Classification
Paintings
Medium
Enamel, oil, acrylic, gesso, coal dust, and glitter on cotton
Dimensions
Overall: 96 × 72 1/8 in. (243.8 × 183.2 cm)
Accession number
98.55
Credit line
Gift of the artist and purchase, with funds from Joanne Leonhardt Cassullo and the Dorothea L. Leonhardt Fund at the Communities Foundation of Texas and the Painting and Sculpture Committee
Rights and reproductions
© Glenn Ligon
Courtesy of the artist and Regen Projects, Los Angeles
Wikidata
Q64528955
Installation photography
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Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024-February 9, 2025). From left to right: Romare Bearden, “The Father Comes Home” from the Bayou Fever series, 1979; Romare Bearden, “Wife and Child in Cabin” from the Bayou Feverseries, 1979; Romare Bearden, “The Herb Woman” from the Bayou Fever series, 1979; Romare Bearden, “The Mother Hears the Train” from the Bayou Fever series, 1979; Robert Duncanson, View of Cincinnati, Ohio from Covington, Kentucky, c. 1851; Mary Lovelace O’Neal, Race Woman Series #7, c. 1990s; Jean-Michel Basquiat, Hollywood Africans, 1983; Emma Amos, Judith Jamison as Josephine Baker, 1985; Kerry James Marshall, Souvenir IV, 1998; Ellsworth Ausby, Untitled, 1970; Lorna Simpson, Momentum, 2011; Kandis Williams, Black Box, 4 points: Horton, Ailey, McKayle contractions and expansions of drama from vernacular –– arms outstretched and entangle, 2021; Jacob Lawrence, Figure Study, c. 1970; Terry Adkins, Other Bloods (from The Principalities), 2012; James Little, Stars and Stripes, 2021; Rashid Johnson, Untitled Anxious Men, 2016; Glenn Ligon, Stranger in the Village #12, 1998. Photograph by Ron Amstutz
From the exhibition Edges of Ailey