Edges of Ailey | Art & Artists

Sept 25, 2024–Feb 9, 2025

Exhibition works

10 total
Black Migration
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Black Migration

Several white, two-dimensional, human-like figures placed on a backdrop of earth tone rectangles.
Several white, two-dimensional, human-like figures placed on a backdrop of earth tone rectangles.

Ellen Gallagher, Ecstatic Draught of Fishes, 2022. Oil, pigment, wax, palladium leaf and paper on canvas, 89 3/4 × 118 1/8 in. (228 × 300 cm). Whitney Museum of American Art, New York; gift of The George Economou Collection 2023.74. ©️ Ellen Gallagher

Black Migration

Water is a recurring and important motif in Alvin Ailey’s choreography and writings. References to oceans and rivers denote on one hand the Middle Passage of enslavement—the violent extraction of Black people from West African countries to the Americas—and on the other the possibility of salvation through ablutions, the custom of washing one’s body or parts of it.

Moving from Texas to Los Angeles in the early 1940s, Ailey and his mother, Lula Cooper, were among the six million Black people who traveled from the rural American South to urban areas across the northern and western United States during the Great Migration. Migrants sought to escape the racial violence and economic precarity of Jim Crow apartheid policies, although rampant segregation and inequity persisted in the North.

Despite these forces, Black life and culture flourished in urban cultural hubs, and it was in Los Angeles where Ailey had his first encounters with live dance and entertainment, seeing the Ballet Russe de Monte Carlo, Jack Cole, and Duke Ellington, and becoming enamored with the dynamic rhythms and representation of Black dancers in Katherine Dunham’s Tropical Revue (1943). Through his high school friend turned collaborator, Carmen de Lavallade, Ailey became involved with Lester Horton, who became his mentor, as an artist and gay man, and whose racially integrated, unorthodox modern dance company deeply informed Ailey’s choreographic sensibility. In 1954 Ailey moved to New York, another epicenter of Black creativity, to begin rehearsals for the Broadway musical House of Flowers (1954).

Two old rocking chairs are wrapped in white fire hoses, with a valve connecting the hoses between the chairs.
Two old rocking chairs are wrapped in white fire hoses, with a valve connecting the hoses between the chairs.

Lonnie Holley, Sharing the Struggle, 2018. Wood rocking chairs, fire hoses, 50 x 45 x 50 in. (127 x 114.3 x 127 cm). Collection of Beth Rudin DeWoody. © Lonnie Holley

Lonnie Holley, Sharing the Struggle, 2018

Colorful abstract artwork with rows of geometric shapes, flowers, a green bird, and green human figures holding hands at the bottom.
Colorful abstract artwork with rows of geometric shapes, flowers, a green bird, and green human figures holding hands at the bottom.

Paul Waters, Beautiful Life, 1969. Oil on cut linen collage on canvas, 46 x 60 in. Courtesy of Eric Firestone Gallery. 

Paul Waters, Beautiful Life, 1969

Abstract painting with red brushstrokes on a blue background, creating a textured, mosaic-like pattern.
Abstract painting with red brushstrokes on a blue background, creating a textured, mosaic-like pattern.

Alma Thomas, Mars Dust, 1972. Acrylic on canvas, 69 1/4 × 57 1/8 in. (175.9 × 145.1 cm). Whitney Museum of American Art, New York; purchase with funds from The Hament Corporation 72.58. © 2024 Estate of Alma Thomas (Courtesy of the Hart Family) / Artists Rights Society (ARS), New York

Alma Thomas, Mars Dust, 1972

Artists

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

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Learn more at whitney.org/artport

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