Glenn Ligon, ‘Negro Sunshine #54’, 2010, Drawing, Collage or other Work on Paper, Oilstick, coal dust and gesso on paper, Phillips
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Glenn Ligon

Negro Sunshine #54, 2010

Oilstick, coal dust and gesso on paper
12 × 9 1/10 in
30.5 × 23 cm
Bidding closed
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About the work
Provenance
P
Phillips
Medium
Signature
Signed, titled and dated ‘Negro Sunshine #54 2010 Glenn Ligon’ on the reverse
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, ‘Negro Sunshine #54’, 2010, Drawing, Collage or other Work on Paper, Oilstick, coal dust and gesso on paper, Phillips
Save
Save
View
View in room
Share
Share
About the work
Provenance
P
Phillips
Medium
Signature
Signed, titled and dated ‘Negro Sunshine #54 2010 Glenn Ligon’ on the reverse
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

Negro Sunshine #54, 2010

Oilstick, coal dust and gesso on paper
12 × 9 1/10 in
30.5 × 23 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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