Advertise on podcast: PORTRAITS

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

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.