#glennligon

[nicholaas-chiao]

Glenn Ligon, Warm Broad Glow, 2005, neon

[harvardfineartslib]

#BlackResistance

Some of the powerhouse contemporary artists’ books from the stacks!

Dawoud Bey on photographing people and communities / photographs and text by Dawoud Bey ; introduction by Brian Ulrich. 2019. HOLLIS number: 99153846094103941

Lorna Simpson / Thelma Golden, Kellie Jones, Chrissie Iles, Naomi Beckwith. 2022

HOLLIS number: 99156213824303941

Kara Walker : Dust jackets for the niggerati. 2013. HOLLIS number: 990138041340203941

I'm / Deborah Roberts. 2021. HOLLIS number: 99156414672603941

Glenn Ligon : unbecoming / Judith Tannenbaum ; with essays by Richard Meyer and Thelma Golden ; and an interview with Glenn Ligon by Byron Kim. c1997

HOLLIS number: 990076940110203941

Dawoud Bey & Carrie Mae Weems : in dialogue / Ron Platt and Kinshasha Holman Conwill. 2022. HOLLIS number: 99156378937603941

Double consciousness : Black conceptual art since 1970 : Terry Adkins, EdgarArceneaux, Sanford Biggers ... / essay by Valerie Cassel Oliver, Franklin Sirmans. 2005. HOLLIS number

990095704830203941

Radical presence : black performance in contemporary art / Valerie Cassel Oliver ; essays by Yona Backer, Naomi Beckwith, Valerie Cassel Oliver, Tavia Nyong'o, Clifford Owens, Franklin Sirmans. 2013. HOLLIS number: 990137858880203941

Sanford Biggers / organized for the Contemporary Art Museum St. Louis by Lisa Melandri.

2019. HOLLIS number: 99153814871703941

Theaster Gates : black archive / Kunsthaus Bregenz ; Herausgeber, Thomas D. Trummer.

2017. HOLLIS number: 990149445900203941

Sanford Biggers : sweet funk-- an introspective / Eugenie Tsai ; with an essay by Gregory Volk. 2011. HOLLIS number: 990133106710203941

[moma-prints]

Untitled from Runaways, Glenn Ligon, 1993, MoMA: Drawings and Prints

The Ralph E. Shikes Fund Size: composition (irreg.): 10 1/16 x 8 15/16" (25.6 x 22.7 cm); sheet: 16 x 12" (40.7 x 30.5 cm) Medium: One from a portfolio of ten lithographs

http://www.moma.org/collection/works/73009

[supportblackart]

@GlennLigon, Aftermath, 2020. Neon, 9 1/2 x 60 1/2 x 2 3/8''. Photo: Ron Amstutz; Courtesy of the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London and Chantal Crousel, Paris. “Aftermath was lit before November 4, 2020, and will remain lit after the date the neon illustrates. Although the title implies that November 4, 2020, is the date on which we will see how the United States will react to the election results, the neon being lit before that date signals that we are already in the aftermath, that the emergency started generations ago for Indigenous people who resided here before the colonizers arrived and for the enslaved Africans brought to these shores over four hundred years ago.” — Glenn Ligon #SupportBlackArt #GlennLigon #Aftermath https://www.instagram.com/p/CHMBrprhcuZ/?igshid=jksjxbi217q6

[hotoke-antiques]

Mr Glenn Ligon is in the house. HIGH AND RAW May.6-Jun.4, 2016 This installation is composed of objects from the new school of Japanese antiques. Coming from Japan, we at  t a t a m i  brought high objects and wonders to “the world’s smallest gallery” in NY in order to display a raw sensitivity to things that arises from the aesthetic sense and pathos of the Japanese concept and an art form known as “Mono no aware”. GALLERY KOGURE / NEW YORK (hpgrp GALLERY NEWYORK) 434 Greenwich Street, New York, NY 10013 (at the corner of Vestry Street) t. [phone] #tatami #high #raw #inspiration #newyork #hpgrp #newschool #antique #japan #glennligon

[ruiard]

Glenn Ligon - Rückenfigur, Neon and paint,24 × 145 ½ × 5 in. / 61 × 369.6 × 12.7 cm, 2009

[annelart]

PUBLIC SERVICE ANNOUNCEMENT: I am not tragically colored, female, or any other mutable or transcending point of my intersectionality. #FeastOnYourLife #ChampionYourWorth I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are all hurt about it. Even in the helter-skelter skirmish that is my life, I have seen that the world is to the strong regardless of a little pigmentation more or less. No, I do not weep at the world—I am too busy sharpening my oyster knife. Zora Neale Hurston, "How It Feels to Be Colored Me," 1928 Image: @glennligon, "Untitled (I Am Not Tragically Colored)," 1990, Oil stick and gesso on wood 80 × 30 in. (203.2 × 76.2 cm) #NOTtragicallycolored #ZoraNealeHurston #GlennLigon #VissidArte

[moma-prints]

Boy on Tire, Letter C, Zululand, Letter M #4, Glenn Ligon, (2001), MoMA: Drawings and Prints

The Judith Rothschild Foundation Contemporary Drawings Collection Gift Size: 38 x 25" (96.5 x 63.5 cm) Medium: Oil stick on printed paper

http://www.moma.org/collection/works/96514