Not on view
Date
1998
Classification
Prints
Medium
Linoleum cut and blind embossing on paper
Dimensions
Sheet (sight, irregular): 45 7/8 × 60 1/2 in. (116.5 × 153.7 cm)
Plate (sight, irregular): 35 3/4 × 43 1/8 in. (90.8 × 109.5 cm)
Accession number
2024.294
Edition
LP 4, Ed. 40
Credit line
Gift from the Emily Fisher Landau Collection
Rights and reproductions
© 1998 Kara Walker
Exhibitions
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: Norman Lewis, Phantasy II, 1946; Sam Gilliam, Swing 64, 1964; Bill Traylor, Untitled (Man in a Blue House), date unknown; Ralph Lemon, Bongos and Djembe, 1999; Ralph Lemon, Untitled (On Black music), 2001-07; Thornton Dial, Soul Train, 2004; Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973; Faith Ringgold, United States of Attica, 1971; Wadsworth Jarrell, Revolutionary (Angela Davis), 1972; James Van Der Zee, Marcus Garvey Rally, 1924; Jeff Donaldson, Soweto/So We Too, 1979; Maren Hassinger, River, 1972/2012; Maren Hassinger, River, 1972/2012; Melvin Edwards, Utonga (Lynch Fragment), 1988; Aaron Douglas, Bravado, 1926; Melvin Edwards, Chitungwiza from the Lynch Fragment series, 1989; Aaron Douglas, Flight, 1926; Melvin Edwards, Katura from the Lynch Fragment series, 1986; Aaron Douglas, Surrender, 1970; Melvin Edwards, Cup of? From the Lynch Fragment series, 1988; In vitrine, from left to right: Elizabeth Catlett, I am the Negro Woman, 1947, printed 1989; Elizabeth Catlett, In Harriet Tubman I helped hundreds to freedom, 1946, printed 1989; Elizabeth Catlett, In Sojourner Truth I fought for the rights of women as well as Negroes, 1947, printed 1989; Elizabeth Catlett, In Phillis Wheatley I proved intellectual equality in the midst of slavery, 1946, printed 1989; From left to right: Kara Walker, African/American, 1998; Karon Davis, Dear Mama, 2024; Geoffrey Holder, Portrait of Carmen de Lavallade, 1976; Beauford Delaney, Marian Anderson, 1965; Loïs Mailou Jones, Jennie, 1943. Photograph by Ron Amstutz
From the exhibition Edges of Ailey
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Installation view of Edges of Ailey (Whitney Museum of American Art, New York, September 25, 2024-February 9, 2025). In vitrine, from left to right: Elizabeth Catlett, I am the Negro Woman, 1947, printed 1989; Elizabeth Catlett, In Harriet Tubman I helped hundreds to freedom, 1946, printed 1989; Elizabeth Catlett, In Sojourner Truth I fought for the rights of women as well as Negroes, 1947, printed 1989; Elizabeth Catlett, In Phillis Wheatley I proved intellectual equality in the midst of slavery, 1946, printed 1989; From left to right: Kara Walker, African/American, 1998; Karon Davis, Dear Mama, 2024; Geoffrey Holder, Portrait of Carmen de Lavallade, 1976; Beauford Delaney, Marian Anderson, 1965; Loïs Mailou Jones, Jennie, 1943; Meta Vaux Warrick Fuller, Mother and Child (Secret Sorrow), c. 1914. Photograph by Ron Amstutz
From the exhibition Edges of Ailey