Henry Taylor: B Side

Oct 4, 2023–Jan 28, 2024


Exhibition works

7 total
Portrait of Steve Cannon
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Portrait of Steve Cannon


Steve Cannon, a Black man, sits with his legs crossed. He is wearing a mustard colored shirt, a black jacket, jeans, sunglasses, and a brown necklace. The background is grey and green.
Steve Cannon, a Black man, sits with his legs crossed. He is wearing a mustard colored shirt, a black jacket, jeans, sunglasses, and a brown necklace. The background is grey and green.

Henry Taylor, Portrait of Steve Cannon, 2013. Acrylic on canvas, 70 × 47 in. (177.8 × 119.4 cm). Hudgins Family Collection. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Joshua White

Portrait of Steve Cannon

Over the years, Taylor has depicted many artists, critics, and curators from his community including Andrea Bowers, Deana Lawson, and Robert Pruitt, all of whom have works in the Whitney's collection. However, Taylor's focus on the art world extends beyond those he knows personally. His "covers" of Dawoud Bey's photograph of David Hammons and Gerhard Richter's painting of his daughter are examples of how he invokes a broader art-historical family by reinterpreting the art of others. Taken together, these works form a map of Taylor's social and artistic circles.

A Black man with grey hair and a black beard sits casually on a wooden folding chair. He wears a light blue button up t-shirt and white pants. The background is cream colored, and the shadow of the man and chair are a taupe color. The top right corner of the background is bright green.
A Black man with grey hair and a black beard sits casually on a wooden folding chair. He wears a light blue button up t-shirt and white pants. The background is cream colored, and the shadow of the man and chair are a taupe color. The top right corner of the background is bright green.

Henry Taylor, Hamza ("smart") Walker, 2016. Acrylic on canvas, 48 1/4 × 36 1/8 × 1 5/8 in. (122.5 × 91.6 × 4 cm). © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Jeff McLane

Henry Taylor, Hamza ("smart") Walker, 2016

The portrait of a white woman seated with her arms and legs crossed on a rotating desk chair. She has blue eyes, reddish-brown hair, and is wearing a black top, blue jeans, black boots, and a grey jacket draped over her shoulders. She sits in a room with a multicolored wall, grey floors, and a dark green rug. In the background is a tall, yellow work light.
The portrait of a white woman seated with her arms and legs crossed on a rotating desk chair. She has blue eyes, reddish-brown hair, and is wearing a black top, blue jeans, black boots, and a grey jacket draped over her shoulders. She sits in a room with a multicolored wall, grey floors, and a dark green rug. In the background is a tall, yellow work light.

Henry Taylor, Andrea Bowers, 2010. Acrylic on canvas, 48 × 36 in. (121.9 × 91.4 cm). Private Collection. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Robert Bean

Henry Taylor, Andrea Bowers, 2010

The portrait of a figure turning their face away from the audience, such that only their afro and torso are visible. They are wearing a white hooded jacket with a red floral pattern. The background is a dark green.
The portrait of a figure turning their face away from the audience, such that only their afro and torso are visible. They are wearing a white hooded jacket with a red floral pattern. The background is a dark green.

Henry Taylor, Before Gerhard Richter there was Cassi, 2017. Acrylic on canvas, 84 × 66 in. (213.4 × 167.6 cm). Collection of Jeff Poe and Rosalie Benitez. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor, Before Gerhard Richter there was Cassi, 2017

In Before Gerhard Richter there was Cassi, Taylor borrows from Gerhard Richter’s 1988 painting of his then-eleven-year-old daughter Betty to create a portrait of the artist Cassi Namoda. In Taylor’s “cover” of Richter’s painting, he retains Betty’s pink-and- white outfit and her pose of turning away from the viewer, revealing only a sliver of her face.

A closeup portrait of a Black boy wearing a bright yellow t-shirt. The background is a warm grey color.
A closeup portrait of a Black boy wearing a bright yellow t-shirt. The background is a warm grey color.

Henry Taylor, A young master, 2017. Acrylic on canvas, 60 × 60 in. (152.4 × 152.4 cm). Fondation Louis Vuitton, Paris. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor, A young master, 2017

This painting imagines the artist Noah Davis as an adolescent. Davis—a cofounder of Los Angeles’s Underground Museum and a multidisciplinary artist whose figurative work portrayed real and imagined scenes of Black life—was a dear friend of Taylor’s and continues to be a significant influence in his life and art. Painting Davis’s portrait two years after his death from a rare form of cancer at age thirty-two was Taylor’s way of “keeping him here and present.”

A Black woman sits on a green chair, wearing a short white dress with a pink pattern. She appears to be sitting on a wooden deck, perhaps in an enclosed outdoor area, as a white wall and landscaped foliage is visible behind her.
A Black woman sits on a green chair, wearing a short white dress with a pink pattern. She appears to be sitting on a wooden deck, perhaps in an enclosed outdoor area, as a white wall and landscaped foliage is visible behind her.

Henry Taylor, Deana Lawson in the Lionel Hamptons, 2013. Acrylic on canvas, 96 × 70 in. (243.8 × 177.8 cm). Collection of Neda Young. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor, Deana Lawson in the Lionel Hamptons, 2013

A closeup portrait of a bald Black man with a moustache and soul patch. He wears a white shirt with a high neckline. The background is a vivid green color.
A closeup portrait of a bald Black man with a moustache and soul patch. He wears a white shirt with a high neckline. The background is a vivid green color.

Henry Taylor, Portrait of Kahlil Joseph, 2019. Acrylic on canvas, 30 × 30 in. (76.2 × 76.2 cm). Collection of Steve and Lizzie Blatt. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor, Portrait of Kahlil Joseph, 2019

A Black man in a grey fedora and black jacket stands on the sidewalk, in front of a large reddish-brown building. Outstretched before him is a brightly colored rug with snowballs in an assortment of sizes piled on top. Standing on the sidewalk, to the right of the painting, is a hyena. Strips of blue sky are visible around the building, and in the upper-left corner of the painting is a fleet of reindeer flying towards a full moon, which is located at the top center of the painting. To the right of the painting is a black gate with a red Santa Claus jacket hanging on it.
A Black man in a grey fedora and black jacket stands on the sidewalk, in front of a large reddish-brown building. Outstretched before him is a brightly colored rug with snowballs in an assortment of sizes piled on top. Standing on the sidewalk, to the right of the painting, is a hyena. Strips of blue sky are visible around the building, and in the upper-left corner of the painting is a fleet of reindeer flying towards a full moon, which is located at the top center of the painting. To the right of the painting is a black gate with a red Santa Claus jacket hanging on it.

Henry Taylor, Hammons meets a hyena on holiday, 2016. Acrylic on canvas, 60 × 84 1/4 in. (152.4 × 214 cm). Nasher Museum of Art at Duke University; museum purchase with additional funds provided by the Blackburn Endowment and Nasher Annual Fund. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Joshua White

Henry Taylor, Hammons meets a hyena on holiday, 2016

This painting playfully alters a photograph by Dawoud Bey of the artist David Hammons performing his influential work Bliz-aard Ball Sale (1983). In that work, Hammons took on the role of a New York street vendor, selling a selection of snowballs meticulously organized atop a “North African rug” on the sidewalk in front of him. In 2016, the Whitney Museum commissioned Taylor to create a holiday card. Using Bey’s photograph as a springboard, Taylor pays homage to Hammons by depicting the artist standing in front of the Great Mosque of Djenné in Mali selling snowballs with a hyena looking on. In keeping with the holiday spirit of the commission, Taylor replaces the blazer hanging on the gate in Bey’s photo with a Santa Claus robe and adds a reindeer-pulled sleigh in the painting’s upper left corner.

A woman with short, reddish-brown curly hair sits on a deck chair. She wears a light pink t-shirt and blue shorts, and an open book lays on her lap. The background is a grassy green.
A woman with short, reddish-brown curly hair sits on a deck chair. She wears a light pink t-shirt and blue shorts, and an open book lays on her lap. The background is a grassy green.

Henry Taylor, carolina miranda, 2016. Acrylic on canvas, 60 × 40 in. (152.4 × 101.6 cm). Jennifer and Dan Gilbert Collection. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor, carolina miranda, 2016


On the Hour

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

Learn more about this project

Learn more at whitney.org/artport

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