Not on view
Date
1926
Classification
Prints
Medium
Woodcut
Dimensions
Sheet: 10 × 8 in. (25.4 × 20.3 cm)
Image: 8 × 5 1/2 in. (20.3 × 14 cm)
Accession number
P.2022.3.2
Credit line
Promised gift of Crystal McCrary and Raymond J. McGuire to the Whitney Museum of American Art, New York and The Studio Museum in Harlem
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: 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: 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 At the Dawn of a New Age: Early Twentieth-Century American Modernism (Whitney Museum of American Art, New York, May 4, 2022-January 2023). From left to right: Manierre Dawson, Brown Array, 1912-13; Charles Duncan, Untitled, 1916-24; Elie Nadelman, Standing Female Figure, 1925-26; Elie Nadelman, Standing Female Figure, 1925-26; Aaron Douglas, Bravado, 1926; Aaron Douglas, Flight, 1926; Aaron Douglas, Surrender, 1926; Charles G. Shaw, Self Portrait, 1930. Photograph by Ron Amstutz
From the exhibition At the Dawn of a New Age: Early Twentieth-Century American Modernism
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Installation view of At the Dawn of a New Age: Early Twentieth-Century American Modernism (Whitney Museum of American Art, New York, May 4, 2022–January 2023). From left to right: Ben Benn, Cowboy and Horse, 1917; Louise Nevelson, Untitled, 1928; Isami Doi, The Stream, 1925; Isami Doi, Moonlight, 1924; Nancy Elizabeth Prophet, Congolais, 1931; Aaron Douglas, Bravado, 1926; Aaron Douglas, Flight, 1926; Aaron Douglas, Surrender, 1926; Charles G. Shaw, Self Portrait, 1930. Photograph by Ron Amstutz
From the exhibition At the Dawn of a New Age: Early Twentieth-Century American Modernism