Sandy and Her Husband

1973 · Painting

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是，正在展出

《Sandy and Her Husband》现在在哪里？ 克利夫蘭藝術博物館, 230 Photography, 克利夫兰. 是，正在展出. 核实 2026年9月29日.

克利夫蘭藝術博物館

克利夫兰, 美國

展厅230 Photography

正对公众展出。

核实: 13天前
此状态始于: 2026年9月28日
出处: 博物馆

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关于这幅画

Sandy and Her Husband is a 1973 painting by the postmodern African-American painter and printmaker Emma Amos (1937-2020). In 2018 the painting was acquired directly from the artist's collection by the Cleveland Museum of Art after having been shown as the centerpiece of the exhibition "We Wanted a Revolution: Black Radical Women, 1965–85" at the Brooklyn Museum. The painting actually contains a painting of another Amos painting "Flower Sniffer" (1966), which is a self portrait, and thus the artist was also able to insert herself into the later painting. In addition "Flower Sniffer" was exhibited at the Brooklym Museum to corresponding visual and historical effect. It is considered one of if not the most important work by Amos.

继续阅读

Writing on Artnet in an article on some of the romantic embraces depicted in art Caroline Goldstein says of the work...."Gorgeous and stylish, Sandy and Her Husband is a painting of aching everyday intimacy. The couple sways together in their stylishly appointed apartment, fingers woven together, eyes closed, lost in a song we can’t hear and sharing a moment. Their apartment is decked out in full ’70s style, in the artist’s lush palette.

The painting is being exhibited as part of a traveling retrospective of the artist's work "Emma Amos: Color Oddessry" originating at the Georgia Museum of Art in Athens, Georgia (January 30, 2021 - April 25, 2021). The show will then move on to the Munson-Williams-Proctor Arts Institute (June 19 to September 12, 2021), and the Philadelphia Museum of Art (October 9, 2021, to January 2, 2022.

维基百科 CC BY-SA

博物馆的介绍

In Sandy and Her Husband, the dancing couple at the center of the image is joined by Amos herself: the artist inserted herself into the picture by rendering an earlier self-portrait, Flower Sniffer (1966), which hangs on the wall behind the couple. However, even as Amos is part of the composition, she is peripheral to the scene, unseen or ignored by the dancers. From the early 1960s until her death in 2020, Amos made paintings, prints, and textiles celebrating African American identity and culture, and often exploring women’s presence within that heritage.

克利夫蘭藝術博物館