Geologist Walter Alvarez was working away on some limestone samples in Gubbio, Italy, when he became intrigued by an odd layer of rock. He was looking at the K-T boundary. Underneath it, there are dinosaur fossils. Above it, there are none. And Walter was about to stumble on the reason why. In this final episode of our science series, we pair a rock sample from the K-T boundary with a unique portrait by Carmen Lomas Garza to tell the story of the dinosaur extinction -- how it happened, why it happened, and who figured it out. With Kirk Johnson, director of the Smithsonian's National Museum of Natural History, and Taína Caragol, curator of painting and sculpture and Latino art and history at the National Portrait Gallery. See the portraits we discussed: Walter Alvarez, by Carmen Lomas Garza Luis Alvarez, Lawrence Berkeley National Laboratory

We have portraits of people in our galleries. But what if you’re a natural science museum? How do you portray a dinosaur?  We talk with Kirk Johnson, Sant Director of the Smithsonian's National Museum of Natural History, about the ways our portrayals of dinosaurs have evolved, from sluggish and lizard-like to warm-blooded, colorful and spry. Then Matthew Carrano, curator of dinosauria, explains how the museum put T. rex into a striking new pose. The trick, he says, is to convey how cool dinosaurs were, without making them seem alien. We also tie in a couple portraits from the National Portrait Gallery's collection: an image of the first person to describe an American dinosaur, and a photograph of the first person to give them the Hollywood treatment. See the portraits we discussed: Joseph Leidy, by Frederick Gutekunst Steven Spielberg, by Gregory Heisler The Nation's T. rex, the Smithsonian's National Museum of Natural History Also recommended: Visions of Lost Worlds: The Paleoart of Jay Matternes, by Matthew T. Carrano and Kirk R. Johnson

This mini 'Blink' episode celebrates the cherry blossoms that are blooming all over Washington D.C. at the moment by taking a closer look at portraits that feature flowers. Kim visits three paintings in the National Portrait Gallery that use specific blooms to convey coded information about the sitter, including the experiences that shaped them and the roles they took on. Sarah Weston Seaton with her Children, by Charles Bird King Barack Obama, by Kehinde Wiley George Washington Carver, by Betsy Graves Reyneau

When William Temple Hornaday's exhibition of stuffed bison went on display at the Smithsonian Institution in 1888, it caused a sensation. Most visitors had never seen this majestic, hulking animal up close. And most probably thought it would be their only chance, since the bison had all but vanished from the wild. Some 140 years later, Kirk Johnson, director of the National Museum of Natural History, realized that the iconic display itself had vanished from the museum's collection. So he went on the road to see what had happened to it. In this episode, we trace the story of how the bison - or American buffalo - were driven right to the edge of extinction, severing a sacred relationship with Native people. Then we track how the species' catastrophic decline, as memorialized in a taxidermy masterpiece, gave rise to the early conservation movement that brought the bison back. With guest Rosalyn LaPier. See the artwork we discuss: William Temple Hornaday, by George Rufus Boynton Hornaday's taxidermy bison display Theodore Roosevelt, by Peter A. Juley Hornaday and Sandy Also referenced: The American Buffalo, a film by Ken Burns

From the Smithsonian's Sidedoor podcast: sorting fact from fiction to find the real Sojourner Truth. As a prominent woman's rights activist and abolitionist, Sojourner Truth gave hundreds of speeches and sold countless images of herself. And yet the words that define her in our popular imagination - "Ain't I a woman?" - were actually made up. Host Lizzie Peabody went looking for the real Sojourner Truth and she found a woman with a much more complicated and fascinating life than any slogan can capture. Guests: Nell Irvin Painter, author of Sojourner Truth: a Life, a Symbol; Edwards Professor of American History Emerita at Princeton University Ashleigh Coren, former content strategist for the Smithsonian's Our Shared Future: Reckoning with Our Racial Past initiative Kim Sajet, director of the Smithsonian’s National Portrait Gallery and host of the Smithsonian's Portraits podcast

We follow a paper trail back in time to learn about the laborers -- some of them enslaved -- who put their backs into the graceful old building that now houses the National Portrait Gallery. When construction began on the building in the 1830s, Washington D.C. was in the midst of a mini building boom as a seat of freedom and democracy. Yet the city also had an active slave trade. By sifting through reams of microfilm and estate records, historian Michael Hussey was able to establish that at least 17 men who worked at this site were enslaved. His next step was to try to sketch a portrait, however faint, of one of their lives.

We remember former President Jimmy Carter through a slightly different lens-- through the eyes of a longtime friend and through the portraits of Carter that are housed here at the National Portrait Gallery. Political aide Jack Watson met Carter 10 years before he became president. He found a farmer in work clothes driving a Chevy and quoting philosophy. Over their long friendship and while serving as chief of staff, Jack came to appreciate Carter as a man who was willing to take "bitter medicine" to do what he felt was right for the country.  Jack describes a huge Polaroid portrait of Carter by the landscape photographer Ansel Adams, and he also explains why a softly lit painting depicting Carter in the Oval Office is not one of his favorites. See the portraits we discussed: Jimmy Carter, by Ansel Adams Jimmy and Rosalynn Carter, by Ansel Adams Jimmy Carter, by Robert Templeton Other portraits in the collection: Jimmy Carter, by Richard Avedon Jimmy Carter, by Alan Reingold (Time magazine) Jimmy Carter, by Andy Warhol

In this mini 'Blink' episode, Kim asks political aide Jack Watson for his thoughts on a couple of Time magazine covers featuring his old boss, former President Jimmy Carter.  One depicts the transition team that helped Carter sift through potential political appointees -- a team that Jack led. The other depicts Carter with his characteristic broad smile, which, Jack says, doesn't tell the whole story. See the artwork we discussed: The Great Talent Hunt, by Jack Davis Jimmy Carter, by Alan Reingold

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. In this episode we revisit our interview with curator Robyn Asleson about the National Portrait Gallery’s “Brilliant Exiles” exhibition, which opened in April. It features 60 trailblazing women, including the dancer, singer and spy Josephine Baker, as well as 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 until Feb. 23, 2025, so there's still time to catch it! 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

Every time a president leaves office they're asked to do something that might not come naturally-- sit still, be quiet and surrender to someone else's work. In other words, they have their portrait painted. The National Portrait Gallery and the White House Historical Association both commission portraits of the outgoing president and first lady. Several of the paintings have become iconic images, stamped on history. Others have been known to stop viewers in their tracks. Some have been unloved.  In this episode Kim and WHHA president Stewart McLaurin compare notes on some of the most storied paintings of first couples in their care. See the portraits we discussed: George Washington (Lansdowne portrait), by Gilbert Stuart John F. Kennedy, by Aaron Shikler Lyndon B. Johnson, by Peter Hurd Lyndon B. Johnson, by Elizabeth Shoumatoff Michelle Obama, by Sharon Sprung Michelle Obama, by Amy Sherald

In 1872, decades before women were legally allowed to vote, Victoria Woodhull made an audacious run for the White House. The press ridiculed her stance on 'free love' and she spent election night in jail. But she had put the first small crack in one of the thickest glass ceilings around. Twelve years later Belva Lockwood, the first woman to argue before the Supreme Court, took another swing at it.  We celebrate Election Day with a look back at some of the first women who dared to run for the highest office in the United States, including Sen. Margaret Chase Smith and Rep. Shirley Chisholm. They ran against long odds, but they had grit and they got the ball rolling. With Smithsonian curator Lisa Kathleen Graddy, and journalism historian Teri Finneman. See the portraits we discussed: Victoria Woodhull, unidentified artist Get Thee Behind Me, (Mrs.) Satin! by Thomas Nast Belva Lockwood, by Nellie Mathes Horne Margaret Chase Smith, by Ernest Hamlin Baker Shirley Chisholm, unidentified artist Further reading: Press Portrayals of Women Politicians, 1870s - 2000s, by Teri Finneman  Belva Lockwood: The Woman Who Would Be President, by Jill Norgren The Woman Who Ran for President: The Many Lives of Victoria Woodhull, by Lois Beachy Underhill No Place For A Woman: A Life of Senator Margaret Chase Smith, by Janann Sherman The Good Fight, by Shirley Chisholm Shirley Chisholm: Champion of Black Feminist Power Politics, by Anastasia C. Curwood

With Election Day just around the corner, we go back in time to figure out how early presidential candidates got their message, and their image, in front of voters. It wasn't easy. Asking directly for people's vote was seen as undignified, so candidates mostly stayed home in the early 1800s. As a result, most Americans didn't know for sure what their candidates looked like, or sounded like. Kim speaks with curator Claire Jerry,  from the Smithsonian's National Museum of American History, about the stream of new technologies-- from printing to photography to radio-- that transformed political advertising and gave candidates a more direct line of communication with the American people. See the portraits and campaign materials we discussed: William Henry Harrison campaign button Abraham Lincoln, by Mathew Brady Abraham Lincoln campaign button Franklin D. Roosevelt at microphone Ronald Reagan poster

We're back! Season six of PORTRAITS hits your feed Oct. 22 with a new slate of shows that use artwork to decode our world. Kim Sajet, director of the National Portrait Gallery, talks with guests about presidential campaigns, scientific discoveries and some of the currents running through today’s cultural landscape. 

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  

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.

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

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

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.

In our 'Blink' summer series, Kim takes listeners behind the scenes for a quick glimpse at some of the goings-on at the National Portrait Gallery. This first mini-episode finds staff in a tight spot. How do they fit a large, priceless work of art into a very old, very historic building with small doors?