that made me want to cry, and I left her a voice text, and said, “Okay, I’m sitting here holding back tears because I am a thug and I do not like to cry. But that’s exactly what I feel like.”

It’s a lot! The show is also set against a backdrop of political turmoil in America, particularly in regards to race, and actually not dissimilar to what we were experiencing when we last saw each other. At that time, the height of Black Lives Matter, I had written a piece for the LA Times, saying “Even as we see images of what most of us already know, that police violence against Black people in America is occurring with vicious regularity, something remarkable is materializing in its wake. We are also bearing witness to a pronounced moment of Black cultural ascension.” How has your work been impacted by eras of Black cultural ascension versus centuries of Black oppression?

My work was essentially born out of the desire to free myself from a history of oppression, but also in celebration of these eras of enlightenment. What I want the viewer to experience, and I say this in the exhibition [statement], is “the wonder of what it is to be a Black person.” I’m no longer religious, but I speak about this in that language of flesh and spirit—because part of us always has to be activated [in fighting oppression].

Right, exactly. I know you consider yourself as much a storyteller as an artist. As Black storytellers, I feel like we never make anything without parts of each other within us—intergenerationally, ancestrally, futuristically. But when the work goes out into the world and starts to belong to non-Black people, I sometimes feel these waves of protectiveness about it. Do you ever feel that way about your work?

I want the work to belong in the world because it was the only way that I could figure out how to counter whiteness, and the way that everything is saturated with it, comes from it, and evolves around it. My response to that is to make something that’s just as universal, and that can be consumed in the same way, because then [white people] are going to be consuming it in the same way that I had to consume Barbie, and all of these other things.

A pointed example for me was when your portrait of Breonna Taylor was on the cover of Vanity Fair, and it felt so unjust to me that suddenly white people were allowed to look at her in this way that we had seen her all along. Did you feel any conflict about that specific piece?

I didn’t, because of how it started. It started with Ta-Nehisi [Coates], and I trusted him and his vision. Maybe if the call had come from somebody else, then yes, but because it was Ta-Nehisi, no.

Amy Sherald, Breonna Taylor, 2020. Oil on linen, 54 × 43 × 2 1/2 in. The Speed Art Museum, Louisville, Kentucky, Museum, purchase made possible by a grant from the Ford Foundation; and the Smithsonian National Museum of African American History and Culture, purchase made possible by a gift from Kate Capshaw © Amy Sherald. Photograph by Joseph Hyde

To clarify for our readers, Coates was the guest editor for that particular issue of Vanity Fair, and so that makes a difference, for sure. Now that the portrait is part of this exhibition at The Whitney, what has been the broader response to it?  

A lot of people, of all races, are moved to tears by it. After I first finished it, I was really just thinking about how I’ve made this portrait, we’ve photographed it, it’s been on the cover of Vanity Fair, and now it’s in my studio. Now what can it do? I started some conversations, and it ended up being acquired by the National Museum of African American History and Culture. And now there’s a Breonna Taylor Legacy Fellowship and Breonna Taylor Legacy Scholarships for undergraduate students and law school students [at the University of Louisville, in Louisville, Kentucky, where Taylor lived; the fellowships are funded by proceeds from the portrait’s sale]. So if a student is doing anything in regards to social justice, whether their major is political science or art, they have an opportunity to get this scholarship. And then if a student is in law school and wants to work expungement [when a criminal record is erased or made unavailable for public access] cases in Alabama, which pays nothing, then here’s $12,000 to get you through your summer. 

Does the idea that Black artists do work for each other resonate with you?

I feel like we make what we make because we are who we are. My mom told me this story about myself, and it stuck with me because I think my work sits in the world in the same way. [When I was a child] sometimes when we had dinner, I would just randomly get up and walk around the table and touch everybody on their shoulder and say, “I love you.” I would go all the way around, and then come sit down and finish my dinner. I think these portraits are “I love yous” out in the world to affirm anybody who is willing to see past the exterior and go deeper into their experience of what it means to be a human.

I love that story. And what do you experience when you look at your work? 

I feel like the work sits in The Whitney, and there are words on the wall that explain it, but that work is me—somebody who was once a people pleaser and had a problem saying no, someone who doesn't like conflict or confrontation. My personality made that work. 

I would never have looked at your work and thought, “These pieces were made by someone who had a problem saying no.” Are there specific things in the pieces that signal that to you?

I guess that’s where the beauty comes from, because the work doesn’t yell at you. It speaks to you nicely. If you feel uncomfortable in the presence of a Black person, this work will make you think, “Okay, well, maybe I don’t need to grab my purse. I might feel safe in the elevator with this guy.” It speaks to people that way. I went to Catholic school from K through 12, and was always one of two or three Black kids, so I have a lot of patience. I learned a lot of, “Let me explain to you why you can't say that.” Versus my friends that went to all-Black high schools, where it’s just like [gestures taking her earrings off], “Let me tell you…” 

But you feel differently now, right? You’re in a different place. How do you think that will affect your work moving forward?

I’m not sure how the work is going to evolve to match who I am now, which is somebody who’s stronger, who doesn't mind saying no, and will look at you while you feel uncomfortable with my answer. I am excited because everything that I’ve made in this show has been living in my head for 20 years. 

Does it feel like a kind of excavation in that way?

It feels more like a birth than an excavation. When I think about Black American art history and just our legacy within the larger canon, I feel like we don’t or can’t function on the same timeline as everybody else. It still feels like the beginning of something, this moment of myself, Rashid Johnson, Lorna Simpson, and Jack Whitten [all currently having museum shows]. It feels really great despite everything that’s happening. The art world is representing the world that we want to be—the real world right now.

Amy Sherald, Mother and Child, 2016 Oil on canvas, 54 × 43 × 2 1/2 in. (137.16 × 109.22 × 6.35 cm). Courtesy The Blanchard Nesbitt Family. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Joseph Hyde


What happens next for you?

I’m hoping that this show will make it into the National Portrait Gallery without having to make any compromises based on who’s sitting in an office at the White House. And I don’t mean, “Well, if I can’t have this painting of two men kissing and a trans person, then I’m not going to do the show.” I feel like that would be a mistake. I feel like it’s a mistake to step down from boards just because [Trump] wants to take over the Kennedy Center. Now more than ever, I feel like it’s important we be in those rooms and not shutting down the conversation. I think the bigger moment would be the work being in the Smithsonian Institution and people coming there to look at American history and Presidents, and then walking into my exhibition.

Whatever the fate of the work in this show, one of the things that really came through as I was walking through the exhibit, just like the way you used to walk around your family’s dinner table and tell everybody you love them—all of these people are taking care of each other, and I felt tapped on the shoulder and loved by every one of them.

Exactly as you should have felt. 


Why Is Consent Controversial?

 

Ask Indiana lawmakers ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


You Can't Pay Us to Have More Kids

Free daycare, though?? ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


The New Binge Drinkers

Um…is it us? ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


The Secret War on Birth Control

And the not-so-secret broligarchy ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


You Can Live Here, Until You Can't

Plus: a doll for dudes ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


Death By 10,000 Layoffs

 

A major blow to women's health ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


Lessons from an epic 2013 filibuster

Plus, the secret “pink tariff” ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


Good abortion news out of...Alabama?

 

 

It actually happened ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌


Just Let Everyone Play

Women’s leagues, men’s leagues, and an all-gender league? A new book explores the possibilities. 

By Scarlett Harris

In 1902, British figure skater Madge Syers won the silver medal in what was, at the time, an all-men’s World Figure Skating Championships. Until then, women competed only in elite sports perceived as feminine, such as tennis, croquet, and horseback riding, but weren’t explicitly prohibited from competing against men, perhaps because the thought seemed so outlandish. So in 1906, the International Skating Union created the women’s category, which Syers dominated that year and the next, eventually winning gold at the 1908 Olympics.

Olympic champion Madge Syers (via Getty Images)

Syers is widely credited as the reason a “women’s” category in sports competition came to exist—and eventually became the highly lucrative yet highly underestimated women’s leagues of today. Women’s sports are more popular than ever, with viewership rising and even surpassing the men’s league at times, including at last year’s women’s March Madness. Athletes such as Dijonai Carrington, Angel Reese, and Caitlin Clark are now household names. Women’s soccer is the fastest-growing sport in the U.S. and a far more riveting watch than men’s. But—and stay with me here—are sex-segregated leagues the best we can do for gender equality in sports?

In Sheree Bekker and Stephen Mumford’s thought-provoking new book Open Play: The Case for Feminist Sport, the authors argue that women’s sport isn’t necessarily the ultimate feminist goal we’ve been led to believe it is. “It’s rather a form of segregation and control of women to keep them in their own category so that they never beat men or participate on the same footing as them,” charges Bekker, associate professor of health at the University of Bath.

Sex-segregated sports were created so that “women have a chance at winning based on the assumptions that they could never beat men” and to “keep them physically safe in the case of contact sports,” explains Mumford, a philosophy professor at Durham University. “But it’s not really a protected category; it’s a segregated one. Protected categories exist for the protection of those within those categories, whereas segregation exists for the benefit of those outside the segregated group. In other words, the group benefiting is men. “There’s this fear that one day women might actually be able to catch up to and beat men,” Bekker explains. Hence the reason the women’s category was invented in the first place. (Madge Syers, after all, did just that.)

In Open Play, Bekker and Mumford propose the idea of an egalitarian system where competitors are grouped by weight, power, and ability—rather than sex. There are valid concerns that leagues solely based on weight or power may end up suppressing women’s visibility, since, for instance, with basketball, the format would favor men. Still, if Muggsy Bogues was able to keep up with Larry Johnson there’s no reason Sabrina Ionescu couldn’t keep up with Steph Curry. (After all, she already did.)

Steph Curry and Sabrina Ionescu at the 2024 All-Star Weeken 3-Point Contest. Curry would win the game by a single basket in what was dubbed a landmark match. (via Getty Images)

Succeeding at sport threatens the patriarchy.

Arriving at a time when right-wing lawmakers are using the idea of protecting women athletes for their own political goals, Open Play is much-needed food for thought. President Trump’s two-sex executive order barred the vanishingly small number of trans athletes in this country from participating in women’s sports. “Trans women are not dominating women’s sport at all,” says Mumford. “It’s a manufactured scare. It’s almost at the point where being good at sport is grounds to question someone’s gender because it challenges the perception of how a woman ‘should be.’ Succeeding at [sport] threatens the patriarchy.”

Consider, for instance, the case of Algerian boxer Imane Khelif, a cisgender woman who had her gender called into question during the 2024 Paris Olympics after her opponent forfeited, chargingthat Khelif’s punches were too hard. Or think of South African runner Caster Semenya, who was made to undergo sex verification testing in 2009. Sex testing in sports appears perennially throughout history, from the “nude parades” of the 1950s and ‘60s to chromosomal testing, which World Athletics just announced it would be reintroducing. “We’re starting to see the reemergence of the idea of ‘who is a real woman,’” says Bekker.

But ultimately, gender policing in sport isn’t just about politics—it’s also about money.

Imane Khelif (left) after her win against Angela Carini who forfeited just seconds into the fight. (via Getty Images)

Women’s sports get a fraction of the funding, attention, and visibility that men’s sports do. Without sufficient funding, women are working with subpar facilities, which, as the U.S. Women’s National Team argued during their equal pay dispute, can shorten their careers. Under current women’s-league pay conditions, many women athletes also have to work full-time jobs to supplement their paychecks. While elite male athletes are restoring their bodies to squeeze another winning season onto their resume, women like Ilona Maher are running themselves ragged just to keep the lights on. A theory called the 10% gap, which Bekker and Mumford believe to be flawed, posits that men are roughly 10% stronger, faster, and better at sports than women. But “it’s not as if men’s sport is getting 10% more of the funding than women’s sport,” says Mumford. “It’s usually 90% of funding.” Imagine how much better women athletes could perform if they were given access to the degree of training and resources those dollars can buy.

So, would it work for fans? A modern-day Battle of the Sexes might feel like a feminist win, but the rising popularity and viewership of women’s sports could indicate that some people just aren’t interested in watching men compete, regardless of the gender of their opponent. I am a fan of professional wrestling, and while I’m a champion for intergender wrestling and have written about it widely, I still prefer to watch women’s wrestling only. So while a desegregated athletics landscape might be an ultimate goal—at least as an option—for the time being many competitors would likely choose to stay in their current categories.

Non-binary athletes might offer us a glimpse of a more inclusive future, though. USA Gymnastics doesn’t have a specific category for non-binary competitors, and Australian Athletics offers the option to compete in the binary category they feel most comfortable in. And many nonbinary athletes gravitate towards non-traditional sports like roller derby, in which play is often not sex-segregated.

“Non-binary people are showing us the way forward,” Bekker says. “Traditional sports organizations right now are not on top of this and they’re going to lose more people coming into their sport as younger generations, who are more diverse, grow up.”

In the meantime, we’ll have to content ourselves with sportswomen kicking ass in gendered categories—and waiting for the men to be just as interesting to watch.

 


Scarlett Harris
 is a culture critic, author of A Diva Was a Female Version of a Wrestler: An Abbreviated Herstory of World Wrestling Entertainment, and editor of The Women Of Jenji Kohan.