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Emma Amos, Sandy and Her Husband, 1973.
CLEVELAND MUSEUM OF ART
Last month, the Brooklyn Museum revealed that it had purchased Emma Amos’s early self-portrait Flower Sniffer (1966), which is one of the stars of the touring exhibition “We Wanted a Revolution: Black Radical Women, 1965–85.” When that show was on view at the Brooklyn Museum last year, as a loan from the artist, it hung next to another Amos painting, Sandy and Her Husband (1973), a double portrait of a couple dancing in a room with that earlier work hanging on the wall. Now the Cleveland Museum of Art said that it has purchased that work.
Sandy and Her Husband will go on view at the Cleveland Museum in the fall, after it appears in the final stop of “We Wanted a Revolution: Black Radical Women, 1965–85,” which runs at the Institute for Contemporary Art in Boston from June 27 through September 30.
The Amos work will find a home amid a number of other choice double portraits at the Cleveland Museum, a representative for the museum noted, pointing to pieces like Wadsworth Jarrell’s Heritage (1973), Alice Neel’s Jackie Curtis and Ritta Red (1970), and Sylvia Sleigh’s Vincent Longo and Pat Adams (1962). (The museum is also the repository of one the great group portraits of the 20th century, Florine Stettheimer’s Sunday Afternoon in the Country, 1917, which features the artist’s mother and Marcel Duchamp among its subjects.)
Those hoping to see a group of Amos paintings en masse, mark your calendars: the Georgia Museum of Art in Athens has a retrospective planned for 2021.
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