Not on view
Date
1972
Classification
Prints
Medium
Screenprint with acrylic hand-coloring
Dimensions
Sheet (sight): 25 13/16 × 32 1/2in. (65.6 × 82.6 cm)
Accession number
2020.152
Edition
164/300 | 18 APs, 17 TPs
Credit line
Whitney Museum of American Art, New York; purchase, with funds from Kenneth Alpert
Rights and reproductions
© Wadsworth Jarrell, courtesy Kavi Gupta, Chicago
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). From left to right: Purvis Young, Ocean, 1975; Meta Vaux Warrick Fuller, Mold for Crusaders for Freedom, 1962; Sam Gilliam, Untitled (Black), 1978; David Hammons, Untitled, 1992; Al Loving, Untitled, c. 1975; Hale Aspacio Woodruff, By Parties Unknown, 1935, printed 1996; Hale Aspacio Woodruff, Giddap, 1935, printed 1996; Purvis Young, I Love Your America, late 1970s; Martin Puryear, The Rest, 2009-10; Samella Lewis, Migrants, 1968; Purvis Young, Black People Migrating West, late 1970s; William H. Johnson, Moon Over Harlem, 1943-44; Lonnie Holley, Sharing the Struggle, 2018; Theaster Gates, Minority Majority, 2012; 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. 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). From left to right: 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. 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). From left to right: Alma Thomas, Mars Dust, 1972; Charles White, Preacher, 1952; Lonnie Holley, Sharing the Struggle, 2018; Benny Andrews, The Way to the Promised Land, 1994; 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; Horace Pippin, School Studies, 1944; Horace Pippin, Cabin in the Cotton, c. 1931–37; Horace Pippin, Knowledge of God, 1944; William H. Johnson, At Home in the Evening, c. 1940; John Biggers, Sharecropper, 1945; Robert Duncanson, View of Cincinnati, Ohio from Covington, Kentucky, c. 1851; Joe Overstreet, Purple Flight, 1971; Emma Amos, Judith Jamison as Josephine Baker, 1985; Kerry James Marshall, Souvenir IV, 1998; Lynette Yiadom-Boakye, A Knave Made Manifest, 2024; Lynette Yiadom-Boakye, Fly Trap, 2024; Missa Marmalstein and other makers unknown, Block 1871 of the AIDS Memorial Quilt, 1987. Photograph by Ron Amstutz
From the exhibition Edges of Ailey