Glenn Ligon, ‘Mirror II Drawing #20’, 2010, Drawing, Collage or other Work on Paper, Oil stick and coal dust on paper, LAXART
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Glenn Ligon

Mirror II Drawing #20, 2010

Oil stick and coal dust on paper
24 13/100 × 18 13/100 in
61.3 × 46.1 cm
Bidding closed
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About the work
Provenance
LAXART

Please Note: Preliminary online bidding closes on January 22nd at 5:00PM PST (8:00PM EST). Online …

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Courtesy of the artist
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.

Glenn Ligon, ‘Mirror II Drawing #20’, 2010, Drawing, Collage or other Work on Paper, Oil stick and coal dust on paper, LAXART
Save
Save
View
View in room
Share
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About the work
Provenance
LAXART

Please Note: Preliminary online bidding closes on January 22nd at 5:00PM PST (8:00PM EST). Online bids will be transferred and executed at the benefit event later that night.

Framed.

The source text for this Ligon coal dust work is James Baldwin’s 1953 essay “Stranger in the Village,” which Ligon has used before. …

Medium
Image rights
Courtesy of the artist
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

Mirror II Drawing #20, 2010

Oil stick and coal dust on paper
24 13/100 × 18 13/100 in
61.3 × 46.1 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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