As AI art gets more and more sophisticated, how do we tell the difference between a portrait that’s created by a human being – with a soul – and art that’s created by a complex algorithm? And if we can’t tell the difference, will artists be out of a job?

Oxford mathematician Marcus du Sautoy explains how AI art works, and why he thinks code can actually help artists to expand their creative universe.

But there’s one big question that remains: What does AI art tell us about the inner world of AI itself?

See the portraits we discussed:

Edmond de Belamy, published by Obvious Art

The Next Rembrandt, brainchild of Bas Korsten

Kim Sajet, generated by AI

Kim Sajet, by Devon Rodriguez

You can see Prof. Marcus du Sautoy’s ‘Creativity Code’ lecture here.

In this mini episode from our 'Blink' series, Rick Chapman shares stories from photographing elite athletes who have competed in the Olympic Games. The first step, he says, is to put the camera down. The second is not to talk about sports too much.

Rick's ESPY Collection, for ESPN, features 40 celebrity athletes, including boxers, tennis stars and basketball royalty. You can find it here.

See the portraits we discussed:

Venus Williams, black and white

Venus Williams, color

Shaun White, black and white

Shaun White, color

Paris in the early 1900s was a magnet for convention-defying American women. It offered a delicious taste of freedom, which they used to explode the gender norms of their day, and to explore new kinds of art, literature, dance and design. In the process, they became arbiters of modernism.

This episode, we raise the curtain on the National Portrait Gallery’s “Brilliant Exiles” exhibition with curator Robyn Asleson. It features 60 trailblazing women, including the dancer, singer and spy Josephine Baker, and the bookshop owner Sylvia Beach, who took a chance on James Joyce. Also in the lineup: Ada ‘Bricktop’ Smith, whose bustling nightclub became a hub for American jazz musicians, and Romaine Brooks, the painter who reinvented herself, and then reinvented herself again.

The exhibition runs from April 26, 2024, to February 23, 2025.

See the portraits we discussed:

Ada “Bricktop” Smith, by Carl Van Vechten

Josephine Baker, by Stanislaus Julian Walery

Gertrude Stein, by Pablo Picasso

Sylvia Beach, by Paul-Émile Bécat

Romaine Brooks, self-portrait

The National Mall is a great canvas, in part because of all the history embedded there. It’s been a place of protest, celebration and mourning. It also hosts some spectacular monuments. But critic Salamishah Tillet says there is a lot of history missing from the Mall as a commemorative space, like desegregation and the displacement of Indigenous people.

Kim speaks with Salamishah about the ‘Beyond Granite’ exhibition she co-curated on the Mall, and also with Jorge Rodriguez-Gerada, the artist who created the largest portrait ever to go on display there. It was a six-acre composite portrait of several anonymous young men who had one thing in common: They all identified themselves as Americans.

See the artwork we discussed:

Out Of Many, One, by Jorge Rodriguez-Gerada

Of Thee We Sing, by vanessa german

The Soil You See…, by Wendy Red Star

America’s Playground: DC, by Derrick Adams

A globe turned to Haiti. A glove on the ground. A life-size portrait of President Abraham Lincoln contains intriguing details that can be read as a freeze-frame of race relations at the time of his assassination. It also may be the most lifelike depiction of the 16th president— standing to his full height and in full color.

The oil painting by W.F.K. Travers was ‘hidden in plain sight’ for decades at a municipal building in New Jersey. Biographer Ted Widmer played a role in re-discovering the portrait and he speaks with Kim about its place in history.

Travers’ Lincoln is currently on display at the National Portrait Gallery, on loan from the Hartley Dodge Foundation, and courtesy of the citizens of the Borough of Madison, New Jersey.

See the portrait here.

There are not many portrait artists who get recognized on the street, but it happens to Devon Rodriguez all the time.

After quietly honing his skill for a decade, Devon started posting videos of his live drawings of New York City subway commuters to social media. The videos took off, earning him some 50 million followers and placing portraiture in front of a huge new audience.

Kim speaks with Devon about the mentors who had his back, and this new model for showing art— not in museums, but on screens.

See the portraits we discussed:

Kim Sajet, by Devon Rodriguez

John Ahearn, by Devon Rodriguez

“The Rodriguez Twins,” by John Ahearn

María Elena Estrada, by Devon Rodriguez

Devon Rodriguez draws Kim Sajet, Instagram

Copyright law is complicated, especially when it comes to visual art. So there was a lot of fanfare around the Supreme Court’s May ruling involving a celebrity portrait photographer, the pop artist Andy Warhol, and an orange silk screen of the late musician Prince. Would the decision give us some clarity around what’s ‘infringing’ in the world of appropriation art?

Lauryn Guttenplan, former deputy general counsel for the Smithsonian, walks us through some high-profile copyright cases from the past, as well as the Supreme Court’s decision.

See the artwork we discussed:

Obama “Hope” Portrait by Shepard Fairey, original photo by Mannie Garcia

“Canal Zone” Collage by Richard Prince, original photo by Patrick Cariou

“Orange Prince” by Andy Warhol

Prince Portrait by Lynn Goldsmith

Silhouettes were a hugely popular and democratic form of portraiture in the 19th century. So an old ledger book full of cut paper profiles at the National Portrait Gallery caught a conservator’s eye. It promised a rare glimpse at people from all different backgrounds who lived in early America. It also held a surprise: It was laced with poison.

Lizzie Peabody, host of the Smithsonian’s Sidedoor podcast, brings us the story of the book, the man who created it, and the web of overlapping stories tucked inside.

See William Bache’s book of silhouettes here.

Digital artist Amalia Soto, also known by the username Molly Soda, wants to show us how we portray ourselves, or perform ourselves, online. She says the images and videos we upload don’t necessarily lie, but they do pose questions about the ways we curate our lives for unseen others. She also believes there is a lot we don’t actually control when we hit the ‘post’ button. With Glenn Kaino.

See the artwork we discussed:

Who’s Sorry Now? (2017)

Inbox Full (2012)

My Apology (2022)

As AI art gets more and more sophisticated, how do we tell the difference between a portrait that’s created by a human being – with a soul – and art that’s created by a complex algorithm? And if we can’t tell the difference, will artists be out of a job?

Oxford mathematician Marcus du Sautoy explains how AI art works, and why he thinks code can actually help artists to expand their creative universe.

But there’s one big question that remains: What does AI art tell us about the inner world of AI itself?

See the portraits we discussed:

Edmond de Belamy, published by Obvious Art

The Next Rembrandt, brainchild of Bas Korsten

Kim Sajet, generated by AI

Kim Sajet, by Devon Rodriguez

You can see Prof. Marcus du Sautoy’s ‘Creativity Code’ lecture here.

That glass of fine wine you’re enjoying so much.. What if you were told it came from a box? Would it taste different?

According to art fraud investigator Colette Loll, yes, it would. Colette draws on brain science to explain why it’s so easy to be duped by a forged masterpiece, and why even the experts get it wrong sometimes.

See the portraits we discuss:

Francis Patrick Garvan, by de Philip de László

Elmyr de Hory, in the style of Philip de László

The blockbuster Oppenheimer movie focuses on two portrayals of J. Robert Oppenheimer. One is the famous physicist known as the architect of the atomic bomb, and the second is a more vulnerable man, maligned as a communist sympathiser.

Then there’s a third portrait. It makes a cameo in the film and it resides right here at the National Portrait Gallery. Pulitzer-Prize winning biographer Kai Bird, whose book inspired the movie, takes a look with us.

See the portrait we discuss:

J. Robert Oppenheimer, Time magazine cover by Ernest Hamlin Baker

Dolley Madison was eight years old when the Declaration of Independence was signed, and 40 when her husband James became president. In her late 70s she sat for a photograph, becoming the first (former) first lady to do so. Then, this summer, the National Portrait Gallery acquired it.

In this mini 'Blink' episode, Kim speaks with Ann Shumard, senior curator of photographs, to hear how this rare daguerreotype came to light and how the Gallery was able to buy it.

See the photograph here.

Museum director Kim Sajet takes listeners to stand in front of a portrait of Ulysses S. Grant, the revered commander who led the Union Army to victory in the American Civil War. But it’s actually the frame that steals the show.

According to conservator Bill Adair, “The frame gives us information that the painting simply cannot.” In this case, the frame showcases Grant’s major battlefield triumphs. Another, gifted to George Washington by the King of France, tells the story of a political marriage.

Then, Chicana artist Ruth Buentello explains why she frames her portraits in soft, worn fabrics that she scavenges from the linen closet of life.

See the portraits we discuss:

Ulysses S. Grant, by Ole Peter Hansen Balling

King Louis XVI of France, by Charles-Clément Bervic

Gamer Niñas, by Ruth Buentello

Under the Mexican Colchas, Kinship Exhibition, by Ruth Buentello

Season five kicks off Oct. 24, as director Kim Sajet takes listeners into the National Portrait Gallery to stand in front of some of her favorite artwork.

When Gloria Steinem co-founded Ms. magazine, she wanted a cover image that would break completely with the norms of the day. There would be no high-end models and no teasers for makeup tips. Instead, the preview issue featured a goddess with eight arms. And she was blue.

Kim speaks with Gloria and also with the magazine’s first editor, Suzanne Braun Levine, about the ways women had been visually portrayed until their groundbreaking publication hit the newsstands, and how the staff at Ms. worked to turn those stereotypes on their head.

See the portraits we discuss:

Pauline Perlmutter Steinem

Gloria Steinem and Dorothy Pitman Hughes, 1971

Marilyn Monroe

Student Protest

Susan B. Anthony

Ms. magazine preview cover

Gloria Steinem and Dorothy Pitman Hughes, 2013

Dr. Dorothy Andersen solved a vexing medical mystery by identifying cystic fibrosis. But the mystery of her missing portrait remained unsolved.

This week, we're featuring an episode from the Lost Women of Science podcast about a physician who changed the way we understand acute lung and gastrointestinal problems in small children. But if she was such a medical heavyweight, why did her 1963 portrait disappear from Columbia University's Babies Hospital? The answer tells us something about the perils of memorialization.

Washington Post editorial cartoonist Ann Telnaes says her profession serves as a canary in the coalmine for freedom of expression, a kind of oxygen monitor for democracy itself. When cartoonists are ducking for cover, she says, you'd better watch out. She also shares with Kim why she made the jump from Disney animator to thick-skinned political commentator, through drawing. Then Wendy Wick Reaves, who procured stacks and stacks of political cartoons for the National Portrait Gallery, explains why President Nixon with a Pinocchio nose is indeed a form of portraiture.

Find Ann’s work on Twitter, @AnnTelnaes.

See other images we discuss:

Polly Got A Cracker, by Charles Nelan

Anti-Cartoon Bill Defiance

The Watergate Bug, by Patrick Oliphant

The Credibility Gulf Stream, by Draper Hill

The Gulf Stream, by Winslow Homer

Indra Nooyi grew up in a conservative Brahmin household in India, but that didn’t stop her from playing cricket with her brother’s friends, or from joining an all-girl rock band. Years later, when she ascended to the top job at PepsiCo, she would push the boundaries again as one of the few women running a Fortune 500 company.

Nooyi talks to Kim about why she initially shrank from the press when she arrived in the C-suite, and how she wanted to be seen in her own portrait as an American Portrait Gala honoree.

See the portraits we discuss:

Indra Nooyi

Meg Whitman

Anne Catherine Hoof Green

Martha Stewart

From our fellow Smithsonian podcast, Sidedoor, the story of Edmonia Lewis— the first sculptor of African American and Native American (Mississauga) descent to achieve international fame. Her 3,000-pound masterwork, “The Death of Cleopatra,” commemorated another powerful woman who broke with convention… and then it disappeared.

See Edmonia Lewis’s portrait here.

Before cable news and email and Twitter, it was the postal service that transmitted ideas and information across land, sea, and political divides. Kim speaks with National Postal Museum chief curator Dan Piazza about some of the messages that stamps themselves were communicating, including a few asides from Philatelist-in-Chief, Franklin D. Roosevelt.

We also pair some noteworthy stamps to original artwork that lives right here at the National Portrait Gallery.

See the portraits we discuss:

Benjamin Franklin by Duplessis

Franklin’s stamp

Roosevelt and the Little White House

Roosevelt at his desk

Susan B. Anthony, bronze bust

Susan B. Anthony, three cents

Susan B. Anthony, photograph

Susan B. Anthony, fifty cents

Jean Baptiste Pointe du Sable

Benjamin Banneker

José Andrés is the Michelin-starred chef known for jumping into action to feed people affected by hurricanes, wildfires, and most recently the war in Ukraine. But he’s also a huge admirer of a woman whose photograph lives at the National Portrait Gallery– the Civil War nurse Clara Barton. Museum director Kim Sajet talks with Andrés about his call for ‘longer tables,’ and also takes us down the block to Barton’s old digs to see how their stories overlap.

See Clara Barton’s portrait here.

The House committee investigation into the Jan. 6 attack on the Capitol has generated a lot of interest in one of the National Portrait Gallery’s latest commissions -- an official portrait of former President Donald Trump. So we decided to revisit an episode that takes a spin through the ‘America’s Presidents’ exhibition.

Director Kim Sajet digs into the thorny question of what a presidential portrait is meant to convey, especially if the president in question has been impeached. Should it carry the glow of prestige, or the markers of personal failings? Is this gallery hallowed ground, or a place to question power? "If you're in the business of showing these paintings," says Washington Post art critic Philip Kennicott, "you want to send people out a little hungry."

Also featuring former deputy director Carolyn Carr.

See the portraits we discuss here:

President James Buchanan

President Richard Nixon

President George H. W. Bush

President Bill Clinton

President George W. Bush

President Barack Obama

There are not many portrait artists who get recognized on the street, but it happens to Devon Rodriguez all the time.

After quietly honing his skill for a decade, Devon started posting videos of his live drawings of New York City subway commuters to social media. The videos took off, earning him some 50 million followers and placing portraiture in front of a huge new audience.

Kim speaks with Devon about the mentors who had his back, and this new model for showing art— not in museums, but on screens.

See the portraits we discussed:

Kim Sajet, by Devon Rodriguez

John Ahearn, by Devon Rodriguez

“The Rodriguez Twins,” by John Ahearn

María Elena Estrada, by Devon Rodriguez

Devon Rodriguez draws Kim Sajet, Instagram

Atlantic editor Vann R. Newkirk II talks to Kim about the mutability of memory, as seen through two portraits of the abolitionist John Brown. He also explains how a photograph of his mom helped him to appreciate the fragility of democracy in the United States, and why he tries to keep a garden wherever he goes.

See the portraits we discuss:

George Washington Carver

John Brown daguerreotype

John Brown painting

Marylin Thurman Newkirk

Photography and the Civil War crashed into one another, making it affordable for soldiers to have their picture taken before going off to war. What Black soldiers communicated in these images was a desire not just for freedom, but for citizenship. But they didn't always control how their photographs were used.

Drs. Deborah Willis and Rhea Combs talk with Kim about the photographs taken of - and for - Civil War Soldiers. Because it turns out there’s a big difference.

See the portraits we discuss:

Harper’s Weekly special edition

Gordon after his escape

Peter with scarred back

Tintype of soldier

Soldier with painted backdrop

George Takei went boldly where no man had gone before when he broke racial stereotypes to play Mr. Sulu on Star Trek. But he's also lent his celebrity (and his sharp-witted Twitter feed) to a stack of social causes. George traces his activism to a single, searing injustice-- his internment as a Japanese-American during WWII. He was five years old.

See the portraits we discuss:

George Takei as Hikaru Sulu

Wayne Collins

They Called Us Enemy

Takei at Rohwer dedication ceremony

Dr. Chien-Shiung Wu was a towering figure in science whose parity experiment shattered our understanding of the physical world. She enjoyed rockstar status in China, met the pope, inspired an opera and even became a “Jeopardy!” question. But to Jada Yuan, she was grandma.

See the portraits we discuss:

Dr. Wu in the lab

Tsung-Dao Lee, Nobel Laureate

Chen-Ning Yang, Nobel Laureate

Dr. Wu on the forever stamp

Also, check out Jada Yuan’s article about her grandmother here!

Grassroots organizer Dolores Huerta talks to Kim about her first encounter with the deep poverty of California farmworkers in the 1950s, and how she took on the status quo (in a wrinkled sweater) during the landmark Delano Grape Strike. All the time, she fought on two fronts: resisting exploitation and also resisting sexism, sometimes from within the very labor movement she helped to launch.

See the portraits we discuss:

Huerta with ‘Huelga’ Sign

Huerta at Delano Grape Strike

Huerta with Fred Ross

Huerta by Barbara Carrasco

Gloria Steinem and Dorothy Pitman Hughes

Kim Sajet, director of the National Portrait Gallery, examines the stories of people who say “No” to the status quo. Guests this season include Dolores Huerta, who fought chauvinism within the very farmworkers movement she helped to launch, plus chef José Andrés, who has been building resilience “one meal at a time” in battle zones and areas struck by natural disaster. Tune in starting May 17.

Since it was founded over a long lunch in Boston in 1857, The Atlantic has featured presidents and poets, abolitionists and suffragists— men and women set on advancing The American Idea. This episode, Kim takes the magazine’s editor-in-chief, Jeffrey Goldberg, on an ‘Atlantic alumni’ tour, stopping in front of a bust of Martin Luther King Jr. and a life-size painting of Mark Twain.

Their conversation previews an upcoming collaboration between The Atlantic and the National Portrait Gallery that will look at the portraits of yesterday’s disruptors through the lens of today.

See the portraits we discuss:

Harriet Beecher Stowe

Henry Wadsworth Longfellow

Julia Ward Howe

Mark Twain

Martin Luther King Jr.

After having to destroy her family pictures during the Cultural Revolution in China, artist Hung Liu treasures old photographs all the more. In fact, they’re foundational to her work. She has described her portraits like a memorial site for people forgotten to history-- comfort women, farm workers, refugees.

As the Gallery launches a retrospective of her artwork, we trace Hung's life through some of the images she's collected and created, from her rendering of a resident alien card in which she renames herself 'Fortune Cookie,' to her painting commemorating the violent Tiananmen Square crackdown.

See the images we discuss:

https://npg.si.edu/podcasts/Un-forgetting%20History

These last few weeks brought jolting discoveries at residential schools in Canada— unmarked grave sites thought to contain the remains of hundreds of Indigenous children who went missing. The news was a visceral reminder that systemic racism and discrimination can literally bury the past.

So we decided to revisit an episode about a woman who— unlike so many Indigenous people of her time— was celebrated by Colonial America, and actually had a portrait done: Pocahontas.

Curator and author Paul Chaat Smith sifts through what we know, and what we think we know, about this iconic figure.

See the portraits we discussed:

Pocahontas, painting

Pocahontas, engraving

Dr. Ellen Stofan is a planetary geologist who has spent a lot of time looking up at the stars and thinking about life outside our planet. But in this episode, she talks with Kim about the portraits of some of her favorite earth dwellers. Among the trailblazers she highlights: a judge who fought for women's rights and a marine biologist who challenged the way we see ourselves in relation to the natural world.

See the portraits:

Rachel Carson and the Blue Marble Shot

The Four Justices

Althea Gibson

Next in our 'Blink' summer series, Kim speaks with Robyn Asleson, curator of the 'Brilliant Exiles' exhibition, about a dreamy painting that holds a secret code. Edward Steichen's mural assigns a flower to several female friends who planted themselves in Paris's modernist milieu. But where some see jewel-toned beauty, Robyn sees a minefield.

In Exaltation of Flowers, by Edward Steichen

The 1862 painting "Men of Progress" depicts a group of inventors credited with "altering the course of contemporary civilization.” Between them, they found more efficient ways to sew clothing, harvest crops and even send telegraph messages. In fact, the Smithsonian’s first secretary stands in the middle.

But as cultural anthropologist Richard Kurin notes, many people have been left out of this tableau. To mark the Smithsonian’s 175th anniversary, we ask current Sec. Lonnie Bunch to give the painting an update.

See the portraits:

Men of Progress

Solomon Brown

James Smithson

Frederick Douglass

Eleanor Roosevelt

Dorothy Height

Phillis Wheatley was a literary superstar around the time of the American Revolutionary War— a distinction she notched up while writing in bondage. But she never wrote an account of her own experiences, and there are gaps in her story. The Gallery’s Ashleigh Coren and writer Honorée Jeffers ask us to re-imagine her life, drawn in poetry.

See Wheatley’s portrait here.

When the early photographer William Mumler developed his glass plates, he sometimes found a ghost had slipped into the picture. Was he a fraud? A medium? A grief counselor?

Author and curator Peter Manseau explains how Mumler found himself at the crossroads of an emerging technology, and a wave of grief for those lost during the Civil War, and how his spirit photography eventually landed him in court.

See the portraits we discuss:

P.T. Barnum, by the Mathew Brady Studio

‘Cracked-Plate’ Lincoln, by Alexander Gardner

Mary Todd Lincoln, by William Mumler

Choreographer-in-Residence Dana Tai Soon Burgess traces his ‘hyphenated’ background— a journey that begins on a boat from Korea, disembarks at a Hawaiian pineapple plantation, meanders through Latino culture, and then arrives at a martial arts class in New Mexico… organized by Tibetan monks.

Dana also discusses the hyphenated artists featured in two of his favorite portraits at the Gallery. Both were pioneers, both were outsiders, and both had their ‘American-ness’ challenged.

See the portraits:

Michio Ito

Isamu Noguchi

(“Tracings” duet music courtesy of Aaron Leitko.)

Author Rick Atkinson brings to life two men who played outsized roles during the founding of the United States— one a rich slave trader, the other a pamphleteer who died penniless. They both stood for liberty and equality, but their stories illustrate how the democratic ideals written into the Declaration of Independence often clash with historical reality.

See the portraits we discuss:

Thomas Paine, by Laurent Dabos

Henry Laurens, by John Singleton Copley

John Laurens, by Charles Willson Peale

We look at the portraits on our money— the little history lessons we carry around in our pockets. But with such a limited array of people featured, what do our banknotes say about us? First up, curator Ellen Feingold takes us on a tour of our money’s vibrant early designs, including images of children, beloved pets, and George Washington in a toga. Then former Treasurer Rosie Rios tells us how she discovered that women have been missing from our bills for more than a century, and how she campaigned to get Harriet Tubman on the $20 bill.

See the images we discuss:

Sanford Bank (Maine), $2 note

Benjamin Franklin, by Joseph Siffred Duplessis

Martha Washington, copy after Gilbert Stuart

Martha Washington, $1 silver certificate

George Washington wearing a toga, National Bank (New York), $3 note

George Washington, Lansdowne Portrait

“History Instructing Youth,” $1 silver certificate

Indépendence des États-Unis, copy after Jean Duplessi-Bertaux

As the National Portrait Gallery works on its latest commission -- an official portrait of former President Donald Trump -- we take a spin through the ‘America’s Presidents’ exhibition. This episode draws back the curtain on earlier commissions that have drawn controversy and acclaim: a portrait of Bill Clinton with a shadow of scandal painted into it, and the Obama portraits that transformed the museum into a pilgrimage site.

Director Kim Sajet also digs into the thorny question of what a presidential portrait is meant to convey, especially if the president in question has been impeached. Should it carry the glow of prestige, or the markers of personal failings? Is this gallery hallowed ground, or a place to question power? "If you're in the business of showing these paintings," says Washington Post art critic Philip Kennicott, "you want to send people out a little hungry."

Also featuring former deputy director Carolyn Carr.

See the portraits we discuss here:

President James Buchanan

President Richard Nixon

President George H. W. Bush

President Bill Clinton

President George W. Bush

President Barack Obama

Kim Sajet, director of the National Portrait Gallery, draws back the curtain on the artwork that tells the story of the United States— from a presidential portrait with a shadow of scandal hanging over it, to a $3 bill featuring George Washington in a toga. Tune in starting March 23 as Kim chats with historians, journalists and educators to reveal key American figures as the flawed, complex, and at times, unexpectedly relatable human beings they were.

Operatic soprano Renée Fleming has been called ‘the people’s diva,’ performing at key moments in our nation’s story, like when she sang at ground zero after 9/11. For this special episode, she talks with Kim about how music can help us mourn, heal, and celebrate as we send off a particularly tough 2020 and nestle into the holidays. She also describes a few portraits that hold special meaning for her, because portraits are what we’re all about!

See the portraits we discuss:

Renée Fleming by Annie Leibovitz is here.

Denyce Graves and Marc Mostovoy by Nelson Shanks is here.

Leontyne Price by Bradley Phillips is here.

Special thanks to Dr. Lonnie Bunch, Secretary of the Smithsonian, and the Smithsonian National Board for making this podcast possible.

Born just two years after the abolition of slavery, Madam C.J. Walker built a business empire by marketing her homemade haircare formula to the black community. Along the way, she became the United States’ first female self-made millionaire.

Our guests, Janine Sherman Barrois and Elle Johnson, helped bring Walker’s story to millions of viewers in the Netflix limited series, “Self Made.” They discuss Walker’s barrier-busting entrepreneurship, as well as her decision to use her own portrait as part of her brand.

See her trademark photograph here: https://npg.si.edu/object/npg_NPG.2008.20

A globe turned to Haiti. A glove on the ground. This life-size portrait of President Abraham Lincoln contains intriguing details that can be read as a freeze-frame of race relations at the time of his assassination. The oil painting was ‘hidden in plain sight’ for decades at a municipal building in New Jersey, until our guest Ted Widmer helped to re-discover it.

Travers’ Lincoln is currently on display at the National Portrait Gallery, on loan from the Hartley Dodge Foundation, and courtesy of the citizens of the Borough of Madison, New Jersey.

See the portrait, by W.F.K. Travers, here.

We look at a black and white photograph that encapsulates a very American story— about the magic that can happen when you throw together people from different backgrounds and languages and… beats. The concoction that resulted is known as Latin Boogaloo.

Eduardo Díaz, director of the Smithsonian Latino Center, explains how one of the genre’s pioneers, Joe Bataan, got his degree in ‘streetology’ and went on to establish himself as the King of Latin Soul.

See the photo we discuss on our website:

https://npg.si.edu/podcasts/joe-bataan

The sitter was rapper LL Cool J. The artist was Kehinde Wiley, who's made a name for himself by portraying African American men and women in regal poses taken from art history.

In this episode, LL Cool J recounts what happened when they met, and why he turned to a 100-year-old masterpiece depicting the richest person in modern history-- John D. Rockefeller Sr.-- for his power pose. He also discusses how portraits can help build new paradigms in the face of systemic racism.

Stepping in to complete the picture, art historian Richard Ormond draws a line from a gilded age of luxury and elegance to a celebration of hip hop royalty.

See the paintings we discuss here:

https://npg.si.edu/podcasts/rockefeller-pose

As a portrait artist, Robert McCurdy has painted some of the most famous and visionary people of our time-- the Dalai Lama, Nelson Mandela, Toni Morrison. But first he tells them, "It's not about you."

The goal, he says, is to create a photorealistic image with no expression and no implied past or future, so the viewer and the subject can simply encounter one another. The true subject, he says, is the gaze.

See the portraits we discuss on our website: https://npg.si.edu/podcasts/robert-mccurdy-portraits

After 'walking away' from slavery, abolitionist Sojourner Truth chose her own name, told her own story at speaking engagements, and sued for her young son's freedom. (She won.) The Gallery’s senior historian, Gwendolyn DuBois Shaw, says there’s something else she took control of— her portrait.

You can see the carte de visite we discuss here: https://npg.si.edu/object/npg_NPG.79.209