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Glenn Ligon

Draft, 2010

Aquatint with spitbite, sugar-lift and drypoint
25 2/5 × 20 9/10 in
64.5 × 53 cm
Bidding closed
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About the work
S
Sotheby's

An Important New York Collector

Signed in pencil, dated and numbered 7/55 (total edition includes …

Read more

An Important New York Collector

Signed in pencil, dated and numbered 7/55 (total edition includes ten artist's proofs), on Hahnemühle Copperplate bright white paper, with the blindstamp of the printer, Burnet Editions, New York, published by Skowhegan School of Painting & Sculpture, New York.

plate: 505 by 404 …

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Medium
Print
Glenn Ligon
American, b. 1960
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Born and raised in the Bronx, Glenn Ligon grew up taking art classes at the Metropolitan Museum of Art while learning about identity politics through the racism and discrimination toward homosexuality that he encountered in New York. He combines this formal art education and complex personal history to create emotionally charged works that convey challenging messages. In his 1993 Whitney Biennial contribution, Notes on the Margin of the Black Book (1991–93), for example, Ligon paired images and text to satirically comment on literary and visual representations of the black male body. Whether constructed from neon lights, coal dust, glitter, paint, or photographs, Ligon’s work fluctuates between humor and startling honesty, reminding viewers that intolerance remains ubiquitous.

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view
View in room
share
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Save
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view
View in room
share
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About the work
S
Sotheby's

An Important New York Collector

Signed in pencil, dated and numbered 7/55 (total edition includes …

Read more

An Important New York Collector

Signed in pencil, dated and numbered 7/55 (total edition includes ten artist's proofs), on Hahnemühle Copperplate bright white paper, with the blindstamp of the printer, Burnet Editions, New York, published by Skowhegan School of Painting & Sculpture, New York.

plate: 505 by 404 …

Read more
Medium
Print
Glenn Ligon
American, b. 1960
Follow

Born and raised in the Bronx, Glenn Ligon grew up taking art classes at the Metropolitan Museum of Art while learning about identity politics through the racism and discrimination toward homosexuality that he encountered in New York. He combines this formal art education and complex personal history to create emotionally charged works that convey challenging messages. In his 1993 Whitney Biennial contribution, Notes on the Margin of the Black Book (1991–93), for example, Ligon paired images and text to satirically comment on literary and visual representations of the black male body. Whether constructed from neon lights, coal dust, glitter, paint, or photographs, Ligon’s work fluctuates between humor and startling honesty, reminding viewers that intolerance remains ubiquitous.

Glenn Ligon

Draft, 2010

Aquatint with spitbite, sugar-lift and drypoint
25 2/5 × 20 9/10 in
64.5 × 53 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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