First large-scale museum exhibition dedicated to the legendary Alvin Ailey opened recently at the Whitney Museum in NYC.
Alvin Ailey takes center stage once more in a recently opened exhibit at the Whitney Museum of American Art. People may know the name Alvin Ailey in association with the renowned Alvin Ailey Dance Theater based in New York City, but often lesser known is the life and story of Alvin Ailey himself. Edges of Ailey invites museum goers into the world of Alvin Ailey, providing insight into his life, work and legacy.
Edges of Ailey is the first large-scale museum exhibit dedicated to Alvin Ailey. Ailey was born in Rogers, Texas in 1931 at the height of the Great Depression. Growing up in Jim Crow Texas, Ailey knew struggle from a young age. Ailey’s father left him and his mom shortly after he was born. At the age of five he began working in cotton fields to help his mom make ends meet. Growing up Ailey found comfort and solace in church and sneaking out to watch adults dance, introducing himself to the sounds of blues and gospel.
At the age of twelve, Ailey moved to Los Angeles where he eventually made his way into the world of dance and theater. He began taking modern dance after learning of the studio of Lester Horton who eventually became his mentor. Horton was a pioneer in his own right, insisting upon racial integration in his dance company. His modern dance technique drew from a range of influences, including Native American dance.
Ailey passed away at the age of fifty eight after contracting AIDS. In his lifetime, he opened a renowned and internationally recognized dance company, cementing himself as an icon of modern dance. He developed a unique dance style, blending a variety of styles such as ballet, jazz and hip-hop. His works embodied the African American experience and his own life as a gay, black man. One of his most famous works, Revelations, explores universal human emotions ranging from grief to joy while set to African American spirituals, songs and sermons.
Art curator, Adrienne Edwards, organized a cleverly ambitious and wide-ranging exhibit dedicated to Alvin Ailey. Broken into two parts, Edges of Ailey combines many different art mediums. The first part of the exhibit features archives from Ailey’s life including performance footage, recorded interviews and choreographic notes. These items give insight into Ailey’s creative processes and his life outside of dance. Also featured is art from over eighty different artists, each one amplifying the themes found throughout Ailey’s work. Artists shown in the exhibit include Jean-Michel Basquiat and Alma Thomas. Completely new works are also featured by artists such as Jennifer Packer and Mickalene Thomas.
As the gift that keeps on giving, the exhibit also includes live performances by Alvin Ailey Dance Theater in the museum’s third floor theater. In the first part of the exhibit, museumgoers are given a look into Ailey’s life and background. Then in the second part of the exhibit, audiences have the chance to watch classic and contemporary Ailey works in-person. The organization of the exhibit allows for a better understanding of how Ailey’s life manifested in his work. Alvin Ailey Dance Theater is in residence at the museum for one week per month, culminating in over ninety performances. The performance slate includes excerpts from a host of Ailey works and reflects his commitment to modern dance and black artists.
Edwards tactfully placed certain details in the exhibit. For example, the color red is purposefully woven throughout the exhibit space. Red pays homage to what Ailey referred to as his “blood memories”, memories so strong they are a part of his blood and being. These memories include the most defining parts of Ailey’s childhood such as gospel and work songs, embodying not only himself but his entire community and ancestors that came before him.
The exhibit celebrates and honors the visionary Alvin Ailey while also making space for a new generation of performers that Ailey laid the foundation for. As a pioneer of modern dance and champion of black artists, it only makes sense that Ailey is honored alongside those he paved the way for. Whether that be the artists showing completely new works in the exhibit or students from the Ailey School who have the chance to perform in the museum, Edges of Ailey celebrates Ailey’s profound legacy. The exhibit is showing at the Whitney Museum of American Art from now until February 9, 2025.
Home page images, Clementine Hunter, Cane River Baptism, c.1950-1956. Faith Ringgold, United States of Attica, 1971. Inside image Kerry James Marshall, Souvenir IV, 1998. All images courtesy of the Whitney Museum of American Art.
