Not on view
Date
1985
Classification
Drawings
Medium
Pen and ink and graphite pencil on paper
Dimensions
Sheet: 6 1/16 × 9in. (15.4 × 22.9 cm)
Accession number
2020.118
Credit line
Whitney Museum of American Art, New York; purchase, with funds from the Jack E. Chachkes Endowed Purchase Fund and the List Purchase Fund
Rights and reproductions
© artist or artist's estate
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: 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; In vitrine: Elizabeth Catlett, I have always worked hard in America, 1946, printed 1989; Elizabeth Catlett, I have always worked hard in America, 1946, printed 1989; Thornton Dial, Shadows of the Field, 2008; David Hammons, Delta Spirit, 1985; Beverly Buchanan, White Shacks, 1987; Beverly Buchanan, Old Colored School, 2010; Beverly Buchanan, Orangeburg County Family House, 1993; Beverly Buchanan, Family Tree House, 2009; Sam Doyle, Frank Capers, 2023; Sam Doyle, LeBe, 1970s; Wadsworth Jarrell, Together We Will Win, 1973. Photograph by Ron Amstutz
From the exhibition Edges of Ailey
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Installation view of Around Day’s End: Downtown New York, 1970–1986 (Whitney Museum of American Art, New York, September 3–November 1, 2020). From left to right: David Hammons, Delta Spirit, 1985; Vitrine, clockwise: Avalanche, Fall 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983; David Wojnarowicz, Arthur Rimbaud in New York, 1978 (printed 1990); Alvin Baltrop, The Piers (collapsed architecture, couple buttfucking), 1979 (print date unknown); Alvin Baltrop, Marsha P. Johnson, n.d. (1975–86, print date unknown); Alvin Baltrop, Untitled, 1978 (print date unknown); Jimmy Wright, Anvil #1, 1975. Photograph by Ron Amstutz
From the exhibition Around Day’s End: Downtown New York, 1970–1986
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Installation view of Around Day’s End: Downtown New York, 1970–1986 (Whitney Museum of American Art, New York, September 3–November 1, 2020). From left to right: Jean-Michel Basquiat, Untitled (Plaid), 1982; Jean-Michel Basquiat, Untitled, 1982; Anton van Dalen, Street Woman on Car, 1977; Christo, Package on Hand Truck, 1973; David Hammons, Delta Spirit, 1985; Vitrine, clockwise: Avalanche, Fall 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Carol Goodden, Documentation of Gordon Matta-Clark’s Jacks, 1971; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983; David Wojnarowicz, Arthur Rimbaud in New York, 1978 (printed 1990). Photograph by Ron Amstutz
From the exhibition Around Day’s End: Downtown New York, 1970–1986